Saturday in Salvador, October 20th, 2018, will see the Casulo da Cultura Popular in Largo Dois de Julho, in the city center.
There will be Bahian regional food, and art, and of course music.
The music will feature — among others — three of the stratospherically towering artists of deeply authentic Brazilian culture: Bule Bule, Raymundo Sodré, and João do Boi. Sodré told me that he should be performing from around 6 p.m., so I imagine that Bule and João will be on at around that time, when the sun is setting and the day is cooling down (hopefully they’ll actually get João here; it’s something of a schlep from his village in the Recôncavo).
Now, don’t be thinking that because these are three splendidly eminent and highly important artists there will be some kind of a fancy setup and hoardes of fans. The only one of the three to have received the big corporate publicity shebang was Raymundo Sodré (going by “Raimundo” at the time, using the newly enforced orthography of the era; he’s since gone back to the name that his parents actually gave him). Bule Bule and João do Boi are exemplars of the verity that artist brilliance without bucks (or reais in this case) behind it can shine like a supernova swallowed by a black hole.
Raymundo though had one of the best-selling records in Brazil in 1980, a PolyGram release. But for politicial reasons, during the dictatorship, he was threatened with death and chased out of the country. He’s been back since 2000 and since then it’s been his hard-scrabble beginnings set to repeat.
The Casulo is being organized by Shalom Adonai, a young acolyte of the old masters, and cultural producer and good guy Antônio Nykiel. And BTW a “casulo” is a cocoon, kind of reference to protecting this culture and the fact that “bule bule” is a folk name for a kind of caterpiller, source of the great Bule Bule’s appellation.