Djalma Corrêa also carried out his researches and audiovisual recordings in the state of Pará. There he traveled to the regions of Marajó and Salgado Island. In Soure, on Marajó Island, he recorded the Carimbó group "Invencíveis da Ilha" by Mestre Abelardo Ramires and Lundu's group by Mestre Biri. In the region of Salgado, he recorded the traditional groups of carimbó: Tia Pê and Tapaioras in the countie of Vigia and in São Caetano de Odevelas made records of Lundu, Carimbó and Chula. Carimbó is now a Brazilian intangible heritage, it was awarded the title by the National Historical and Artistic Heritage Institute (IPHAN) in 2014, the result of an intense mobilization of the Carimbó groups that began in 2008.

The Carimbó is a cultural manifestation of Paraense, a dance of roda, a ritual practice whose etymological origin comes from the name of the curimbó drum. The curimbó, of Afro-Brazilian origin, is a drum of excavated trunk covered with animal leather. The player sits on the drum to play and the tuning is done on the fire. In general there are three drums, and many players are also their artisans. According to Gabbay, a studious of the Marajoara region, the carimbó is "a type of percussive song based on an excavated drum, with a predominance of two-by-four rhythm and a poetic structure of soloist-chorus, with themes ranging from land issues, Of daily life, of work ". In the Salgado region the themes vary between the social and cultural universe of fishing and agricultural life. The Carimbó usually takes place in religious celebrations, as in the celebrations of Saint Benedict, and in communitarian occasions festive. There are also festivals of carimbó or popular culture and nowadays many groups are hired for presentations.

Beyond the drum other percussive instrument present in the carimbó is the maracá or sheik-sheik. An instrument of indigenous origin, present in various ritual practices. As Gabbay concludes, "here is the DNA of the carimbó, the syncopated dialogue between treble and bass, between drum and maraca, between black and Indian." But you can not deny its Iberian influence, dance, poetry and other elements.

Over time, by the influence of radios and other factors - such as the teaching of music in the region, to form bands - were incorporated into the carimbós harmonic instruments and blow. In the records made by Djalma vary the formations of the groups, but we see the presence of clarinets, flutes, banjos, guitars and violas.

The dance is also a striking point of the carimbó. It is a dance of roda, where they participate men and women with round skirts. Many dances imitate animals. According to Vicente Salles, a folklorist from Pará, "there is a variety of this type of dance in the carimbó, such as the Chameleon, the Jacaré, the Gambá, the Catre, the Macaco, etc." (Picanço Apdo, Cordovil, Guilhon)

Lundu or lundum and Chula are musical genres that spread throughout Brazil in the colonial period and were incorporated into the musical culture of Pará. Lundu is a sensual dance, which implies a sexual act, was forbidden in many moments, but remained alive in Remote and isolated places as was the case of Marajó Island in the late nineteenth and early twentieth centuries. In Soure, Djalma recorded Lundu by Mestre Biri, an important musician in the region. In the Lunduns of Pará is remarkable the presence of the fiddle. Other instruments are banjo, clarinet, guitar, cavaquinho. According to the work already quoted from Gabbay, the lundum marajoara was played only at dawn, when the "terreiro was already submerged in the trance aroused by the festive aura of the batuques, ballet, conversations and drinks, was when the group released the first lunduns."