![]() The musical form of Samba rose in popularity in the 1920s, establishing itself as a firm favorite for Carnaval Brasileiro. However, in 1917, the Samba Carnavalesco was presented to the public by Ernesto dos Santos, or Donga, son of Tía Amelia, in the song “Pelo Telefone” (on the telephone). With the advent of migration south, blocos formed the basis of the first escolas de samba. Thus looked down on by European settlers and upper class citizens, samba was practiced often in secret societies. Angenor de Oliveira, a pioneer of Samba, has been quoted as saying “ In my childhood, we played the Samba in the backyards of the old ladies, whom we call tias, and the police stopped us often, because the Samba, then, was considered a thing of bums and bandits.” Initially, the practice and dance expression of samba was prohibited for it was perceived as obscene, improper and in bad taste in the view of Brazil’s upper class. Accompanied by percussion music, blocos (groups of dancers) sung and danced in celebration of Carnaval through their neighborhoods and neighboring favelas (shanty towns). Continuing the practice of samba, Escolas de Samba (samba schools) were established as a creative and artistic outlet for poor communities. When slavery came to an end, mass migration to Rio from Bahia commenced. ![]() The first officially broadcast samba song, entitled “Pelo Telefone”, was recorded in the terreiro of legendary Tia Ciata in Praça Onze, Cidade Nova (Rio). Gathering in the homes of well respected Baianas, people would create and compose samba variations. During these religious ceremonies, samba de roda was danced to the beat of African drum and percussion. Terreiros da Candomble (religious houses) were founded by Bahian priestesses also known as Tias (Aunts) or Baianas (Bahian Aunts), to invoke the gods through song and dance. Samba emerged as a musical genre after its birth in the region of Bahia known as “Little Africa”. However, in samba there are no undulations of the hips. Used as a means of celebrating and religious worship, the semba follows an ancient rhythm, accompanied by a dance form similar to present day samba with emphasis placed on the undulations of the hips and belly. It is believed that Angola’s traditional semba music lies at the founding heart of Brazilian samba. It is also noted that the word Samba is the infinitive of “kusamba” which literally means “to pray” or to invoke favor of the gods through rhythm, song, and dance. In the African Bantu language known as Kimbundo, brought to Brazil by slaves taken predominantly from Angola, “Semba” signifies “naval bump” which depicts the intimacy and “invitation” to dance, a feature common in many Afro Brazilian forms. The word “Samba” is derived from the word “Semba”. ![]() When slavery in Brazil was abolished in 1888, former slaves from Bahia migrated south to Rio, which is currently the base of Samba. The northeastern state of Bahia, cradle of many Afro-Brazilian traditions, is home to the origins of Samba music. With its link to the yearly Carnaval (Brazilian Carnival), samba has come to symbolize racial and social harmony. As a musical genre, samba combines the rhythmic percussion tempo variation with the sounds of the pandeiro, reco reco, tamborim and cuica to name a few, giving it its distinct sound and vibe. Though its origins are widely disputed, the genre can be placed as having its roots origins in the traditional religious ceremonies brought to Brazil by African slaves. Over the years, it has been exported worldwide, and fused with contemporary music to its success. Samba remains a popular Brazilian dance form and musical genre. Your Connection to traditional and contemporary World Music, including folk, roots, global music, ethno and crosscultural fusionsĬontributed by By Chilemwa Harriet Nkowane.
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