| Papers [1-5] of 5 | Search results on "SAMBA": |
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The Samba, 2006.
A book report on "Samba" by Alma Guillermoprieto's and the understanding of Brazilian society Guillermoprieto obtained by learning about the Samba.
1,350 words (approx. 5.4 pages), 3 sources, $ 53.95
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Abstract
This paper presents a report on the book, "Samba", by Alma Guillermoprieto, noting how the author develops a view of Brazilian society through one of the institutions in that society, the samba school, which she reports on first hand by spending a year learning the dance and becoming steeped in the culture of the samba and the carnival when thousands of samba dancers meet.
From the Paper
"The samba schools she describes come from the poorest areas of Brazil, the favelas, poor sections of the city of Rio on the hills around the core of that city. In her discussion, she shows how this particular institution relates to the people, to the tradition of carnival, and to ideas of social cohesion and even the form and structure of crime in the country. A little research shows much about Brazil, much that is illustrated in a different way in Guillermoprieto's narrative."
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Samba, 2005.
A discussion of the roots of the samba dance.
2,215 words (approx. 8.9 pages), 5 sources, MLA, $ 68.95
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Abstract
This paper explains that as a dance form, Samba was rooted in the African heritage of the slaves the Portuguese brought to till the lands of their newest conquest, Brazil. Ripe in their own culture, the slaves outwitted their keepers by celebrating their own culture under the guise of party and dance; popular continued dedication to the holy forms of traditional culture invoked the preservation of the sensual dance form. The writer points out that as the world scene grew more international and Brazil developed its own government separate of the European thrones, Samba was encouraged on a national level for patriotic reasons, spread internationally for the beauty that had been suppressed for centuries, supporting its power to overcome racial segregation through simple movements.
From the Paper
"The power-hungry political motivations of Vargas did not detract from the many advances he made in the country and the society as a whole; his attention to the power of the people remains unvanquished. By providing financial and governmental support to those dedicated enough to the dance of Samba, he achieved not only an image of native power but also succeeded in popularizing a culture that had been ignored and suppressed by its rulers for centuries. Vargas played upon the political theme that Brazil was a racial democracy, where Afro-Brazilian heritage could not only be accepted but received the honor it was due."
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Samba: The Musical Lifeblood of Brazil, 2002.
This paper examines the history of the popular dance and music style in Brazil, the Samba.
2,227 words (approx. 8.9 pages), 5 sources, MLA, $ 69.95
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Abstract
The paper examines the cultural underpinnings and history of one of the most popular dance and music styles in Brazil - Samba. The importance of this music in daily life is emphasized, as well as the religious and popular overtones, such as the annual Carnival. The paper also includes an interview with Jon Agasse, a guitarist and percussionist with a samba ensemble living in Los Angeles.
From the Paper
"The crowd of almost one hundred thousand is restless. The night is moist, hot, and alive with a feeling in the air so palpable you can almost trace it with your finger. The bleachers are filled to maximum capacity, along a mile-long stretch of paved roadway adjacent to an old brewery. People from all races, classes, and countries are celebrating together at the culmination of the orgiastic, pre-Lenten, hedonistic festival of Carnival. Soon, the first marchers proceed down the corridor to the booming cacophony of bass, snare, and friction drums. The rattling of tambourines, bells, and scrapers add flavor and accent. Like a bird set free, the singing cavaquinho (ukulele) emits its high pitched cries, adding to the frenzy. The marchers and dancers, with their quick, physical movements, undulating hips and heel steps, embody the living sound. It is time for the annual celebration once again in Brazil, time for Carnival, a time once again for the ultimate physical expression of joy: Samba."
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"The Mystery of Samba", 2002.
A review of Hermano Vianna's "The Mystery of Samba".
1,150 words (approx. 4.6 pages), 1 source, $ 44.95
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Abstract
A book report on Herman Vianna's "The Mystery of Samba", a cultural anthropology study of music in Brazil, particularly the use of 'racially-mixed' culture as a symbol for all of Brazilian culture.
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Brazilian Music, 2007.
A discussion of the forms of music popular in Brazil today.
2,217 words (approx. 8.9 pages), 10 sources, MLA, $ 68.95
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Abstract
The paper illustrates how music is the heart of Brazil and is the foundation for many of Brazil's festivities and a focal point for religious ceremonies. The paper shows how, as the universal language, music reaches across all cultural and socio-economic boundaries and no where is this more true than in Brazil. The paper discusses Samba, the most internationally famous form of Brazilian music and the Bossa Nova genre that has become very popular within the international community. The paper contends that throughout the decades, Brazilian music has managed to attain and retain its original ethnic expression and continues to represent the heart of Brazil.
From the Paper
"The 1578 "Journey to the Land of Brazil" by Jean De Lery, a French Calvinist pastor, is the source for the earliest known descriptions of Brazilian music, in which he describes the dances and transcribed the music of the Tupi people (Music). In 1587, Gabriel Soares de Sousa's "Tratado Descritivo do Brasil" depicts the music of several native Brazilian ethnic groups, including the Tamoios and Tupinambas (Music). Portugal's King Joao VI, who was a lover of music, spent a good deal of time in Brazil, and even sent for prominent European musicians to join him (Music). Among these musicians were Austrian pianist Sigismund von Neukomm and composer Marcos Portugal, while local Brazilian musician, Jose Mauricio Nunes Garcia, an organist and clavichordist, was appointed Inspector to the Royal Chapel (Music)."
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