Salvador, Brazil, wrapped up its Carnival festivities on Wednesday, February 18, with the Arrastão, a lively parade featuring electric trios along the Barra-Ondina circuit. This particular parade was conceptualized in the 1990s by renowned Brazilian musician Carlinhos Brown, aimed at providing a celebratory day for those who work during the Carnival period. While it draws huge crowds each year, the timing of the event on Ash Wednesday has sparked contention, historically facing opposition from the Catholic Church, which views this day as one marking the beginning of Lent—a time traditionally reserved for reflection and restraint.

Historically, the Arrastão faced significant critique from religious leaders, particularly in its earlier years. In 1996, the then archbishop of Brazil, Cardinal Lucas Moreira Neves, attempted to halt the event given its placement during a time of spiritual reflection, but his efforts proved unsuccessful. This illustrates the continued cultural tension between celebratory expressions and religious practices that mark the Lenten season. The Arrastão has since become an integral part of the local Carnival culture, adapting to criticism while also embracing its festive purpose.

The most recent iteration of the Arrastão began with a traditional Candomblé ritual known as padê, which seeks permission from Exu, the street orixá, to commence the celebrations. Carlinhos Brown himself led the procession on foot, performing the song 'Ashansu' in front of a jubilant crowd. The participation of Brown and others in the parade signifies the blending of cultural traditions that characterize Salvador’s Carnaval, highlighting its importance as a space for both celebration and cultural expression despite ongoing debates about its appropriateness on a religious observance day.