Amongst all the existing ‘folguedos' in Santo Amaro, city marked for hte green of the cone fiels, the Maculelê was richest in colors. With the vibrant rhythm infected to all. Of impressive plastic effect, the Maculelê can be done with batons, machetes or with baton even finishing in flames. The participants presents with showy fancies and paintings for the body, inhaled in the african tribes. The fancy of the Maculelê counts of a species of ‘saronge' made with a type of “straw”. To the center, participants present with the faces covered for the some material. With the naked trunks, the extra of the Maculelê gain grater estent of movements of the practical one of the dance. It has who says that the Maculelê was na amusement that the slaves practised in senzalas, but in the truth, contratictory and its origins are little clarified. It´s had as on act popular of african origin that would have blossomed in century XVIII in the cone fields Santo Amaro and that it is combined, has two hundred years more than, in the commemorations of that one city. One of more significant registers consists of funeral note.published by periodical ‘The Popular One' (10 /Dec/1873), that it circulated in Santo Amaro. “Died in the first day of December the African Raimunda Quit éria, with the age 110 years. Despite the age, she still worked and she land in return of the Church of the Purification, for hte parties of Maculelê.”

In the beginning of this century, wich the death of the great masters of Maculelê of that city, ‘folguedo' started to disappear, leaving to consist. Per many years of the parties of patron saint. In 1943, another master, Paolino Aluisio de Andrade, known as Popó of Maculelê and considered as ‘father of the Maculelê, in Brazil', congregated relatives and friends ti teach them to dance it, on the basic of souvenirs, interding to include it again in local religious parties. Its group passed to be known as ‘Joint of Maculelê of Santo Amaro'.

The respect, the researcher Hildegardes Vianna calls to the attention for a remote reference how much the existence of ‘one dances quaint of black people of plantotion that it appeared in parties on N. S. da Purificação'. However, it is through the studies of Manoel Querino (1851-1923) that indications meet to be the Maculelê about one break up of Cucumbi, one dramatical dance which the blacks beat round pieces wooden, followed for songs. In its ‘Dictionary of Brazilian Folklore', Luis da Câmara Cascudo points the similarity of the Maculelê with Congos and Moçambiques. Emília Biancardi it wrote a book of heading ‘Olelê Maculelê'considered as one of the studies more complete on the subject.

The examples above ated already serve to demostrate the uncertainty degree that persists with relation to the possible interpretation on the Maculelê. Exartly considering that already the primitive practitioners of this dance do not live, must for certain to still exist valuable unknown documents with enlightening date, to subsidize elaboration of more consistent hypothesis the respect of this manifestation, so little studied in the days of today.