In his wanderings researching Brazilian popular culture, Djalma Corrêa was also in the north of the country. In 1974, he recorded the Batuque de Curiaú, a manifestation of black culture in the state of Amapá. Curiaú is a quilombola community located near the capital Macapá (according to some studious the correct spelling is Cria-ú). The batuque is part of a rich cultural community that includes the Marabaixo, folias and litanies in Latin. The community has an extensive cycle of religious festivities, with the highlight being the Feast of Glorious St. Joachim, patron of Curiaú. It is estimated that this party has existed for more than 250 years.

Djalma made records of Batuque, Marabaixo and Ladainha de São Joaquim. The Batuque is executed with two cylindrical hollow-stick barrels, covered with animal hide and three or more tambourines (very large tambourines). The heat of the fire pit tunes all instruments. The players sit on top of the drum that rests on a wood. The songs of the batuque, called bandaias, are "chanted in the form of question and answer by handle and choir, respectively". (Pinto, 2000, apud Videira, 2010). "These rhymes are taken unexpectedly with the facts that occurred within the community." (Videira 2010). Traditionally, only men do the musical part of the batuque, but the dance is free and lively. Everyone dances, men, women, youth or children, in a large circle, counterclockwise. "The players stay in the center of the wheel, while the dancers make rapid evolutions about themselves and around the batuqueiros" (Gomes, 2012). During the parties, the play of the batuque extends all night. Only with small pauses for tuning the instruments.

The researcher Francisco Marlon da Silva Gomes, in his work on the memories of marabaixo and batuque, affirms that "batuque is joy, it is the moment where participants celebrate freedom, a good harvest, making it a moment of leisure, free time, a rest Playful and enjoyable. "