History of Samba
The history of Samba for long has been updated and changed. Created in one country and brought to many different cultures. Yet in every culture the meaning of the rhythm and movement signifies the same situations and occasions. The same gods and the same symbols all lead up to samba. Even though parts of the gods are used in samba they still mean the same thing. Some people claim that samba was descended from Batuque, (circle dance created by the slaves of Brazil’s colonial plantations).The name Batuque was given by the Portuguese. The slaves performed Calundus or Lundus in the 18th century. A lot of the dances had many religious views. Many of these batuques had a common feature and that is the “bump the belly,” This movement was taken from the Congo and Angola. The carnival celebrations in Brazil are connected to samba. Those celebrations are usually just samba, but not all the time. The city of Rio de Janeiro is one of the more popular cities that hold carnivals as huge as the samba carnivals. The roots of this amazing carnival have been traced all the way back to ancient Egypt, Greece, and Rome. The early carnivals in Brazil were from Entrudo, (a tradition which originated in the Azores and became popular in Portugal during the fifteenth and sixteenth centuries). Entudo was based of pranks, an example is throwing a stink bomb, and obviously it was banned in 1853 in Brazil. The whole celebration disappeared in the early 1900’s.
http://www.weirdomatic.com/
The history of Samba for long has been updated and changed. Created in one country and brought to many different cultures. Yet in every culture the meaning of the rhythm and movement signifies the same situations and occasions. The same gods and the same symbols all lead up to samba. Even though parts of the gods are used in samba they still mean the same thing. Some people claim that samba was descended from Batuque, (circle dance created by the slaves of Brazil’s colonial plantations).The name Batuque was given by the Portuguese. The slaves performed Calundus or Lundus in the 18th century. A lot of the dances had many religious views. Many of these batuques had a common feature and that is the “bump the belly,” This movement was taken from the Congo and Angola. The carnival celebrations in Brazil are connected to samba. Those celebrations are usually just samba, but not all the time. The city of Rio de Janeiro is one of the more popular cities that hold carnivals as huge as the samba carnivals. The roots of this amazing carnival have been traced all the way back to ancient Egypt, Greece, and Rome. The early carnivals in Brazil were from Entrudo, (a tradition which originated in the Azores and became popular in Portugal during the fifteenth and sixteenth centuries). Entudo was based of pranks, an example is throwing a stink bomb, and obviously it was banned in 1853 in Brazil. The whole celebration disappeared in the early 1900’s.
http://www.weirdomatic.com/
www.sambacity.info
The early years of the twentieth century brought along three huge carnivals in Rio de Janeiro. One of them was the poor in the central Praca Onze district of the city. The second carnival consists that of the middle class in the Avenida Central, which is now known as the Avenida Rio Branco. The last one, but most definitely one of the best is the wealthy, white elite with their lavish costume balls and processions. Even during these carnivals there still wasn’t carnival music. In other words it was all being progressed and the music was yet to be there. The samba along with the Marcha Carnavalesca was made only to create a carnival atmosphere. Afro-Brazilian religious cult from Candomble has many things in common with the samba. Both rhythms were self-expression at the beginning of the twentieth century. The Morro was created by blacks who had to flee because they were being forced by the police. Through this struggle, the morrow was linked to samba and its inventors. The early samba described the poor, which happened to be largely the black community, where all their property would be taken from them.
During the 1920’s, samba was mainly compose of ex-slaves who wrote and performed samba. On one side there were sambas that were called Sambistas of the central area of the city. In this city Pelo Telefone was created, these were passed by authorities and were given a label called cultura afro-brasilera. The other side was the samba of the musicians of the morro, they were persecuted by the police and were considered to be part of the marginal underworld.
http://images.blockbuster.com/is/amg/dvd/cov150/drt000/t096/t09622ko1y0.jpg
`In the end of the 1940’s, ninety-five percent of Rio’s population was black or mulatto. The morro allowed Afro- Brazilian traditions to be saved and it had its own social ways and its means for economic survival. The Brazilian samba and Argentinian tango had a lot of similarities during their evolution from the 1920’s to the 1940’s. Both caught the audience really quickly while keeping their each and separate elements. They were the dominant elite culture and the most popular at time.
Samba had two major themes during the 1920’s, 1930’s, and 1940’s, they were women and love affairs, and the figure of the malandrano, who happens to be a black spiv and hustler with a love of women, but horror of work. A malandrano in the 1920’s became the samba poetic lyrics, he entered the samba lyrics.
Samba’s musical ancestors continues to give make us wonder because it leads us more and more to theory and counter-theory. A lot of people say that Lundu, which was first performed in Brazil with African slaves during the 18th century, was the original and true samba’s creator. During the second decade of the twentieth century the musical differences between samba, marxixe and marcha were not yet totally combined and there were some ideas that Pelo Telefone,(first samba), fell within the generic boundaries of the maxixe. Even now days, a lot of musicians refer to samba as samba- maxixe. The Rio band was home to a lot of popular composers and muscicians who later came to develop a very important role in the development of samba. They later became popular sambistas at their own right and time.
Since most of the sambistas were milandros, they would steal stuff and get in a lot of trouble so, obviously they would get in a lot of trouble for their actions. This community involved of blacks, whites, and mulattos (mostly blacks), they were all living through the industrialization era and had to work together and that is how they became close and they all danced samba. They were all interested in the same thing, samba. Through samba they learned a lot like they had the same areas of interest and prestige’s A composition of the Estacio songwriters, along with many others that are very talented brought a new generation to the samba movement. He brought elements that only his native region would understand Minas Gerais, and Assis Valente. Were all over the radio and that is how they became famous.
After 1930 Brazil as a whole became closer and as a whole they all respected literature. Even though they were all close because of music, samba could very easily turn it around and damage any one especially on the radio where everyone who listens hears and turns around on whatever party they were going for, but it didn’t, that was a good thing, but at the same time a bad thing.
WORK CITED
The Social history of the brazilian samba. Brookfield: Lisa Shaw, 1999.
Edgar Quezada
During the 1920’s, samba was mainly compose of ex-slaves who wrote and performed samba. On one side there were sambas that were called Sambistas of the central area of the city. In this city Pelo Telefone was created, these were passed by authorities and were given a label called cultura afro-brasilera. The other side was the samba of the musicians of the morro, they were persecuted by the police and were considered to be part of the marginal underworld.
http://images.blockbuster.com/is/amg/dvd/cov150/drt000/t096/t09622ko1y0.jpg`In the end of the 1940’s, ninety-five percent of Rio’s population was black or mulatto. The morro allowed Afro- Brazilian traditions to be saved and it had its own social ways and its means for economic survival. The Brazilian samba and Argentinian tango had a lot of similarities during their evolution from the 1920’s to the 1940’s. Both caught the audience really quickly while keeping their each and separate elements. They were the dominant elite culture and the most popular at time.
Samba had two major themes during the 1920’s, 1930’s, and 1940’s, they were women and love affairs, and the figure of the malandrano, who happens to be a black spiv and hustler with a love of women, but horror of work. A malandrano in the 1920’s became the samba poetic lyrics, he entered the samba lyrics.
Samba’s musical ancestors continues to give make us wonder because it leads us more and more to theory and counter-theory. A lot of people say that Lundu, which was first performed in Brazil with African slaves during the 18th century, was the original and true samba’s creator. During the second decade of the twentieth century the musical differences between samba, marxixe and marcha were not yet totally combined and there were some ideas that Pelo Telefone,(first samba), fell within the generic boundaries of the maxixe. Even now days, a lot of musicians refer to samba as samba- maxixe. The Rio band was home to a lot of popular composers and muscicians who later came to develop a very important role in the development of samba. They later became popular sambistas at their own right and time.
Since most of the sambistas were milandros, they would steal stuff and get in a lot of trouble so, obviously they would get in a lot of trouble for their actions. This community involved of blacks, whites, and mulattos (mostly blacks), they were all living through the industrialization era and had to work together and that is how they became close and they all danced samba. They were all interested in the same thing, samba. Through samba they learned a lot like they had the same areas of interest and prestige’s A composition of the Estacio songwriters, along with many others that are very talented brought a new generation to the samba movement. He brought elements that only his native region would understand Minas Gerais, and Assis Valente. Were all over the radio and that is how they became famous.
After 1930 Brazil as a whole became closer and as a whole they all respected literature. Even though they were all close because of music, samba could very easily turn it around and damage any one especially on the radio where everyone who listens hears and turns around on whatever party they were going for, but it didn’t, that was a good thing, but at the same time a bad thing.
WORK CITED
The Social history of the brazilian samba. Brookfield: Lisa Shaw, 1999.
Edgar Quezada
Edgar, while this is a valiant effort in length and scope, you do not have citations in the body of the text, nor links to any internet sources you may have used. The timeline is confusing and the prose flits from subject to subject. Further, there is no bibliography. Had I seen this earlier, I would have made you redo it. Please get yourself to the writing lab, and make better use of your future professors and TAs: I never saw you in my office...
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