"O que é que a Bahiana tem" (original title) is a song composed by Dorival Caymmi, performed by Carmen Miranda in the film "Banana da Terra", which was released in 1939.
Banana da Terra was a film produced by Sonofilms, being directed by Wallace Downey, with the plot architected by João de Barro and Mario Lago. It was premiered on February 10th, in extraordinary exception, by Metro Goldwyn Mayer do Brasil at Cine Metro. The film was shown in the main Brazilian capitals by MGM.
Banana da Terra is considered a lost film, and this excerpt from Carmen is the only existing record. This is Carmen's first film appearance in a stylized Bahian costume, idealized and designed by herself. The Americans hadn't "discovered" it yet.
In addition to "O que é que a bahiana tem", Carmen Miranda still had 2 more musical numbers in the film, namely: "Pirolito", together with the Almirante - and both with their skin painted black - and the mysterious song "Sem banana macaco se arranja", where she sang at Cassino da Urca, alongside several dancers from the casino.
The story of the song "O que é que a bahiana tem?"
At first, the songs that would be sung by Carmen Miranda at Banana da Terra would be "Na Baixa do Sapateiro" and "Boneca de pixe", both composed by Ary Barroso. However, the famous composer found the value offered by Wallace Downey too low, and refused to use his music in the film.
The songs that replaced Ary Barroso's in the film were the march "Pirolito" and the samba "O que é que a bahiana tem", composed by Dorival Caymmi.
Newcomer Caymmi, recently arrived in the Capital (which at the time was Rio de Janeiro), accepted without hesitation a more modest fee for the assignment of copyrights, which ended up definitely opening the doors to national and international success.
The song allowed Carmen Miranda to idealize body gestures, in addition to making her stylize the Bahian carnival costume, which already existed, but was the target of prejudice and considered a "poor" fantasy.
The lyrics of “O Que é Que a Baiana Tem” are an objective description of the dress of a traditional Bahian woman. The composer seems, through his music, to want to explain to a lay listener how Bahian women dress on special occasions. The composition also acquires a conversational tone, with questions and answers from beginning to end, the song gains an interesting informality.
What is "bahiana"?
Baiana is a woman who was born in the Brazilian state of Bahia. Dorival Caymmi describes her in the song's lyrics as a black and mythical female figure, endowed with a nobility that is Bahia itself.
What do your clothes represent?
The clothing described in the lyrics is, according to the author, from baianas, black women from partido alto, authentic from Bahia.
Torso de seda (Silk torso): turban. A basket of fruit is added to the Bahian carnival costume.
Brinco, corrente e pulseira de ouro (Earrings, chains and bracelets in gold): baubles and jewelry made with noble metals.
Pano da Costa: worn over the shoulders, the cloth from the coast would have, according to researcher Raul Lody, as its main function, to distinguish the female position in Afro-Brazilian communities. From the religious point of view, we observe a sense of respect, humility, before the Orisha and also a magical meaning - protection - to its bearers. The name may have derived from its origin on the coast of West Africa.
Bata rendada (Lace robe): in the Bahian carnival costume, it is "cropped". A blouse shorter than normal, leaving the belly on display.
Saia engomada (Starched skirt): skirt with starch spread on the fabric and smoothed with an iron. The gum gives a luxurious look to the garment. In the stylized Bahian carnival costume is a high-waisted skirt, above the navel.
Sandália enfeitada (decorated sandals): possibly a reference to platform heels, created by Carmen Miranda, which became mandatory in stylized Bahian carnival costumes.
Balangandãs: a bunch of amulets made, usually with noble metals (gold, silver). The amulets that appeared in the bunches were several, with intentions of happiness, prosperity, and even sympathies to heal injuries (ex: to cure a hurt finger, a finger amulet was made, to cure a headache, a head amulet was made ), between others.
The “Bahian” songs had an indisputable tourist accent, only someone from the outside would see Bahia through those eyes. Behind this theme, the rhythm was always samba, cadenced by jongo or accelerated by choro.
It was this formula that gained momentum during the 1930s, became almost a subgenre and influenced countless composers.
(Excerpt taken from "Carmen, Uma Biografia", written by Ruy Castro)
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