It began to be occupied in the 16th century by inhabitants who descended from Morro do Castelo to form the initial nucleus of the city. The colonizers occupied the coastal areas for various strategic, economic, and political reasons. The expansion into the flatter area between the hills (Castelo, Santo Antônio, Conceição, and São Bento) started from Rua Direita (today known as Primeiro de Março), following the line along the maritime coast.
Work of the Black artist Valentim da Fonseca e Silva, known as Mestre Valentim, constructed in 1789. It was installed at the edge of the pier with the purpose of supplying the population with water from the Carioca River. At its top, there is an armillary sphere, an astronomical instrument used in navigation. It also provided water to ships, facilitating the operation of vessels at the port and contributing to the development of trade.
It is a maritime terminal inaugurated in 1906, from which ferries depart and return, connecting the city of Rio de Janeiro to Niterói, Paquetá Island, and Governador Island through Guanabara Bay. Guanabara, meaning "bosom of the sea" in Tupi, was the “breast” from which the seawater flowed, extended, and generated many lives: human, fauna, and flora. There were many islands and islets that existed before submersions and landfills. In the mythology of the Tupinambá paradise, gûaîupîa or guajupiá was the idyllic place.
Built in the Baroque style in 1750 by the Brotherhood of Merchants, it symbolizes the union between Catholic faith and the interests of the mercantile elites in colonial Rio de Janeiro. Like other buildings of the period, it was constructed with enslaved labor. Black people also sought to associate themselves in Brotherhoods to support their members. For these people, the sea had complex meanings: a symbol of pain and separation, but also an element of connection with the sacred and their native lands.
Before becoming the Navy Cultural Space, the area was occupied by the Customs Docks. These docks were used for the docking and maintenance of vessels, as well as for customs activities related to maritime trade. Over time, the docks were decommissioned, and in 1996, the space was transformed into a cultural center dedicated to maritime history and navigation. Episodes of the struggle for rights and freedom also intersect with the history of the Navy, such as the Revolt of the Lash (1910).
Conde Boardwalk, also known as the Olympic Boulevard, is located in the area previously occupied by the Perimetral Overpass. When it was opened, it provided access to a part of the area that had been restricted to military personnel of the 1st Naval District for over 200 years. It is part of the Porto Maravilha project, which aimed to revitalize the port area through a series of transformations to attract investments and make it a hub of entertainment and tourism.
Before its construction, there was a small beach in this area. Therefore, in the 19th century, it was known as Prainha, which was filled in at the beginning of the 20th century to build the square with the purpose of housing a new pier. The expansion into the Prainha area was spurred by the construction of the Valongo Wharf (1811), the largest receiver of enslaved people in the world, through which about 1 million Africans passed. It remained hidden until it was rediscovered in 2011 during the Porto Maravilha works. This project also enabled the founding of cultural institutions, such as the Museum of Art of Rio and the Museum of Tomorrow.
The fauna and flora that existed in Guanabara Bay, previously preserved by Indigenous peoples, were devastated from the time of colonization. One example of this was the hunting of the many whales that were there to obtain oil, which was primarily used as a source of fuel for lamps. It was also used in construction materials as a binder between stones. This hunting scene can be seen in one of the paintings by the Black artist Leandro Joaquim, preserved in the National Historical Museum.
In 2022, the Rio de Janeiro City Hall re-inaugurated the statue of João Cândido, the Black Admiral and leader of the Revolt of the Lash. The statue was revitalized and repositioned to gain more visibility: it moved from Praça XV, where it was located behind the VLT station, to a space 300 meters ahead, in Praça Marechal Âncora, facing the sea.
The construction of Avenida Brasil led to the filling in of mangroves, rivers, and beaches in the suburban areas of Rio de Janeiro. In the Penha region, for example, there was Maria Angú Beach, which had a port that exported agricultural production from the West Zone to the central area. From one section of this beach emerged Ramos Beach. These beaches had kiosks, bathhouses, and it was also common to have the tradition of "fantasy sea bathing" during Carnival.
Since 2002, on December 29th, the Iemanjá Festival has taken place at Madureira Market, which has been designated as Carioca Cultural Heritage. Devotees gather for a procession to Copacabana Beach, where they send small boats with offerings out to sea. Practitioners of Umbanda were pioneers in adopting the tradition of gathering on New Year's Eve at the beach for this ritual. The Copacabana New Year's Eve celebration started with influences from Afro-Brazilian religious practices but has since distanced itself from its roots, evolving into a more commercial and tourist-oriented event.
Inspired by the content of the exhibition "O Rio dos Navegantes," the first podcast from the Museum of Art of Rio, "Águas de Kalunga," presents new stories written by ten invited artists, celebrating the journey of Black characters and the arrival of immigrants to Brazil. The podcast is narrated by poet, journalist, singer, and actress Elisa Lucinda.
The Navy Cultural Space offers a Maritime Tour of Guanabara Bay with guided commentary on the city's tourist and historical landmarks, departing from Orla Conde. The ticket also includes admission to the Cultural Space. For more information, visit [https://www.marinha.mil.br/dphdm/passeio-maritimo-informacoes](https://www.marinha.mil.br/dphdm/passeio-maritimo-informacoes).
A book that revisits the forgotten history of Guanabara Bay, reconstructing the history of our coastline. Challenging hegemonic urban conceptions, it takes us on a journey through a bay that marked territories occupied by Tupinambá people, enslaved Africans fighting for freedom, fishermen, bohemian poets, revelers in fantasy sea bathing, among other characters.
