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."
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.
Abstract The writer notes that Samba is described by Ed Morales, an expert of Latin music in, 'The Latin Beat', as an amalgamation of Afro-European culture that has become one of the many Brazilian points of pride and independent culture. The writer then looks at the history of the word Samba and at the music and the dance. The writer maintains that Samba will likely grow in expression and development, as more and more people become aware of the cultural diversity and richness of the Brazilian social landscape. The writer further discusses that Samba is the backbone of the long procession that dominates the economy, ideals and cultural expression of Brazil. The writer concludes that there is a sense that Samba connects the celebration to the people and it also demonstrates the link between all those who watch and participate in the events.
From the Paper "Though the music has more often been associated with various forms of civil unrest and been subverted officially, with raids of events and police action being taken against those who celebrate around samba. Once greater tolerance for African customs and ritual religious performance art was achieved in Brazil there was an establishment of an infrastructure that celebrated and promulgated the genre to its local and then global heights, known as samba schools.
"The origins of the musical genre, and its name are not completely agreed upon, it is thought that the word Samba is an amalgam of the word, semba, a Bantu word meaning to pray or invoke the African gods and as a noun it was meant as something akin to "the blues" a cry or complaint."
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."
Tags: african, black, jazz, mamba, merengue, rhumba, rio
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."
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)."
Abstract This paper discusses Afro-Brazilian dance forms. It looks briefly at the history and origins of the dance form and discusses its importance in understanding the culture in Brazil. The paper then focuses on specific forms of Afro-Brazilian dance. It describes each dance form, the occasion in which the dance is used and how it is performed by the dancers.
Table of Contents:
Candomble
Samba Capoeira
From the Paper "The Candomble dancing is a ceremonial, religious dance, done during one of the numerous terreiros de candomble scattered throughout the city of Bahaia. Women wear long skirts, usually colored ones. They dance to be respectful to the orixas, or gods. "Each deity represents a given force or element in nature, and has a favourite colour and type of food. Yemanja, for example, is the goddess of the sea, who usually dresses in blue and white. The favourite colour of Oxun, the goddess of beauty, is yellow. In the religious ceremonies, practitioners dress in the colours of the orixas and place food at the altar before singing special songs and dancing precisely choreographed steps to the sacred drums. The anthropomorphic nature of the orixa allows an intimate contact between believer and deity, and the highlight of the Candomble ceremony is the epiphany, or possession, when the orixa takes over the believer's body" (Davis)"
Abstract This paper examines the history of Latin American music and the influence it has had on American culture, looking at the particular forms that have had the most influence as well as some of the particular personalities that have been the most influential in bringing Latin American music to the United States.
From the Paper ?It would be hard to find any area of 20th-century American pop music ? and now 21st century ? that has not been affected by Latin American music, including Tin Pan Alley, stage and film music, jazz, rhythm and blues, country music, and rock (Roberts, 1998, p. 14). The musical voices of Brazil, Cuba, and Mexico have made their way into each of these American forms, which have been influenced not only by Latin American rhythms and musical forms but also by individual musicians and bandleaders who came to play an important role in shaping American culture (Roberts, 1998, p. 19).?
Abstract This paper compares Brazilian and Egyptian music. A brief history of the two cultures illustrates the development of their music. The paper outlines the primarily European influence on Egyptian music, and the African and European influences on Brazilian music. The Portugeuse influences on early Brazilian music is also discussed. The paper contrasts Brazilian and Egyptian music through their use of instruments, theory, and artists. A brief overview of the development of modern Egyptian and Brazilian music is presented in the paper.
From the Paper "Traditional Brazilian and Egyptian culture date back centuries, even millennia when considering Egypt's rich past. Many aspects of their cultures such as dress, language, and government have changed and evolved from their genesis. Two major elements of both these cultures that have been a major part of life are the music and dance. Yet, despite their deep native roots, Brazilian and Egyptian music and dance have been greatly influenced by European and African cultures, thereby creating the blend of today's modern styles."
