Ijexá

Ijexá is one of the most significant rhythms of Afro-Brazilian religions, especially in Candomblé and Umbanda, where it plays a central role in the organization of rites, in communication with the sacred, and in the preservation of cultural heritages of African origin. Its origin is associated with the Yoruba people, more specifically with the region of Ìjẹ̀ṣà (Ijexá), in what is now Nigeria, from where religious, musical, and cosmological knowledge was brought to Brazil by enslaved Africans.

Image description: This is a black-and-white photograph of a cultural event. In the foreground, there is a row of seated men playing traditional musical instruments. They are wearing traditional clothing, including white shirts and fitted trousers. In front of the musicians, a man is dancing, wearing a white outfit with a colorful scarf. In the background, a group of women dance in clusters, wearing long, flowery skirts. They are also wearing white hats. The image appears to capture a moment of cultural celebration. In the bottom right corner, there is an "ARQUIVO NACIONAL" mark.

In the terreiros, Ijexá is not just a musical rhythm, but a means of spiritual connection. It structures songs and dances dedicated mainly to female orixás, such as Oxum and Iemanjá, although it is also present in praises to other orixás. Its cadenced, smooth, and continuous beat fosters balance of body and mind, creating an environment conducive to ritual trance and the manifestation of the sacred. Thus, the rhythm guides the movements, regulates the energy of the ritual space, and contributes to harmony between the participants and the deities worshipped.

Image description: This is a black-and-white photograph of a group of people gathered in an indoor setting. On the left side, three men are seated, focused on their musical activities. They hold traditional African instruments, possibly drums, and wear white clothing. In the center, a man is standing, playing a large, rectangular instrument that also has strings. He wears light-colored pants and a hat. In the background, there is a wall with floral decoration and a statue adorned with flowers. The spatial arrangement is linear, with the musicians in the foreground and the decoration in the background.

The importance of Ijexá also manifests itself in the transmission of religious knowledge. Drummers (ogãs or alabês) learn the rhythm as part of ancestral knowledge, passed down orally and through practice, reinforcing bonds of belonging and continuity between generations. Every beat, variation, and pause carries meanings that engage with myths, stories, and foundations of African cosmology, making Ijexá a true sound archive of Afro-diasporic memory.

Beyond the ritual space, Ijexá spread beyond the terreiros and came to shape Brazilian culture more broadly, influencing manifestations such as afoxés and popular music, without losing its sacred reference. This circulation highlights its dual function: on one hand, ritual and religious; on the other, cultural and identity-related, affirming the presence and resistance of Afro-Brazilian traditions in historical contexts marked by repression and racism.

In this way, Ijexá occupies a fundamental place in Afro-Brazilian religions by bringing together body, sound, spirituality, and memory. More than a rhythm, it is a sacred language that sustains the rites, strengthens religious identity, and reaffirms the continuity of African knowledge in Brazil.