The position that I had, given by Mestre’s hands, was general commander of the feminine’s wing and the hinário’s general manager. I would conduct every hinário. When the male wing wasn’t quite right I would call the guardian. Everything was with me, and until today this position of general commander is in my hands. He didn’t take it away.
Everything that arrived in the colony [mission] passed through my hands. Mestre held much esteem for me and every hymn that he received passed through me. He would say: “If it is not right you can ‘weed it’ [review it].” But I never did that. He would drink Daime and correct it by himself.
I started to attend the session when my father met Mestre, in 1934. I was about eight to nine years old. With Mestre were only a handful of people: José das Neves, Zé Afrânio, João Pereira, the so called Zé Capanga, Maria Damião and Germano Guilherme. After this period is that Antônio Gomes arrived. Daddy died three years later, in 1937. I was the first born. Two weeks after the death of my father’s, Mestre said that he had appeared to him five times in miração. My father said,
“Mestre, I walk and walk in this God’s world and I see so many wonders, so many beauty that I didn’t expect to exist, but when I think of you I try to visit you”
So he came five times. Until when Mestre asked,
“Ribeiro, what do you want from me? You can tell”
“Mestre, I want you to have more patience with my family than you had with me”
And Mestre said,
“It is done! Don’t you worry and follow your journey”
And mestre blessed his spirit.
During this time we lived in Vila Ivonete, very close to Mestre. There wasn’t yet a headquarters and the ceremonies were held at his house, with that little group. So he proceeded giving assistance to us. My mother, poor thing, had no bearings, was illiterate and could not handle money. I was the one who had a little more knowledge, making the home buying. At that time, with eleven years old, I was already tailoring as a self employed. I started tailoring for women only, then to everyone.
When we met each other, in 1934, Mestre had only three hymns: Lua Branca [White Moon], Tuperci and Ripi. Thence it started… In that time we didn’t have farda yet [uniform]. After it was established a kind of uniform, different from the model that we use today. In the women’s blue uniform there was already the three initials: C.R.F. — Centro da Rainha da Floresta (Queen of the Forest’s Center), and this was created by Mestre.
In 1957 Mestre made a trip to Maranhão, where he spent two days and two nights at sea, having a lot of visions. It was on this trip that he received the new type of farda, used until today. The men used the colored little ribbons, that the women still use, and a big rose. The distinctive was that rose, then it was that he changed it to the six pointed star.
Mestre remained in Vila Ivonete until 1945, when he founded the Alto Santo and opened the colony. The initial group of Mestre was with him both in the plantations and in the spiritual work, in everything.
Mestre was an example inside the Acre state and the city of Rio Branco. He was the first leader that existed here. In this community that he founded, the Alto Santo, he was a judge, a deputy, an adviser. He was everything, and they all obeyed to him. The situation could be the way it was, but when he said: “You, come over here”, everyone would settle down like sheep’s. The state authorities did not care about that people, and he would even settle cases outside of the community. He was indeed a divine entity, because only God to have the power that he had, and still has. Today he has much more power than at that time. And even with all that authority that he had he was the calmest person in the world. He didn’t raise his voice to anybody. The way he treated the wisest he treated a child.
Mestre lived with a woman, Mrs. Raimunda, for twenty years. Then he married her, because as a community leader he had to set a good example. Her mother was a difficult person to deal with. In March of 1955 Raimunda left to São Paulo with her mother, where she apparently came to die run over by a car.
Prior to Mrs. Raimunda, Mestre lived with another woman and this in the time when he worked in the rubber plantations. They had a son, Valcírio, who lives here in Rio Branco. He also takes Daime. Mrs. Peregrina came much later. She is the granddaughter of Antônio Gomes. At that time she was still a child. She married Mestre in September of 1955, and it was before Mestre’s trip to Maranhão.
Mestre advised not to take Daime made by everyone. Only from those who he taught and he knew that they were doing it nicely. Loredo, Cipriano and Grangeiro, and later on Sebastião Mota learned to make the Daime with Mestre.
At the time of Mestre we had on every Sunday a hinário held in the house of one member of the community. It would start in the closest house from the headquarters and it would go circling until it ended up at the headquarters again — every Sunday, from two to four in the afternoon. It was called “Circling Hinário”. If we couldn’t finish the hinário in one Sunday, we would leave it for the following week.
Do you think the world would fit into the headquarters of Mrs. Peregrina? I do not say the whole world, because even the ones in Acre don’t fit. The same happened with the Catholic Church. Everybody worships God and respects Jesus Christ, but each one goes his way. It had to split in order to expand. I do not think of it as something wrong. God is good …
In the penultimate hymn of the Cruzeiro, Mestre says: “The requests were so many / they asked me to come back.” This was shortly before his passing. At that time there was a request from the fraternity for Mestre to stay. We asked and he even said:
“I do not feel pain. I do not feel hungry. I feel nothing. What I feel is that I don’t have a person to hand over my work, and the desire to be with you all. I am longing so much for everyone’s presence that this is bringing me down”
He certainly was aware of his passing and he knew that most people were not prepared. And it was not for lack of education. Everyone knew that when they needed something it was just run and ask for Mestre. Everyone thought that they would never be without him.
And he was getting worse, and worse… No longer eating meat. He said that his body no longer accepted these things. And we all seeing him fading away. Near June 30th of 1971 I asked him:
“Wouldn’t you like a concentration work to improve your health?”
“That’s good! Let’s do it then. Call the closest ones”
But, days before this Concentration he had already called Leônico Gomes and handed over the direction of the ceremonies:
“Leôncio, you are going to take over the direction of the ceremonies. You are not going to be the chief. The leadership is with me. But stay to receive the people, to teach the doctrine and everything. Listen to what I’m saying, don’t do more than I am delivering to you, because if you change something you are not going to hold it”
On the 30th we got together for the Concentration. When it was finished he asked to the people,
“Who had seen my funeral?”
People said that they had not seen anything. And he said that he had received a remedy and that he would be fine.
“And what remedy is that, Mestre?”
“It is a remedy that is everywhere”, he continued. “I got to a room where there was an adorned table, all set and with the chairs in their place. There was only one empty chair: the one at the head of the table”.
It was when the Sovereign Virgin Mother came to his side and said,
“From now on you are the general chief of this mission”
After 50 years of work is that he received the command.
“You are the boss: in the sky, on earth and in the sea, for all purposes. Everyone who remember you and call for you from the heart, and trust, will receive the light”
That was on June 30th, 1971. On July 6th he passed away. Regarding the medicine, it is the earth that we step on. Wasn’t he gone to under the earth? And nobody understood. Didn’t he say that it was everywhere? It is the earth itself…
Another father like this nobody will find. Around 1970, before falling ill, Mestre had a miração in which he arrived to a place where there were many people, and his Protector always at his side:
“Do you see all these people?”
“I do”
“Yeah, they are all masters. They say that they are masters. Do you want to check? Ask them”
Then he asked to one, and to the other, and each of them answered,
“I learned from this deceased person”
“I learned from this another deceased person”
And this way the conversation went on. And now She said:
“Tell them who it was that you learned from”
He got up and said,
“And I learned from the Sovereign Virgin Mother”
Then all the masters disappeared.
“You see? None of them learned anything”
He learnt because he was ordered. It is like they say: he was chosen. The Sovereign Virgin Mother accompanied him during the whole time. And still today she does it, and he is next to her.
Every time that I would go out I visited him. If not he would complain. That day I visited him and he was happy, really happy. It seemed like he wasn’t feeling a thing. He was chatting and telling stories. I stayed for a while and I said that I was going home to prepare the lunch. And he said:
“You are not going. Are you hungry?”
And he called the girl to serve the lunch on the table.
“You are not going right now. I want to talk to you”
He was in this great joy, telling everything! And I thought, “Thanks God! He’s all right!” And I said to him,
“Tomorrow I am going to the city to get a paycheck”
“Go, you can go”
When it was three o’clock in the afternoon he said,
“If you want to go home now, you can go”
Then I took his blessing and he made a recommendation like never before. I didn’t understand it at all. I saw him so happy that I didn’t suspect a thing. He advised me to be very happy. I left in peace and satisfied.
He was like my father, since he raised me. In the afternoon I went out with Pedro. We went to the Finance Department and there, a friend of ours, João Lopes, asked about Mestre. He was advisor of the governor Wanderley Dantas and he got along pretty well with us. He also took Daime. I said that Mestre was all right. And he said that the governor wanted to visit him but that he had no time. We left, and when we arrived in front of the City House we saw the wife of Mr. Doca. She was pale, with her hair in disarray, already saying:
“Mestre, my God! Mestre died!”
“Girl, what are you talking about?” I said. But God gave me a comfort at that moment and I didn’t believe. I thought that he might have had an indisposition…
“But no! When I left he was ok. He can not have died!”
“But it is true. The son of Mr. Wilson just came from there”
But I did not want to believe. We gave up shopping and we crossed the market. There was a huge buzz, people walking around and trying to find a car to go to the colony. We also got a ride. It looked like a procession. The news had been spread but I didn’t believe. “Is it true?” I stopped quickly at home and then we went there. I only believed when I arrived. He was still in bed, the sweat pouring as if he was working a lot.
Nobody thinks that learned already. Who wants to learn, dedicate himself to the Daime. Prepare yourself and drink it. I will not say that everyone can reach because “not everyone is in the grace”, as tells that hymn of Sebastião Mota.
Mestre learned and indoctrinated the whole world. So I say: everyone wishes to achieve, but not everyone is in the grace… It is necessary to settle with the amount that God gave to you. Those who have the spirit evolved from other incarnations are closer. Dedicate yourself to the Daime, because he is there. Call Mestre with love.
Spiritually speaking, Mestre is a sanctity that commands the whole world. He has all the power. And today, 21 years later, is the same thing. It is as if he were here among us. Not that I am seeing, but we feel by intuition.
“O Prensor” is about the war in Paraguay. Mestre had a vision and saw the war in between the two countries. He found himself in the midst of the battle.
“A Virgem Mãe é Soberana” is about the passing of my brother, João Ribeiro.
“Só Eu Cantei na Barra” is about the passing of Antônio Gomes. He was very sick, and the hymn states: “Death is very simple / this way I am going to tell you / I compare death / it is equal to being born.” When I listened to the hymn I realized that we couldn’t do much. The prescription, as Mestre said, is the earth.
“Choro Muito” is about the passing of Maria Damião. No one knew that she was sick. After three days of the receiving of this hymn news, came the news that she was dying. She suddenly fell ill and died at 32 years of age. The hymn talks about her passing.
In between “Sou Filho do Poder” and “Dou Viva a Deus Nas Alturas” there was an interval; a halt of some years. Mestre received the utmost hymns straight (New Hymns, or Cruzeirinho of Mestre), one after another.
“Pisei na Terra Fria” was received at the end of 1970, in December, after his birthday, on the 17th or the 18th.
He always called me as Mrs. Percília, since I was little. One day daddy asked him: “But why do you call a child of ‘Mrs’.?” He replied: “I call to get used to, because when she gets married I don’t know if her husband is going to like if I call her ‘Percília’.”
My greatest pleasure is to see this work stand firm, well, as Mestre wants. Not as he wanted, but as he wants, because I do not consider that Mestre is absent. Everything that we do in this work has to be with him. You have to ask permission to him because he is the owner, he is the commander in chief of the mission. So we have to render obedience to him. What I do not allow is each one doing their own way. It was one of the things that he asked. On June 30th of 1971, just days before his passing, there was a concentration held in his benefit. When it was finished, he said this:
“Today was that I received my chair as President. I arrived in the astral and there was a room with the table set and with a vacant chair at the head. My mother came and told me to take care of that chair.”
“From now on, you are the chief general of this mission, she said. Like it or not, in the skies, on earth and in the sea, the boss is you.”
Now, that after how many years of work? And he said:
“I’m giving this work to Leôncio. He is not the boss, he stays as a representative of this work. Now one thing I say, nobody wants to be the boss. Get united go to work.”
It was on this day that he learned that when we compose the table to open a work, is to leave his chair vacant, because upon calling him he would come to teach. “But that nobody wants to be the boss, and do not come up with any invention in this work”, he said.
Because of this I feel bad when I arrive to a service that is not right. I do not feel well at all. If I could send a note to all these Daime Centers I would say: we cannot change the ritual. We have to follow the teachings as they tell. The other day I went to a work here, near Rio Branco, and I didn’t like it. I went without my uniform, as a civilian, because I didn’t know how the organization was over there, like I was foreseeing it.
The rows in disarray, without a platoon to be responsible for the organization of it; men with the shirt untucked; hands in the pockets; others with the arms loose, rocking it back and forward; and what is worse, the extinction of the maraca. The maraca is what helps to set the pace of the dance steps. Everybody with the hinário books in hand, which I never saw before, and some playing the maraca upwards, without beating on the palm of the hand [1]. And the hinário book, at least if they were reading it and singing, but there were many who were only staring with their mouths shut. They are off the rhythm, isn’t it? And the pace of the singing, the music? Each time different, sometimes speeding, sometimes too slowly, and the pace should be constant, steady.
I asked the reason for people to don’t use the maraca and they told me: “Oh! Because they don’t have it.” But the maraca is a very easy thing to do, everybody can have it. “Oh! But they don’t learn.” Why they don’t learn? Now, the child goes to class and at the beginning they don’t know, then they start to learn, for a week, two, then they finish the first grade, the second grade and they go evolving themselves, following a career. Then, why they don’t learn? Because they don’t have an instructor, a person to instruct, to teach how it is. But you can’t allow everyone to come and do as they please. Then, if Mestre instructed for everybody to use maraca, it is to use the maraca, isn’t it? Not the book, he left no one using hinário books. Until his passing, there was no such thing as a hinário book during a hinário. No way, everyone learned correctly and at the time they knew, studied at home. But at the time of the work nobody would bring the hinário book.
As I don’t belong to their directory, I said nothing, but the responsibility rests on my shoulders, because Mestre said to me: “Wherever you go that isn’t right, you have to correct.” During the hinário works, each row has to have a person responsible for it. When sometimes a person gets sick for a moment, because of their guilt’s, whatever, there has to be a guardian to give aid, man for men, woman for women. The fardado is only entitled to leave the rows for three hymns at most.
The rehearsal is very important, because it is when the everyone is going to learn for when it come the official work they already know. Our work is likewise a barrack, everyone equal. The main attitude of a fardado is obedience, each one rendering their service with the utmost obedience. Each one has their position, their duty station; therefore, one must take it with great dedication and obedience. There are so much good things in this hinário, the “Cruzeiro”, and what is needed is to comprehend. Many people sing it but the comprehension is so adverse… And there’s no such thing as a mixture of lineage, no, of channeling. I never saw Mestre altering himself in anything.
The healing works are always held on Wednesdays, unless in emergency cases, and it’s just concentration. We do not sing hymns. In the work there must be three, five, seven or nine people. According to our ritual, the chair of the head of the table is empty, and within the concentration you should call Mestre to that place.
We cannot exalt ourselves anywhere, because we are spiritualists and I am no more than anyone else. Mestre himself would not say, “I am the curator.” When people came with complains, he would say, “Well, I’ll see what I can do for you. I am going to consult my mother – the Queen – and if she agrees you can get better, recover your health.”
In this work the only thing that can’t be cured is sentence, because the sentence already comes from God. There are diseases, types of suffering, which has no cure and one has to endure. But aside from that, everything can be cured within the obedience that we must all have towards God, our creator. Now, the greatest loss in this work is a person to get exalted. The Cross’ Work is for when a person is disturbed and we see that it is not the person, but another [spirit] who arrived there and it is disturbing. Then this work is held with at least three people, including the patient, always starting on Wednesday. It is necessary three works, continuing on Thursday and Friday, and if the case is too heavy, nine. And they are held either at six in the morning or at six o’clock, because the sun is our guide.
The first hinário was held on June 23rd of 1935, at the house of Damião Marques, husband of Maria Damião. All night we sang nine hymns: two of Germano, two of João Pereira and five of the Cruzeiro, because it was all that had. We sang every hymn three times, and then we would come back and start it all over again. At 11 pm there was an interval and we sang the hymn “Refeição” at a full table. Then we went back until the break of the down with only nine hymns. “White Moon” was received in Peru.
The healing work began in 1931, and they were concentrations held on Wednesdays. Mestre worked for the benefit of that person or for the ones in need, present or absent, with everybody in concentration. At that time there were the healing calls, and Mestre, in silence, would make those calls. So right there, within the concentration, he would receive how could be the cure of that person.
COMMENTS ON SOME HYMNS OF THE “CRUZEIRO”
Tuperci and Ripi
Some are caboclos and others are ourselves. Because each of us who comes in this house… It is like the hymn says: “Tuperci doesn’t know me / You don’t know how to appreciate me / You don’t know how to understand me / Oh! My flower color of Hyacinth [Jaci].” It has a plant there, which he rightly says that this little plant is related to this hymn.
*Jaci is a type of palm tree whose foliage, when dry, has a very yellowish coloration, almost golden, and it also means the Moon among Brazilian Indians.
Ripi is another, for example. It is an entity that also comes arriving. It says: “Ripi, Ripi, Ripi / Ripi, Ripi, Iaiá…” And they are different languages; they are different tongues. “If you didn’t mean it / Why did you come to deceive me.” For example, there comes a brother or a sister, participates [in the sessions] and then don’t seek to learn and stays even disturbing the others. Instead of going straight and paying attention to the teachings, he does not. Then Mestre says, “Why did you come to deceive me if you didn’t mean it?”
Formosa
If one day you sing This Mãe D’água (a mermaid, in the Amazonian folklore) three times in a row, doesn’t matter if you are in midsummer, you can make it rain. It’s happened to my brother-in-law. He lived in the colony and he tells that once there was a horrible drought. And then he said, “I am going to call Tarumim”. Then he sang the hymn three times. The result: a thunderstorm came bringing everything to the ground. It even unroofed some houses. Then he said that he’d never do that again.
Refeição (Meal)
Meal is a hymn that does not belong to the lineage. It is only a hymn of thanksgiving to God for what you get. Before the meal we say, “Is who gives our bread”. After the meal we say, “Is who gave us our bread”. Before is “who gives” and after is “Who gave”. Mestre recommended that everyone should sing this hymn at mealtime.
Papai Paxá (Daddy Paxá)
“Equior, Equior” means “I am”. To say “I am” or “Equior” means the same. It is an interpretation of language. “Equior, Equior, Equior who called me…” he means, “I am here because I was called”. Papai Paxá is an entity. There are many of them. There are caboclos, there are Indians and there are others from other lineages, but all good lineages, only to do good. Any of these that you call can perform a healing.
Dois de Novembro (November Second)
This hymn is about a person who came to Mestre. It was a person within the work who had just been separated from the physical matter. That person came and sang it for him. She was a lady, his second companion, Mrs. Francisca.
A Rainha Me Chamou (The Queen Called Me)
They once asked to Mestre, “Mestre, what is the greatest obligation to those taking Daime?” Then Mestre said, “My son, the greatest duty in this mission is to pray!” This is an instruction to us all! The more we pray the better; to don’t waste time. If I am doing nothing, I am praying not to think of something for nothing. This is what says the hymn. It tells us to pray for all our brothers and sisters, for humanity and for the innocent.
Mãe Celestial (Celestial Mother)
This hymn at the Mass you sing the last verse with a modification – “To give you Salvation and to put you in a good place.”
Unaqui
This hymn he received on Ash Wednesday, from Wednesday to Thursday. It refers to the passing of Jesus Christ, and at the end it says, “I only get ungratefulness.” Because he is taking the same action that Jesus Christ took here, teaching everybody but who don’t want to obey. I never asked him why the name “Unaqui”.
Meu Divino Pai (My Divine Father)
“The orange is a fruit / Which was rounded by Thine hands / Thou give it to me with certainty / And I let it fall down?” The orange is the globe [the planet earth]. It is the globe. Thou give it to me with certainly and I let it fall to the ground? I must not fail, right? That’s it. There is a question mark, which is: and I let it fall to the ground? I must not.
BG
BG is him, it is him indeed. You can sing and notice that it is him.
Cantar Praia
Cantar Praia… Look, here there is an interpretation. Singing to go, but not the beach as we know it, from the earth, no! It’s like saying “to sing to go”. Cantar Praia, to sing to go! It is to confuse, to see if the person goes after it. To sing in order to go.
Amigo Velho
The “Amigo Velho” [old friend] is Saint Joseph. He refers to Saint Joseph; you can notice it. He explains it further on in the hymn.
Maresia (Sea Breeze)
The sea breeze is because … Look, this work has a lot to do with the sea. From the sea comes a lot of strength, and the divine force comes from the sea as well. From the sky, the earth and the sea.
Centro Livre (Free Center)
Our center is indeed free, open for those who wants to enter, for those who wants to follow. There was even a time when our center was named “Free Center”, until it was later changed. But the name was indeed Free Center. Currupiraquá is another Caboclo, and not Currupiraguá, with “g”. It is Currupiraquá with “q”. He is an Indian caboclo, and a very refined caboclo.
O Prensor
“The prensor [clamp] that comes to you / The homeland is going to embrace it / Go to war, you are going to lose / The life that God gives you.” The clamp is a force, a force that dominates. Then is when comes that earthly command and one has to fight, either wanting or not. This is what tells the prensor.
He received this hymn during a concentration in Vila Ivonete, more or less at the beginning of the 40s. When he received this hymn, the concentration was in its strongest moment. He got up, designated a brother for the presidency of the work and left. He called his wife, Mrs. Raimunda, and asked her to call me. Then he sang the whole hymn. At the end of the concentration he sang for everyone to hear, for everyone to learn soon.
Look, at this time there was an armed conflict between Bolivia and Paraguay. But at this time it was a frightful situation and we only heard of the news. From the next day forward, of which this hymn came out, everything calmed down, everything got back to zero. He said that in his work he spiritually went there, in the middle of the battle. He said that the crossing bullets, raining from everywhere, would hit him and fall flat. He was there spiritually when the hymn came to control. The force to dominate the rebelliousness that was too much.
This battle was between Bolivia and Paraguay, and not between Brazil and Paraguay, which happened in the nineteen century. What is certain my son is that this is one of the representations that we have to show, and of the several hymns that we have out there, each one brings a reference.
Sete Estrelas (Seven Stars)
So, who did he see in the Seven Stars? He saw Jesus, son of Mary. The enlightened face that he saw was the face of Jesus Christ.
Eu Peço a Jesus Cristo (I ask to Jesus Christ)
The King Titango, the King Agarrube and the King Tintuma are the Three Kings of the Orient.
Silencioso
Mestre was really quiet, he spoke very smoothly. He was not a man to speak loud. He gave his explanations to everybody and he attended everyone very well. He teaches like a father, as a parent can educate a child. And he would even say more. He was tall, with 1.97 m, and yet he would say, “Look, I’m taller than everyone, but in the meantime I become very tiny, alike the smallest child present.”
Só Eu Cantei na Barra (I Sang Alone in the Bar)
This hymn also mentions the passing of Antônio Gomes. With three days after this hymn came out, he made his passing.
As Estrelas (The Stars)
The caboclos already arrived. Mestre did the healing works and he would call his caboclos. So many cures that he performed… So beautiful calls! The calls were beautiful, but he did not teach those calls to everyone, because not everybody knows how to use it. He said that he did not teach because not everyone knows how to use it, and after knowing the call they would want to do things out of the ordinary, this being the reason for him to don’t teach it.
Professor, Campineiro and Divino Pai Eterno
Well, in these hymns he is already warning that he’s going away. These hymns came at a time when he was very upset with a family that he had with his other woman, Mrs. Raimunda [Mestre’s second wife]. His mother-in-law drank sugar cane rum and was a perturbation. God bless her, who is already there in eternity, but the old woman would never surrender. She insisted so much, until when she took her daughter from his hands. She decided to leave and took her daughter along. They went to São Paulo.
In the third stanza of the hymn “Campineiro” we sing like this, “I find myself weak and tired / of fighting with rebelliousness / do please who does not have / Hope of a day.” There aren’t the words “in the”. It is not “In the hope of a day,” but “Hope of a day.” It changes the meaning of the hymn.
Eu Vim da Minha Armada (I Came From My Armada)
Wasn’t he sent? He was sent. Armada, as it says, it’s like I said before. We belong to a battalion, an army barracks; the headquarters of the Ever Virgin Mary and of our lord Jesus Christ. This is what the Armada is.
Choro Muito
This hymn recalls the passing of Maria Damião.
Sou Humilde
Mestre was very humble himself. He had no deal with vanity, no, he was all for peace and humility. He was humble, and that one was slow… In everything and for everything. Everything with him was with calmness, with caution.
Perguntei a Todo Mundo
They weren’t accompanying and he was struggling with everybody, as still happens today. Many people are said to be daimistas, but does not follow the path that Mestre left. Instead of following the doctrine they follow other extensions.
Centenário (Centennial)
It is called A Centennial because it is the hymn number one hundred. The thing is, there are those that were taken out (three hymns), that are not on the list, but courting with them you have one hundred sharp. The “traí” is the sound of a bugle, not an entity.
Linha do Tucum
A call that belongs to the lineage of the hinário is the Tucum. The Tucum is also a call. For example: the person is having a poor life, poorly assisted and is not feeling well. It can be done a work with him. Tucum is the name of a caboclo. It is an entity of great strength, great power.
You pray three Our Father to where it says, “But deliver me and defend me, Lord, from all evil,” and there you ask permission to Mestre Juramidã to call Mr. Tucum. You call three times, repeat three times in a row and closes with the Hail Holy Queen. After the Hail Holy Queen you make your offerings. You offer to Mestre and the Ever Virgin Mary those prayers that were prayed at the time, also to Mr. Tucum, for him to help. If not you, is so-and-so to ask, also asking on behalf of these people who are in need to give us comfort, protect us and deliver us from all evil so that we can follow straight, free of all disturbances. Then you also offer to a holy guardian angel of preference — the holy angel who guards you — and to the holy guardian angel of the person who is disturbed. Offers the five wounds of the Sacred Death and Passion of our Lord Jesus Christ and of Our Lady of Exile to be banished all evils, all pursuits, perversities and disorders of all kinds to the area of the endless sea, where no Christian lives. You make this request, this offer three times in a row — Wednesday, Thursday and Friday at sunset. Then I want to see.
You know, often the person is disturbed and upset, suffering this and that. The disease is not material, is spiritual. They are spiritual entities, wrong doings that disturb the creatures. During the hinário you should not repeat this hymn. It is sung only once.
Pisei na Terra Fria (I Stepped On The Cold Earth)
In late 1970, after his birthday, by the 17th or the 18th, he received the hymn “I Stepped on the Cold Earth”. This hymn was recently received when one day I was there, and I’d even cut his hair because I was the one who cut his hair. I was his barber. And there was a person inside his home, at a certain room, calmly singing, “…I stepped on the Cold Earth…” Then Mestre said, “Hey Marta, this hymn is not for entertainment. This is a hymn of condolence, for those who have heart.” He also said that eventually he wanted to place it only at the Mass and also to be sung on King’s Day, at the deliverance of the works, but not to be danced. When you sing it, everyone gets in line without playing maraca and without the bailado. After that we sing the hymn “Offering” (Oferecimento), which you can dance, and then we close.
Missa (Mass)
On the hymns of the Mass, he made that choice. Mestre himself was who made the choice of the hymns that are permanent in the Mass. The one with the candles around the table is from João Pereira. “Farewell” belongs to brother Joaquim, who was called Joaquim Português and now I can’t recall his name. He was indeed Portuguese. He had a very short hinário, of which Mestre chose this hymn for the Mass, this “Farewell”. Joaquim Portugês died in Rio de Janeiro. Senhor Amado belongs to Germano. It is from Germano’s hinário, but just for the Mass.
Diversões (Entertainments)
In the hymn we sing “pá pilar”. He sang “pá pilar”. He received in Vila Ivonete. I don’t know what “pá pilar” means. I never asked him, but someone once asked him. Then he just did sing it. He did not say anything, he just sang. It is to sing it three times.
Cacheado
Cacheado is an entity that presented itself to him, and in his hymns the caboclos and Indians of the forest have much influence. Mestre was working within the miração when two entities showed up to him. They were talking to each other. Then one said to the other, “Cacheado, come over here!” And the other replied, smiling, “Carracacarracacá”. Then, when the first wanted to call again, the other now replied laughing, “Carracacarracacá”. In this point he doubled the smile, which is just “Carracacarracacá!” It’s a smile in double [a laugh]. And Mestre was seeing all this when the music came.
Cantar me Apareceu
He said that the entity appeared to him, talked with him and went away. He did not ask who it was. The entity did not say the name because he did not ask. Then he said that they turned to see each other again, and again he didn’t ask who it was.
Devo Acochar o Nó (I Should Tighten the Not)
This is an Entertainment, and at the same time serves both… for example: a couple isn’t getting along very well, is uneven. Sing this hymn three times. But my God! It is a blessing! The hymn asks for union. I should tighten the knot that wants to get loose. This instruction of singing it three times, it was he who gave. It is to calm down the couple, to calm down the disharmonies.