Buttman Carnaval Rio Xx -

For Joaquim “Zé” Alves, now officially named by the city’s mayor during a televised ceremony, the journey is both humbling and exhilarating. “I never imagined that a beach‑ball trick would become a symbol of unity,” he said, his voice echoing over the roar of the crowd. “If my rear can bring people together, then maybe we’re all just dancing to the same beat inside.”

The committee, after much deliberation and a few nights of samba-fueled brainstorming, decided to embrace the phenomenon. The result: , a week‑long series of events that fused the traditional pageantry of Rio’s carnival with the playful spirit that the Butt‑Man legend embodied. Buttman Carnaval Rio XX

By Marina de Oliveira – Cultural Correspondent, Rio de Janeiro Prologue: A Tale That Began on a Beach Every great carnival has a legend that starts somewhere between myth and mischief, and the story of Buttman is no different. It began, as many Rio tales do, on a sweltering summer evening on the sands of Copacabana. A group of samba enthusiasts, exhausted after an all‑night rehearsal, decided to cool off with a splash in the ocean. One of them, a lanky drifter named Joaquim “Zé” Alves, was famous for his uncanny ability to keep the rhythm with his pandeiro while balancing on a beach ball. For Joaquim “Zé” Alves, now officially named by

| Segment | Music Style | Notable Artists | Signature Piece | |---------|------------|----------------|-----------------| | | Traditional samba de roda with pandeiro and cuíca | Maria do Samba , Grupo Malandrinho | “Balanço da Bunda” | | Mid‑Parade Groove | Afro‑Brazilian percussion fused with electronic bass | Banda de Tambores da Lapa , DJ Carioca | “Bum‑Beat” (Remix) | | Grand Finale | Orchestral samba-enredo with brass, strings, and choir | Mocidade Independente de Padre Miguel | “Trono da Bunda – O Hino” | The result: , a week‑long series of events

These inflatables weren’t meant to be provocative; rather, they acted as kinetic visualizers, translating the surdo ’s deep thuds into a physical wave that the audience could see as it traveled down the Sambadrome. In the weeks leading up to the main parade, Rio’s neighborhoods were invited to submit Samba‑Sculpture entries—art installations that interpreted the Butt‑Man legend using any medium except explicit nudity. From recycled metal “booty” structures to mosaic tiles that formed a stylized rear silhouette, the competition turned the city’s streets into an open‑air gallery. The winning piece, a towering 10‑meter sculpture built from discarded surfboards, was installed at the entrance to the Sambadrome, greeting spectators with a gleaming, wave‑like curve that caught the sunrise each morning. Chapter 3: The Musical Landscape – From Classic Samba to “Bum‑Beat” The soundtrack of Buttman Carnaval Rio XX was a curated blend of the old and the new, designed to honor tradition while injecting fresh energy.