Samba The word “samba” is believed to be derived from the word semba, a Kimbundu term, which translates to an “invitation to dance”. The word was also a shared title of dance parties held by slaves in rural areas of Rio. Starting around 1550, the Portugese began trading slaves from the West African and Central African regions of Ghana, Benin, Nigeria, Angola, Congo, and Mozambique (Lyons). According to Lyons, Brazil holds an estimated 90 million people of Black origin. The Africans’ cultural traditions eventually merged with Portuguese’s cultural traditions and formed a unique culture of its own. In the 16th century African slaves began to introduce cultural dances such as the Caterere, the Embolada, the Batuque, and the Lundu to name a few. …show more content…
In their article “Character and Origin of Samba”, Dwain and Judy Sechrist explain: Ballroom Samba is danced to music in 2/4 or 4/4 time. In 2/4 time, the basic movements are counted either 1, 2, consisting of two steps, each using 1 beat [SS]; or three steps counted 1a, 2, [SaS] with beat values of 3/4, 1/4, and 1. Additional rhythm structures may be used, such as 1, 1/2, 1/2 [SQQ]; 1/2, 1/2, 1/2, 1/2 [QQQQ]; and 3/4, 1/2, 3/4 [123]. Most Samba movements require two measures to complete a rhythmic structure in 2/4 time. For this reason, many movements lend themselves to descriptions as if using one measure in 4/4 time (Dixie Round Dance Council Newsletter). Starting in the 1920s and leading into the 1930s, sambas were not as fast-paced and more romantic in composition. This lead to the creation of a sub-genre known as samba-canção, which accentuated melody over rhythm. Samba-canção began to lose its popularity in the early 1950s; therefore, a more percussive and trendier sub-genre began to cultivate in the poor areas. At first called samba de morro because of its development in the morros (hills), the style came to be known as samba-de-batucada, and emphasized the polyrhythmic sounds of multiple percussion instruments (Sambassadors of …show more content…
“The Message of Brazilian Rituals: Popular Celebrations and Carnival.” Brazil: Body and Soul, The Solomon R. Guggenheim Foundation, New York, 2001, pp. 46–51. “History of Samba.” Sambassadors, www.sambassadorsofgroove.org.uk/history-of-samba.html. Kellen, Ron, and Rebecca Kellen. “Samba History.” Dance Lovers, Dance Lovers, www.dancelovers.com/samba_history.html. Lyons, Lauri. “Afro-Brazilian History, Beats and Culture.” The Huffington Post, TheHuffingtonPost.com, 10 Feb. 2010, www.huffingtonpost.com/lauri-lyons/afro-brazilian-history-be_b_452877.html. Sechrist, Dwain, and Judy Sechrist. “Character and Origin of Samba.” Character and Origin of Samba, Dixie Round Dance Council (DRDC) Newsletter, Nov. 2009,
In Samba, Alma Guillermoprieto describes the Carnival celebrated every year in Rio de Janeiro, Brazil and explores the black cultural roots from which it takes its traditions as well as its social, economic, and political context in the 1980s. From her firsthand experience and investigation into favela life and the role of samba schools, specifically of Manguiera, Guillermoprieto illustrates a complex image of race relations in Brazil. The hegemonic character of samba culture in Brazil stands as a prevalent theme in numerous facets of favela life, samba schools, and racial interactions like the increasing involvement of white Brazilians in Carnival preparation and the popularity of mulatas with white Brazilians and tourists. Rio de Janeiro’s early development as a city was largely segregated after the practice of slavery ended. The centralization of Afro-Brazilians in favelas in the hills of the city strengthened their ties to black
We must begin with Brazil’s history in order to understand the problem and how it came to exist. During the year 1500, Brazil was “discovered” by the Portuguese. The Portuguese saw the indigenous people as “savages” because they did not look or dress like Europeans. Hence, the idea that indigenous people are “savages” help influence the Portuguese that indigenous people need to be controlled and become more civilized. During the 16th century the Portuguese used “black” slaves to work in plantations to increase trading in Europe. After the year 1850 slave trade was abolished, but the Portuguese continued to bring slaves from Africa, illegally. Edward Eric Telles states, “Roughly three hundred years later, when the slave trade ended in 1850, 3.6 million African Americans had been brought to Brazil as slaves, ...
Brazil was and still is a country where the wealthiest live side by side to the poorest of the poor, conservative traditions exist side by side with extreme liberals, extreme beauty with grotesque ugliness, In an attempt to join these elements together the tropicalistas adopted many musical genres such as samba, frevo, Jovem Guarda, choro, bolero, Anglo-American pop and rock, and avant-garde art music, molding them all together to a single unit. The process the tropicalistas went through to create their songs has been called “cultural cannibalism” (Perrone, Dunn
Mattoso, Katia M de Queiros: To be a slave in Brazil 1550-1888 (New Jersey, 1986)
African music has had a major influence on Cuban culture beginning in the early 1550’s through slave trade. Thousands of slaves were brought to Spain in the 1400’s and eventually migrated to Cuba. Since these “Ladinos” were accustomed to Spanish culture and language, they easily were able to get by in Cuba and even escape slavery. As a result, Slave owners in Cuba brought more slaves directly from Africa. In 1526, a Royal Decree allowed slaves to buy their freedom, resulting in increased interaction and ethnic mixing among Cubans and Africans. All aspects of both cultures began to blend, especially among working class Cubans and Africans. Music became a common bond between the two groups
It maybe hard to believe but during the turn of the 19th century, dance competitors were content in winning a CAKE! The Cakewalk dance as how it came to be known in history initially drew in American black slaves as participants “often in the presence of their masters.” It has been said that “some of the better plantation owners would bake a special cake called a hoecake wrapped in cabbage leaf on Sundays and invite the neighbors over and have a contest of the slaves,” according to the popular dance website, streetswing.com. “Different prizes were given but originally it was a Hoecake for the males and molasses pulled candy for the ladies and whichever slave(s) won, would get the cake!”
Cumbia originated in the coastal region of Colombia in the early 1800’s. There were three predominant cultures in Colombia at that time: the indigenous peoples, the Spaniards, and the African slaves. The cumbia began with the essential instrumentation of the tambor drums and the gaita flutes, which derive from both indigenous and Congo-based African roots. The genre was entertainment for the slaves, beginning as a courtship dance. It later became an outlet for national resistance and protest as Colombia was contesting for its independence. The music was able to diffuse throughout the nation, spreading from the coast, primarily for the reason that many African populations were scattered in various regions. Barranquilla, a port city in Colombia, was the core of where the music became established and played for the masses, and where instruments such as horns and bass began to be incorporated into cumbia, giving it a more Latin feel. As cumbia evolved and spread to Mexico around the 1930’s, it changed from the influence o...
However, out of slavery comes culture which is common for most countries who capitalized on it. Africans brought their religion and music on the slave ships and continued to practice their beliefs in their new locations. African culture can definitely be observed in Brazil, where some people have continued to keep their ancestral culture alive while making integrations of new practices that reflect their reality. Capoeira and candomblé are examples of this. Capoeira is a Brazilian art form that combines dance and rhythm in a coordinated fashion. It was initially practiced by slaves, as a way to teach others how to defend themselves with martial arts without the slave-owner knowing their actions; fighting was disguised as dancing. Candomblé is a dance to honor the African gods. Capoeira and candomblé both keep African heritage present in Brazil, passing this culture down as their ancestors once
The origin of Mexican Folklorico dances originate from Mesoamerican days when the Mayas and the Aztecs
Capoeira is a Brazilian battle dance, a national sport, a system of physical discipline and movement originating among Brazilian slaves. The origin of Capoeira, whether African or Brazilian, has stimulated many controversies up until the current day. There are no doubts that the Capoeira proper was developed in Brazil, however no one denies that Capoeira was created by African slaves based on African Traditions. Even the most important mestres such as Bimba and Pastinha, had varying ideas of its “beginning”. Muniz Sodré, a credible journalist, sociologist, and professor at the Federal University of Rio de Janeiro explains, “The question about the “beginning” is in a certain sense a meaningless problem. What matters most is not the “beginning” (the date and so forth do not matter so much), but the “principle”: the conditions that created and kept the thing alive” (Capoeira 108). The most significant matters were the historical and cultural issues that for a long
Bachata originated from the Dominican Republic in the early 20th century. During dictator Trujillo’s rule, Merengue was the official music to the nation. Because many Dominicans did not accept their African roots, their dances and rhythms were oppressed. Bachata, with its African influences, was considered crude and lower class, only played by campesinos- peasants. It was only popular in the rural parts of the Dominican Republic. However beginning in the early 60s, bachata was steady becoming tolerated, and eventually loved. (Pacini)
During the Renaissance Era musical instruments were used primarily to accompany dance. The most famous court dance style in the Renaissance Era was the basse danse, where couples would gracefully and quietly move across the dance floor. The couples used a gliding motion as they gracefully moved across the floor. This style was popular in the 15th and 16th centuries. Another famous style is the Calata, a 16th century Italian line dance in the measure of 3/4. With this style, couples would move across the floor using quick and elaborate movements. The last style which will be covered in our program is the ronde, also famous in Europe during the 15th and 16th centuries, the ronde took place outdoors and participants moved in a circular pattern.
According to his review of A Guide to Latin American Music by Gilbert Chase, Charles Seeger describes Chase’s description of the music culture, “The quantitative distribution of more than 2700 entries, which include some multiple listing, is interesting” (Seeger, 1946, 304). Chase explains a plethora of countries in Latin America and their specific musical features. Furthermore, thanks to his detailed work, the reader can see how many common features can be seen. Firstly, a common feature among all genres is the use of aerophones. The aerophones used could include, panpipes of various varieties, flutes, trumpets (as seen at the Boogat performance in Ottawa) and many more. Another common feature among all the genres is a strong rhythmic presence. In essentially all Latin American music, a steady, metrical rhythmic quality can be heard keeping the music energetic and easy to follow. To keep the rhythm, another common feature to Latin American culture is the drum. Most commonly found in the Afro-Latin genre, as a result of influence from African culture, can be seen throughout Latin America. A popularized western form of this type of music, is that of mariachi. Finally, Latin American culture is known for its vibrancy in their music. The music is generally quite expressive of feelings, strong moral messages found in protest songs, and their colorful, elaborate
Music in the Caribbean was first developed by the Neo Indians around 1600 the Neo Indians died taken their culture and music. Music then reemerged when the African slaves came to the Caribbean. The type of music the Africans brought was both lively and entertaining. The slaves found a rhythm in everything they did from cutting cane to taking care of the homes of the planter class. They sang to keep their spirits up, because they were taken way from family back in Africa and the harsh working and living conditions affecting them.
Dance is an ancient human practice, however the earliest record of human dance remains a mystery. By