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 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 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 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 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 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 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."
Abstract This paper examines the way in which three cultural traditions have come together in Brazil. The author points out that these cultural traditions are Native American, European and African. The paper relates these culture as observed in dance, music, religion and farming practices.
From the Paper "Brazil is one of the most culturally diverse nations in the world, drawing on a large number of traditional cultural sources in order to create its own unique national identity. While there are a number of cultures that come together in Brazil, three major influences have shaped the national identity for the past several hundred years. These influences arise from native populations, Europeans, and Africans. The native tribes were obviously already there when the Europeans arrived, bringing their culture with them. The Europeans brought Africans to Brazil as slaves. Over time, these three groups found their own cultural tropes appropriated and mixed with the others to form new cultural forms in music, dance, religion, and even farming."
Abstract The 1960s in Brazil were revolutionary times. However, most of this progress halted under a new dictatorship. In 1964, a right wing military coup took control of Brazil, bringing with it an extreme level of censorship of both artists and intellectuals. This paper outlines the effect this dictatorship had on Brazil's contemporary art movement.
From the Paper "At the end of 1968, the Institutional Act #5 was set in place. This act gave the president dictatorial powers, dissolved Congress and state legislatures, suspended the constitution, and imposed censorship. For culture, this meant strict censorship of artistic events, and the persecution and imprisonment of intellectuals and artists. This was a very heavy blow to artists, as they had to watch their steps even more. Soon after Vladimir Herzog, a journalist accused of subversion, was murdered in prison by the military police, Cildo Meireles began creating his "Insertions into Ideological Circuits" in order to create a system for the circulation and exchange of information that did not depend on any kind of centralized control."
Abstract This paper discusses Brazil's socioeconomic structure that was founded on slavery. During the colonial period from 1550 to 1880, rapid growth of the Brazilian economy occurred because of the convergence of several factors. The sugar industry was synonymous with the early economy.
Abstract This paper examines the impact of Spanish and Portuguese colonization on Mesoamerican culture, with an emphasis on conversion of indigenous peoples to Christianity. The author describes the native religion and lifestyle prior to the Europeans' arrival, and the subsequent results of conversion to Christianity, both positive and negative. Also described is the treatment toward the native peoples by the Europeans. The paper is divided into two sections, one describing the Spanish invasion and the other the Portuguese conquest of Brazil. The author concludes that the effort by Portuguese Christians to convert native Brazilians - by force or otherwise - to Christianity was far less successful than tactics used by Spaniards in Mexico.
Outline:
Introduction
Literature Review
The arrival of the Spaniards into Mesoamerican Mexico
Things did not go well for the Spaniards in 1680s and 1690s
Jesuit priest Father Tomas Miranda raged at the cruel treatment of the Seri
Portugal and the Colonization of Brazil Works Cited
From the Paper "And because the Roman Catholic leadership in Spain saw the natives as part of a prophecy, a gift from Lord to enrich their Spanish culture, the Franciscan missionaries, the first priests in Mexico, used "indoctrination" as a term rather than "evangelization." The Spaniards reportedly believed that since God had placed these Native Americans on Mexican soil for the enhancement of Spanish culture and religion, that the natives merely needed the facts of Christianity (Roman Catholicism), not the full litany of evangelization. The Spaniards were wrong, of course, and they found themselves in the midst of a myriad of troubling situations they could not possibly have predicted."
Tags: Christianity, conversion, native, peoples, Mexico, Brazil, Spain, Portugal
Abstract A paper comparing and contrasting the colonization of Brazil, Indonesia and Kenya. Several historical accounts in books are used as well as some journal articles for background information. The paper focuses on the assimilation of the colonists into new lands.
Abstract This paper reviews Stein's book "Vassouras: A Coffee County in Brazil" about the role of slavery in 19th century plantation life. The author points out that the book offers a greater understanding of how plantation owners would go to great lengths to gain wealth, power, and prominence in local society. The paper concludes that slavery played a critical role in the history of production.
From the Paper "S. J. Stein's "Vassouras: A Coffee County in Brazil" is an interesting portrayal of a coffee plantation and its influence on local society. This book explores the Brazilian culture in the 19th Century in greater detail, emphasizing the importance of coffee as a means of social communication and economic potential, as well as the pivotal role of slavery in the plantation society. The primary argument that the book attempts to answer is concerned with the understanding of slave labor and its influence on the activities of a coffee plantation, and that without the most effective operational structure, even in the 19th Century, the coffee plantation would be destined for failure in epic proportions."
Abstract This three page undergraduate paper examines the most common types of protest in Brazil. It discusses land reform, environmental issues and globalization as the three primary issues of social, economic, ecological and political concern. The paper discusses protests over the past few years and what the protesters hoped to achieve.
From the Paper "Researching the most common types of protest in Brazil reveals that land reform, environmental issues, and globalization are the three primary issues of social, economic, ecological, and political concern. The most significant protests over the last few years have been organized and carried out by landless peasants, who have become increasingly assertive in their efforts to force the government to pass land reform legislation. In recent years, landless Brazilian peasants have protested government economic policies regarding land reform and free trade agreements such as NAFTA and CAFTA. According to Comings (2005) twelve-thousand Landless Workers Movement activists marched on the capital last May and "occupied eight ranches during their two-week trek from the city of Goiania." "
Abstract This paper discusses the music recording industry and how it has been impacted by digital music distribution. The paper relates that the early success the music labels had against the initial music file downloading sites were short lived, and legitimate digital downloading sites have since prospered. The paper then argues that major recording labels are suffering from the decline in CD sales, not because of music pirating, but because they refuse to recognize that consumers demand digital music downloading for its convenience and portability. The paper further emphasizes that digital music distribution and retailing is the future of the music industry and every relevant party seems to recognize this, except the music industry itself.
Outline:
Overview
Restructuring of the music Industry
New distribution model & Itunes
Online distribution variations
Conclusion
From the Paper "The music industry, in spite of its ineptitude and obstinacy over the past decade regarding digital music downloading, is finally realizing that whether it embraces downloading services such as iTunes and others, it must evolve with the digital age or face irrelevance. In order to compensate for the loss of revenues, the recording music industry has been examining their base revenues in order to determine if digital downloads can compensate completely for the decline in sales of CDs. Two of the major record labels, Sony and BMG, have even merged in order to expand their catalogues (Recording, 2007). There have been efforts made to encourage EMI to merge with one of the remaining three major record labels but thus far these remaining major record labels have resisted further consolidation. However, EMI undertook its own internal restructuring by merging its two main record labels in the US market during the first half of 2007 and Warner Music was sold during 2004 creating even more churn in the industry (Recording, 2007). Yet, perhaps the most visible change is the industry is the downsizing or disappearance of retail music stores, which has begun to accelerate."
