Research Questions/Intro
The main themes that this research kit is trying to cover is the importance of music as a cultural identity in relation to national pride and the ways music can be used to convey a political message. Being one of the last countries to abolish slavery, I want to explore Brazil’s relationship with race, especially considering race is not a “division” of the country. The other questions we will pursue is what samba’s relation with protest amongst the Afro Brazilian population is specifically during moments of the black movement and what political and social message does it send.
The 3 main questions are:
- What is the relationship between race & class in relation to the progression of Samba?
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How was Samba used to spread a politically charged message?
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What’s the importance of Samba in terms of Brazilian Nationalism?
Narrative/Overview
When thinking about Brazil, it goes hand in hand with lively music. The dances and tunes of Samba fill the streets and the culture of Afro-Brazilians is tied in with the country’s display of patriotism. Samba has a long history in the country, developing from the enslaved masses where it survived resistance after these enslaved peoples were freed, Brazil being the last nation to do so, to now seen as a form of celebration amongst the general public. The themes we will be focusing on will be Samba in relation to protest and public space, Samba in relation to race, specifically with its use in the Black Movement, and the use of Samba by the dictatorship in power within Brazilian history. Questions that’ll be present throughout this overview will be what relation does Samba have with race and class, how was Samba used to spread a politically charged message as well as what is the importance of Samba when it comes to Brazilian nationalism.
What is the relationship between Samba and race? Origins + Colonial History
Samba had first been seen within Brazil well before the 1900’s. The term “Samba ” derives from the word “Semba” which literally translates to being an invitation to dance. Brazilian history is deeply embedded with roots of colonialism that goes hand in hand with the involvement in the institution of slavery. With various identities coming into play, it’s important to know that with its growth, amongst enslaved people’s it was used as a form of expression conflated with resistance. When Brazil abolished slavery on May 13th, 1988, much of the former enslaved population had moved closer to Rio de Janerio, settling around favelas down south. Afro-Brazilian men in particular were in danger of immense amounts of police brutality as they were targets of many of the laws put into place after slavery had been abolished. It had been illegal to roam the streets with no purpose during the nighttime as it was also against the law to be sleeping in public spaces. Many say that Samba is a representation of the favelas seen in Rio, which is a broader message of how Samba has been used as a mode of resistance amongst revolutionaries. Brazil being one of the last countries to abolish slavery is very important to all of this.
Samba within the Public Sphere & amongst the masses
Samba in the radio is first being played around the 20’s and 30’s as it’s grown outside of the states of Bahia and the city of Rio de Janeiro.. With the era of samba being broadcasted on the radio also comes the international recognition and popularization of the music style internationally. We even see it within cities of the United States, specifically within New York city and the area known as “little Brazil.” This is when the well known Carmen Miranda had jumped into popularity, and some attribute the popularity of Samba with her. Although she portrayed proponents of Bahian culture, she had been a white portrayal of the very black culture. Focusing on the culture of Bahia and Bahia women, we are going to explore the way communities within this state had lived and how the culmination of West African instruments incorporated on a much broader scale within Brazil.
Tiago Celestino Santo Amaro, BA, Brasil
Samba had become increasingly popular within the working classes, however there is a question of intellectual property and how the culmination of mainstream samba culture became embedded within the nation’s history.
Past Dictatorship + Present Day
1981 was two years after the approval of Lei de Anistia (amnesty law), extending to all citizens who were politically imprisoned to be able to stand before a judge and have the possibility of being acquitted of their crimes. Former exiles of civil rights and more feminist thought had been seen at this point in time which has then cultivated to one of the most important Samba albums. Traveling through the masculine sphere of the world of Samba composers, we see the emergence of the song “Sorriso Negro”, directly translating to Black smile. Composed by Dona Ivone Lara, this song explores the concepts of race and gender and is a representation of the political tensions at the time. Not only has she contributed musically but she has also been a prominent leader in the formation of samba schools and helped with the rising prominence of the musical expression to a national cultural identity within Brazil
. “A black smile
A black hug
Brings happiness
Black without a job
You’re out of peace
Black is the root of freedom
A black smile
Um sorriso negro
Um abraço negro
Traz felicidade
Negro sem emprego
Fica sem sossego
Negro é a raiz da liberdade
Um sorriso negro
Here we see a call for change and we see the formation of a growing black movement. The specific lyrics “Negro sem emprego, Fica sem sossego, Negro e a raiz da liberdade”. These lyrics focus on what it means to be black and the collective struggle towards their plight. As race-blind as modern day Brazil portrays themselves to be, Afro-Brazilians are always reduced down to their race. This song is a reminder of what it means to be Black, that being Black is beautiful and something to be proud about. One of the biggest questions that are being followed throughout is the components of class and race in the portrayal of Samba. How did something go from being known as a “uma colsa de negro” or “black thing” to something that is seen in modern day carnival festivals.
Primary Sources Annotated Bibliography
Lara, Ivone Dona, “Sorriso Negro” (1981). Spotify https://open.spotify.com/track/3RZztlK5Wl3cwQzwh6fF8H?si=1aa4e5b8274c4d2d
- A song that speaks greatly to the tensions of women being involved within the samba schools of Rio de Janiro. The title of this song directly translates to black smile and not just that the album this song is from showcasing themes of forms of political and social tension within Brazil at the time. Dona Ivone Lara is known to be one of the best samba artists of all time
PAUL L. MONTGOMERY. (1970). From New York to Sao Paulo: Delighted Brazilians Samba in the Streets. New York Times (1923-), 69–.
- This New York Times article, although a primary source, is from the perspective of the United States. This article specifically talks about a Brazilian community within New York City breaking out into the streets with lots of samba music, dance and celebration. This article can help us understand the importance of samba music amongst Brazilian national identity and how samba music is oftentimes used in moments of joy, for this specific event, Brazil had won the world cup.
About the Rio Samba Parade during carnival. Rio.com. (n.d.).
- This website talks about the specifics that occur during the carnival festival. While there is a funnier video being played in the first portion of the website, this site provides information such as the prominent samba schools in the region and the different events of the festival. It even goes on to speak about the queen of the drummers and bateria as well as the passistas which are the leading dancers for the carnival festival.
Secondary Sources Annotated Bibliography
Hertzman, Marc Adam. “A Brazilian Counterweight: Music, Intellectual Property and the African Diaspora in Rio de Janeiro (1910s-1930s).” Journal of Latin American Studies., vol. 41, no. 4, 2009, pp. 695–722.
- This article explores the relation of samba music and the national identity of Brazil. Following the struggles of a samba artist named Tio Faustino and the struggles of the African diaspora within this conversation of intellectual property rights over classic samba instruments. Various questions get put into play as we explore his claims of bringing about the instruments of samba music into Brazilian society, such as how did the Bahian culture spread throughout Brazil?
Péreira de Queiroz, M. I., & Péreira de Queiroz, M. I. (1985). The Samba Schools of Rio De Janeiro or the Domestication of an Urban Mass. Diogenes, 33(129), 1–32. https://doi.org/10.1177/039219218503312901
- This is a step-by-step guidebook as to how the infamous Carnival is prepared in Brazil. A glimpse into the process, how much Brazilian culture relies on samba to portray and express Brazilian interests. Listening and broadcasting samba brings about a national identity for the working masses. There is a focus on Rio de Janeiro specifically and how the city prepares its streets for the festival with the involvement of samba schools within the area.
Burns , M. (2019). 31 1/3 Brazil . Bloomsbury Academic .
- This book speaks on the relationship black women have with their male counterparts. One thing I wish I had highlighted more within this research kit is the relationship of gender within the growth of samba. How were men seen compared to women and more importantly what were the differences in how black men and women were perceived. Do people see Bahia as the originator of the culture of samba? Do they see how the openness and inclusiveness of these communities specifically by more prominent women in the community directly had influenced how samba has developed in Brazil?
Glossary
Agogo – A type of instrument used in Samba, has its traditional origins within Yoruba music. One of the oldest instruments used in Samba Music
Black Movement – A movement dedicated to the plight of Afro-Brazilians in Brazil, it’s important to note that this isn’t speaking on one specific movement, but a culmination of movements seen in Brazilian history. For example, there had been a resistance movement against the suppression of a unified Black cultural identity before the military dictatorship and there had also been the presence of a Black soul movement during the 70’s.
Bahia – One of the 26 states within Brazil, with its capital being known as Salvador
Carnival – A festival in Brazil that is celebrated yearly, one of the largest events in the nation. It celebrates the beginning of lent.
Enslaved People’s – A way to refer to former slaves without directly tying them to the conditions of their oppression
Lei de Anistia – Amnesty Law
Little Brazil – Little Brazil specifically refers to an area in New York City full of a Brazilian population seen in the early 90’s
“uma colsa de negro” – directly translates to “a black thing”
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