The present article 1 analyses the career trajectories and songs from the repertoires of three popular musicians of the first half of the twentieth century. These are Patrício Teixeira (1893-1972), a radio singer; Getúlio Marinho (1889-1964), considered to be the first person to record macumba rhythms on a commercial album; and Tancredo da Silva Pinto (1904-1979), whose song General da Banda (General of the Band) is symbolically linked to Ogum. Each of these singers and songwriters, in his own way, sought to divulge elements of African-Brazilian rituals and religious practices in his music. Their artistic performances allow us to conclude that religion inspired some of their musical production, marking out the presence of the sacred in their professional activities and contributing to the social circulation of African-Brazilian symbologies.

The present work analyzes the interface between Quimbanda and the digital environment in the daily life of a Quimbandeiro. Quimbanda is an Afro-Brazilian faith that has grown in the virtual universe through consultations and other uses of digital media. In addition to analyzing the Facebook, WhatsApp, and Instagram pages of these religious groups, we interviewed and followed the daily life of a teacher and also conducted bibliographic research on the subject. In their daily practices, Quimbandeiros use the internet as a space for interaction, quotidian practices of care, and the manufacture of spells. We analyze how digital interaction presents this religious belief in the virtual public sphere and the interconnections between religious and technological narratives. Quimbanda, a somewhat stigmatized religion, expands its boundaries in virtual mode. In the case analyzed in this article, Quimbandeiro work is directly linked to the movements of Exu, the entity who controls the crossroads. Through the mediation of the production of religious images, Exu expands his spiritual and technological presence offline, flooding online communities with meaning.