Brazil is enriched with a cultural pallet of race, pride, and music. It is most known for Its synthetics and blend of culture. The music could be described as soothing, exciting, or highly spiritual, it depends on what your listen to. However, Brazil has murky shadows filled with cultural rivalries, especially on how the country should view itself. Politics played a big role from Fascist leader Barras to peaceful and accepting Subtitles. With the strings of Europe, and the rhythms of West Africa, Brazil becomes the epicenter for such powerful music.
You don’t need a history book to understand the mixture and story of these two styles coming together as one. All you need to do is listen to the music. Welcome to the Carnival! As every seemingly successful country that stands today, comes with a brutal past. With man taking ownership to land. This Is what the Portuguese did to the Indigenous people the Tips of Brazil. The Condonable tribe in Africa was taken from the Portuguese into slavery. The main export was Salvador. Sugar, gold, rubber, coffee were the main export items that slaves were forced to work with.
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The slaves of practiced a religious suture of Portuguese Catholicism, and African Sanitaria. However, they didn’t really practice Catholicism. They practiced their tribe’s ceremonies in secret. Samba’s name was taken from Samba and African word Angola Style. “Samba De Road” was a circle formed ritual practiced on plantations. In 1888 slavery was abolished, and Brazil was almost one of the last countries to abolish slavery. What’s good poly rhythms !? The Portuguese fled from Napoleon, and made the capital Roll De Jangler, and took the slaves with them.
The slaves came along and brought what was known as “primitive” roots. Samba comprised of European strings and African Percussion . Chula; highly Improvised dance and song In a ring, then developed Into groups which made Samba Schools. In 1 91 6 a famous musician Tia Scalia, made her home as the center for more urban Samba’s. As time went on into the ass’s, ass’s, and ass’s a new style was formed by a cool cat named Pigeonholing. According to an American Public Media Article, “It was called, Choir was developed as an almost purely Instrumental rather than vocal style because of the musicians’ sheer love for playing.
All-night Jam sessions, allied grass or roads De choir, became very common from the sass to the sass, and at these gatherings the players formed an almost spiritual connection with their music. To be accepted at the grass one needed to be a good enough Instrumentalist as well as understand the musical “code words”-?the language of Paginating loved Choir and Samba so much. He was such an icon ,and was thought to represent Brazil. There were still lingering of racism in the air, due to white supremacy.
Being black he wasn’t allowed to play at places that didn’t allow mixed race. Blacks also could not participate or march In the parades, even though there was an end to slavery. He mixed Samba with Choir and traded his 1 OFF Paginating was a pivotal musician in his day, but sometimes the music can’t keep up with the times. Samba was now to transform into the rule of the man and capitalism. Trujillo Barras controlled 18 years authoritarian and dollied Fascist favored music and social well fare. He wanted to identify Brazil with Afro-Brazilian recognition.
Samba played an entirely different role. Barras made a cultural revolution by promoting Samba with racial democracy. “When the importance of Carnival started o emerge, Samba music took its place among the elite group of Brazilian. Samba music is now the national music of carnival. “(Web) In 1936 musicians now are able to take part in the parades. He was so nationalistically proud that he made Samba schools called Samba-Moreno, was the history of Brazil was taught through music. He was a firm believer in ethnic integration.
What made him unfortunate was his ideals with fascism, and mixed Samba music with Nazi Germany. There are now two types of Samba. New school and old school. Old Samba comprised of the poor black community, which by Barras was censored and banned from being played. New Samba was the glorification of Brazil, and splashes of American influence. Carmen Miranda a famous singer from Brazil to Hollywood was loved and hated. In her home land she was considered a “sell-out” or she became “Americanizes. ” Miss Miranda was to be considered the woman who started the New age of Samba.
Other than the flashy lights, feathers, and charm that was in America, there was someone on the Northern skirts of the country side in Brazil. A little town called Recipe held a revolutionary musician by the name of Luis Goanna. He was the Dean Martin of the day, and was inspired by the country side. He reminded the music scene that he needed to reach everyone, especially the outside regions of Brazil. Music should touch everyone, of all class. In the mid fifties two important figure heads passed away that changed Samba forever. Barras shot himself, and Miranda died of a heart attack.
Mi corona! Samba schools even became MORE important to recognize community, music, and recreation. “Carnival tells a story, it tells the history of Brazil, not Just dancing and getting drunk. “( Brasilia Brasilia) Things were looking really nice for Brazil when Scullion Substitutes came into office. He transformed Brazil with public works, and constructed the new capital Brasilia. In 1958 people called this time the “Golden Age”, due to the fact that politically, culturally, and economically things were in harmony. Instead of country side six strings, there was a radical change in the air.
With urban spice, smooth harmonies, and a hot Saxophone gently speaking in the sky came the style of Boost Nova. Its characteristics comprised of western classical music, Jazz, simple, soft, and optimistic melodies. More complex harmonies and starting to take more percussive elements away. The boost nova in 1958 is born with he recording of “Check De Sauced” by Antonio Carols Job . Jiao Gilbert’s high poetic content made him a revolutionary in changing Samba from nationalistic pride, to more personal songs from the heart. 1962 Charles Byrd and Stan Get made Jazz Boost Nova huge in America.
Musician Carols Lyre stated, “New Boost Nova has too much Jazz, you need to keep that as a spice. ” In 1964 Boost Nova moved to America. Astrid Gilberts, Luis Gilbert’s wife made “Girl from Enema” the stamp song for Boost Nova. The military takes over the Music was now looked at as “God is Brazil. ” In the seventies Brazil looked at the West or their music, due to military constriction. In the eighties Attained Never is elected the president of the people. Red, white, and blue spilled to Brazil with break dancing and hip hop.
In the ass’s a new style called For came with many dance styles, it has that nice Sam-rock feel to it. “The music of the Brazier’s northern coast (Bah) is relatively unknown outside of Brazil. Because of the proximity of Cuba and the Caribbean islands, the Fabian music is closer to the Cuban trove than to other Brazilian genres. AIBO songs tell stories that describe the people, their struggles and often voice political concerns. In the sass’s, Jackson do Panderer incorporated coastal rhythms to older forms and transformed the music into what is today known as the for. ” (Web) Then Brazil gets sucked into the boob tube when MET aired, where a style called MAP (Musical Popular Brassiere). This was now Brazier’s contemporary music style still used today. A popular shade under this style is called Affix made by Fernando Gonzalez. The style offered a sampling of son, Guajarati, with a dash of New Orleans funk. It all comes to full circle with the Nigerian Forbear, the heart and pulse of Brazil. I also feel that a lot of Western culture played a major influence with Brazier’s modern day music.
This is where nationalistic pride and values conflict, but also coexist. Brazil became the meeting pot for the world as a musical paradox. What is interesting to me is seeing the push and pull of how music have literally shaped Brazil for what it is today. Where you start of with West African Samba to playing smooth harmonies with Boost Nova. Eventually going full circle with Affix which came back with percussive roots. I would like to think of drums as the core heart beat for music. When you start to take away the drums, you take away primitive spirit.
The ego is more amplified by Boost Nova, which focused on tighter harmonies, and had more of America’s styles peak through. Brazil is a giant melting pot of secretive. You get this ebb and flow of European influences taking charge, and then you have West African roots being prominent. It is the act of plus and minus in synthetic Caribbean nature. There was more than Just those two polarities. The minute touch that certain artists gave to Brazil at a time of constant change, employs a melting mixture of excellence.