BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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31 There is much more to samba that simply movement and sensuality; samba became the national dance of Brazil because “samba narrates a story of social contact, conflict and resistance. 92 ” The samba de roda, or samba danced in a circle, has Kongo-Angolan origins from candomble ceremonies usually sung in Yoruba; in this way, when the samba incorporates occasional jokes using Yoruba terms, it is to stress a language of resistance: Aruande, e aruande, camarado (Aruande, e aruande, comrade. Galo cantou, camarado, cocotoco The cock crowed, comrade, cock-a-doodle-do.) 93 Carcara pega mata e come, (The falcon catches, kills, and eats, Caracra no vai morrer de fome the falcon won’t die of hunger.) 94 The popular samba sung in twentieth century Brazilian Popular Music (MPB) is nevertheless generally linked to the Angola folk tradition and sung in Portuguese. 95 The Making of Modern Samba Mid-20th Century: Rebellion “Brazilians have adopted the notion that racial and cultural mixture define their unique national identity. Samba is the great metaphor for this mixture. 96 ” In the early twentieth century, the social context of Rio de Janeiro had a great influence on the flourishing of the samba as a dance and music, but equally important as an element of resistance. Abolition became more effective as the Republic was instituted in Brazil in 1889 through a pacific revolution. 97 92 Ibid, 2 93 Jorge Amado, The War of the Saints (New York: Bantam Books, 1993), 231 94 Ibid, 226 95 de Carvalho 1999, “Afro-Brazilian Music and Rituals,” 5 96 Vianna, xiv 97 W. Bridgewater, and S. Kurtz editors, The Columbia Encyclopedia, 3d edition, ‘Brazil’ (New York: Columbia University Press, 1963), 265
During that time, a world crisis in the coffee and tobacco industry forced many black workers to migrate from the plantations to large cities like Rio, in order to find work. The former slaves created the first favelas, or slums of Rio. These blacks were called malendros and identified by the police because of their calloused fingertips (from playing the guitar). 98 The malendros brought to Rio their rural candomble traditions from Africa, which merged with existing popular music genres like the marcha and the choro, to finally create the urban samba. The black families, housed in slum buildings, would hide their traditional religious ceremonies (candomble, batucada, capoeira) in the backrooms, while the socially accepted music, like the choro, was performed in the front room opened to the street. These buildings of Cidade Nova (the new city) acted as “cultural dividing screens,” showing a good example of how the black population managed to preserve its culture, in spite of the repression of a white-ruled society. 99 In order to control the demographic explosion of these black neighborhoods, an urban plan of social and geographic segregation was created in Rio de Janeiro, which had become Brazil’s capital in 1763. 100 In the early twentieth century, a process of “forced natural selection” was created and initiated in Paris by French architect 98 Jose R. Zan, “Popular Music and Policing in Brazil,” in M. Cloonan and R. Garofaldo (ed.), Policing Pop (Philadelphia: Temple University Press, 2003), chap. 12, 206 99 de Carvalho 1999, “Afro-Brazilian Music and Rituals,” 5 100 Salvador was Brazil’s first capital from 1549 to 1763. Rio became the capital until 1960, when the capital moved to Brasilia (De Souza 1986) 32
Page 1 and 2: BRAZILIAN MUSIC AND SOCIAL CONSCIOU
Page 3 and 4: The project presented by Elisabeth
Page 5 and 6: AUTOBIOGRAPHICAL SKETCH Elisabeth B
Page 7 and 8: TABLE OF CONTENTS ACKNOWLEDGEMENTS
Page 9 and 10: LIST OF FIGURES Figure 1. Map of Br
Page 11 and 12: The similarity here shows that the
Page 13 and 14: 2 America. 6 In the last thirty yea
Page 15 and 16: Indian, but a universal mestizo typ
Page 17 and 18: 6 Bahia. 18 His expedition had been
Page 19 and 20: The Portuguese language rapidly int
Page 21 and 22: 10 priests had been in the 1550s, a
Page 23 and 24: 12 met the European culture again i
Page 25 and 26: 14 Amerindian folklore mixed with A
Page 27 and 28: 16 “We found close to the church
Page 29 and 30: 18 The most interesting dance of Ib
Page 31 and 32: Figure 5. Estimated numbers of slav
Page 33 and 34: Five main African genres are found
Page 35 and 36: 24 imported to Portugal by slaves f
Page 37 and 38: Religious Syncretism The first irma
Page 39 and 40: colonizers, and second because the
Page 41: Brazilians spend all their time and
Page 45 and 46: 34 and historical trauma. 105 ” S
Page 47 and 48: 36 telefone” one more time, chang
Page 49 and 50: “Uncle Sam wants to know our batu
Page 51 and 52: Samba in the 20 th Century During t
Page 53 and 54: The French Connections Setting the
Page 55 and 56: twentieth century, a process of “
Page 57 and 58: Figure 10. Images inspired by Carme
Page 59 and 60: In a 1951 samba called “Ministeri
Page 61 and 62: The original inequitable division o
Page 63 and 64: 52 Some of them had actually been t
Page 65 and 66: My story's not told to deceive I'II
Page 67 and 68: 56 1950s. 175 Contrary to the polem
Page 69 and 70: 58 “Joao” concert strategy of s
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Page 73 and 74: engagement. Veloso wrote that Chico
Page 75 and 76: How to drink this bitter drink, gul
Page 77 and 78: 66 Like in Tropicalia, humor and pa
Page 79 and 80: Paulo Freire The link between Tropi
Page 81 and 82: 70 indigenous tribes of Brazil in t
Page 83 and 84: Helio Oiticica and Rogerio Duarte 7
Page 85 and 86: 74 in the mid-1960s, he was a forma
Page 87 and 88: 76 For Rogerio Duarte, Tropicalia w
Page 89 and 90: composer Erik Satie had recorded a
Page 91 and 92: Figure 16. The cover of the album
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82 Tropicalia was a reaction agains
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When Veloso recorded the song “Tr
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86 murdered by the Bolivian army in
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88 “Technicolor,” an album rele
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Figure 18. Cover of Tom Ze’s 2003
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Linguistics of “Post”-Tropicali
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Then they made you into a city They
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96 idioms are not contradictory.
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Caetano Veloso declared: “It bega
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100 South American common market ca
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102 creativity a means of popular e
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104 Brazilian Minister of Culture r
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Browning, Barbara 1995. Samba, Resi
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Dunn, Christopher 2007. Telephone i
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Lis, Eduardo Mariano 1996. “Creat
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Salgado, Sebastiao 1997. Terra, Str
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APPENDIX A Glossary 114
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Cachaca White rhum, firewater; nati
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Portunhol Mix of Spanish and Portug
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THE DISCOVERY BRIEF HISTORY OF BRAZ
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THE INDEPENDENCE BEGINNING OF NATIO
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general elections in order to estab
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CELSO MACHADO, 9/22/2005 September
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128 came from France. It became eve
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MARIA-CARMEN GAMBLIEL, 11/29/07 Nov
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132 4) Was Tropicalia perceived dif
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About Caetano being a demi-god, Cae
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136 Beatles, rock’n roll was basi
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5) Was Tropicalia’s message more
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Brazilians, so that they would all
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142 his oeuvre. He also wrote some
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144 here. He studied, you know, to
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146 two things are racist: the atti
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ROGERIO DUARTE, 12/27/07 December 2
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APPENDIX D Brazilian Music and Soci
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BRAZILIAN MUSIC AND SOCIAL CONSCIOUSNESS: - Elisabeth Blin

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