Everything about Samba totally explained
Samba is one of the most popular forms of music in
Brazil. It is widely viewed as Brazil's national musical style.
Etymology
The name
samba most probably comes from the
Angolan
semba (
mesemba), a type of ritual music, but there are controversies. Portuguese ethnographer and folklorist
Edmundo Correia Lopes talks about a dance from the
Portuguese Guinea to which Brazilian people gave the name of samba, which would be, according to him, a very close relative to Brazilian samba.
According to
sambista and samba studies academic
Nei Lopes,
the origin of the term samba has always been connected to semba, a Congo-Angolan style of dance characterized by the bellybutton-bump with which the gentleman distinguishes the lady, gesture which was reenacted in old afro-Brazilian dances. However, much more than bellybutton, the multilingual African term semba also means "pleasing, enchanting" (in Kimbundo), besides "honoring, revering" (in Kikongo). From semba originate disemba and masemba which, then yes, mean bellybutton-bump, respectively in Angolan Kimbundo and in Kikongo.
Nei Lopes also points out it should be observed that the bellybutton-bumpy trump, much more than the "gross representation of the sexual act" as was pointed out by Portuguese missionaries of the colonial times, represented an affability, an act of seduction and a reverence from the man towards the woman.
"Samba" is also a surname among the people of the
Wolof nation who primarily live in the
Senegambia
History
Samba origins
The origin of samba is from an Afro-Brazilian couple dance, which was imported from certain circle dances that originated from Angola and the Congo. Characteristic of the
umbigada or folk samba is the way the couples dance navel to navel. In its origins, singing always accompanied the dancing. Just as important is influence from
Portugal and Europe, from where come samba's relatively intricate
harmonies and harmonic instrumentation.
Samba first appeared as a distinctive kind of music at the beginning of the 20th century in
Rio de Janeiro (then the capital of
Brazil) under the strong influence of immigrant black people from the Brazilian state of
Bahia. The title "
samba school" ("escola de samba") originates from samba's formative years. The term was adopted by larger groups of samba performers in an attempt to lend acceptance to samba and its performance; local campuses were often the practice/performance grounds for these musicians and "escola" gave early performers a sense of legitimacy and organization to offset samba's somewhat controversial social atmosphere. Despite some similarities,
jazz and samba have distinctively different origins and line of development - one of the factors which adds to this is that Brazilian slave owners allowed their slaves to continue their heritage of playing drums (unlike U.S. slave owners who feared use of the drum for communications).
"Pelo Telefone" (1917), by
Donga and
Mauro Almeida, is generally considered the first samba recording. Its great success carried the new genre outside the black
favelas. Who created the music is uncertain, but it was most probably the work of the group around
Tia Ciata, among them
Pixinguinha and
João da Bahiana. Bossa nova gained worldwide popularity through the works of
João Gilberto and
Antonio Carlos Jobim, among others, and arrived in North America via Gilberto's albums with American
jazz saxophonist
Stan Getz, and Jobim's soundtrack to the 1959 film
Black Orpheus.
Samba in the 1960's
In the 1960s, Brazil became politically divided with the arrival of a
military dictatorship, and the leftist musicians of bossa nova started to gather attention to the music made in the
favelas. Many popular artists were discovered at this time. Names like
Cartola,
Nelson Cavaquinho &
Guilherme de Brito,
Velha Guarda da Portela,
Zé Keti, and
Clementina de Jesus recorded their first albums.
Samba in the 1970's
In the 1970s, samba returned strongly to the air waves with composers and singers like
Paulinho da Viola,
Martinho da Vila,
Clara Nunes, and
Beth Carvalho dominating the hit parade. Great samba lyricists like
Paulo César Pinheiro (especially in the praised partnership with
João Nogueira) and
Aldir Blanc started to appear around that time.
Samba from 1980 to present
In the early 1980s, after having been eclipsed by the popularity of
disco and
Brazilian rock, Samba reappeared in the media with a musical movement created in the suburbs of Rio de Janeiro. It was the
pagode, a renewed samba, with new instruments – like the
banjo and the
tan-tan – and a new language that reflected the way that many people actually spoke with the inclusion of heavy
gíria (
slang). The most popular artists were
Zeca Pagodinho,
Almir Guineto,
Grupo Fundo de Quintal,
Jorge Aragão, and
Jovelina Pérola Negra..
Samba, as a result, morphed during this period, embracing types of music that were growing popular in the
Caribbean (
rap,
reggae, and
rock). Examples of Samba fusions with popular Caribbean music is samba-rap,
samba-rock and
samba-reggae, all of which were efforts to not only entertain, but to unify all Blacks throughout the Americas culturally and politically, through song. In other words, samba-rap and the like, often carried lyrics that encouraged Black pride, and speak out against social injustices. Samba, however, isn't accepted by all as the national music of Brazil, or as a valuable art form. What appears to be new is the local response flow, in that instead of simply assimilating outside influences into a local genre or movement, the presence of foreign genres is acknowledged as part of the local scene: samba-rock, samba-rap.But this acknowledgment doesn't imply mere imitation of the foreign models or, for that matter, passive consumption by national audiences. Light-skinned, "upper-class," Brazilians often associated Samba with dark-skinned blacks because of its arrival from
West Africa. As a result, there are some light-skinned Brazilians who claim that samba is the music of low-class, dark-skinned, Brazilians and, therefore, is a "...thing of bums and bandits."
Samba continued to act as a unifying agent during the 1990s, when Rio stood as a national Brazilian symbol. Even though it wasn't the capital city, Rio acted as a Brazilian unifier, and the fact that samba originated in Rio helped the unification process. In 1994, the World Cup had its own samba composed for the occasion, "Copa 94." The 1994 World Cup, in which samba played a major cultural role, holds the record for highest attendance in World Cup history . Samba is thought to be able to unify because individuals participate in it regardless of social or ethnic group. Today samba is viewed as perhaps the only uniting factor in a country fragmented by political division
The Afro-Brazilians played a significant role in the development of the samba over time. This change in the samba was an integral part of Brazilian nationalism, which was called "Brazilianism".
"What appears to be new is the local response
to that flow, in that instead of simply assimilating outside influences
into a local genre or movement, the presence of foreign genres is acknowledged
as part of the local scene: samba-rock, samba-reggae, samba-rap.
But this acknowledgment doesn't imply mere imitation of the foreign
models or, for that matter, passive consumption by national audiences." Gerard Béhague
Selected Reports in Ethnomusicology ) Pg. 84
Samba in Japan
Samba is extremely popular in Japan, especially in its more traditional forms; so much that some
sambistas like
Nelson Sargento,
Monarco, and
Wilson Moreira have recorded specifically for the Japanese market and frequently tour the country.
Samba today
Today, samba is still one of the most popular musical genres in America.
Samba in the future
Subgenres
Common Samba
Samba is characterized by a syncopated 2/4 rhythm with a muted beat and a main beat, usually played by a
surdo (bass drum) or
tan-tan. Another important element is the
cavaquinho, also known as
cavaco (a small, four-stringed instrument of the
guitar family, brought by the Portuguese; Hawaiian
ukulele is a derivative). The cavaquinho is the connection between the harmony section and the rhythm section; its presence usually differentiates real samba from softer variations such as
Bossa Nova (although some samba recordings don't use the cavaquinho, including many by
Chico Buarque). The
pandeiro (
tamborine drum) is the most present percussive instrument, the one whose beat is the most "complete". A
violão (acoustic guitar) is usually present, and its presence in samba popularized the
7-string variation, because of the highly sophisticated counterpoint lines used in the genre in the lower pitched strings. Samba lyrics range from love songs, through
futebol (soccer), to politics and many other subjects. This subgenre supersets all others.
Famous artists who play "common samba" include
Beth Carvalho,
Paulinho da Viola,
Zeca Pagodinho,
Wilson Moreira,
Teresa Cristina & Grupo Semente.
Partido Alto
This phrase is used to name a type of samba which is characterized by a highly percussive
pandeiro beat, with use of the palm of the hand in the center of the instrument for snaps. Partido alto harmony is always in a
major key. Usually played by a set of percussion instruments (
surdo,
pandeiro,
tamborim) and accompanied by
cavaquinho and/or
violão, partido alto is commonly divided in two parts, a chorus and the verses.
Partideiros (partido alto musicians) often improvise on the verses, with disputes being common, and highly skilled improvisors have made their fame and career on samba, as
Zeca Pagodinho, who isn't only a great overall sambista but one of the best improvisors.
Famous partido alto artists include
Candeia,
Jovelina Pérola Negra,
Grupo Fundo de Quintal,
Zeca Pagodinho, and
Bezerra da Silva.
Pagode
This is the most widespread form of samba in Brazil. It started as a movement in the 1980s when three new instruments were introduced with
Grupo Fundo de Quintal and others at
Cacique de Ramos: the
tan-tan - a more dynamic
surdo; the
banjo (samba) (with the same dimensions and tuning as the
cavaquinho); and the
repique de mão ("ringing of the hands") - an instrument derived from the repique de anel, based on the samba enredo repiniques, and commonly used for percussive turnarounds. Usually sung by one singer and accompanied by
cavaco,
violão and at least one
pandeiro, pagode is sung at most parties and informal meetings, being universally found at open-air bars and cafés. Lyrics are playful, usually around love engagement or some funny stunt.
Famous pagode artists include
Grupo Fundo de Quintal,
Leci Brandão,
Jorge Aragão,
Almir Guineto and
Zeca Pagodinho.
Pagode Romântico
» This is a newer manifestation of pagode, that keep the same rhythm of the traditional Pagode but includes a little of romantic melody, often frowned upon by the most serious
sambistas, and considered to have started gaining force in
São Paulo. It has strong use of what many consider apelative love lyrics, and the way of singing changed to a more delicate, sensually appealing tone, although artists who perform these songs sometimes sing some more traditional sambas in between too.
It became very popular among lower classes and somewhat popular among the urban middle classes in Brazil. In the new millennium also neo-pagode has diminished in popularity, though it still receives some airplay. Today both styles of Pagode are popular together.
» Famous artists associated with pagode romântico include
Exaltasamba,
Raça Negra,
Katinguelê,
Turma do Pagode,
Karametade and
Kiloucura.
Neo-pagode
» The now
umbrella term pagode is also used to label a derivative developed in the northeastern state of
Bahia in the 90s. This newer music uses either stronger sexually appealing lyrics or childish lyrics. Some groups were considered a sign of decadence for brazilian music by many. This third style presents some other influences such as
Samba duro,
Samba-de-roda,.
» Famous neo-pagode artists include:
É o Tchan,
Gera Samba,
Harmonia do Samba,
Swing e Simpatia,
Terra Samba.
Samba de breque
A now defunct type of samba that had as a distinctive feature being interpolated with spoken parts,
often dialogues. Singers had to have an excellent vocal gift, as well as ability to make different voices. Lyrics usually told stories and were funny.
Breque doesn't mean "to break": it was the old Brazilian slang for "
brake" because the songs featured many "stops".
Famous artists:
Moreira da Silva
Samba-canção
Radio-friendly romantic and slower variation of the rhythm, samba-canção was mostly the Brazilian counterpart to popular Latin American rhythms like
Tango or
Bolero, both very popular in Brazil until the 1960s. This style of samba also received a lot the influences of American Ballad from 1950 to 1990. Themes ranged from lyrical to tragical.
Famous artists:
Ângela Maria,
Maysa,
Nélson Gonçalves,
Cauby Peixoto,
Lindomar Castilho,
Jamelão and
Agnaldo Rayol.
Samba-enredo
A
samba-enredo is a song performed by a
samba school in
Rio de Janeiro during its yearly
Carnival parade. The term also refers to particular style of samba music typical of such songs.
Samba-enredo is well known internationally due to Rio de Janeiro's longstanding status as a major tourist destination during Carnival and to the fact that many percussion groups have formed around the world inspired by this type of samba.
Sambas-enredo are recorded and played on the radio during the period leading up to Carnival. They are generally performed by male vocalists accompanied by
cavaquinho and a large
bateria (percussion group) producing a dense, complex texture known as
batucada. They heavily emphasize the second count of the measure driven by the bass notes of the
surdo drums.
Rio de Janeiro's
baterias have provided inspiration for the formation of percussion groups around the world, especially in Western countries. These groups generally don't use vocals or cavaquinho, focusing instead on percussion grooves and numerous breaks. These groups operate year round, unlike in Brazil where activity is now confined to the months preceding Carnaval.
Samba-enredo used to be played year round, though often as an exercise on virtuosity.
Famous artists:
Neguinho da Beija Flor,
Jamelão,
Martinho da Vila.
Samba de Gafieira
Samba de Gafieira is a lively, big band-influenced dance jazz of the pre-bossa nova nightclubs, and is one of Brazil's least well-known styles because it was eclipsed by the suave glamour of the bossa crowd and the various waves of rock and samba crossovers that followed.
Gafieiras were dancehalls, homes to dancers and dance bands, and (in the best Brazilian tradition) many of the best bandleaders, such as Severino Araujo, Radames Gnattali and Zacharias, drew on many sources to craft their music. They played the kinetic frevo and choro styles, incorporated the muscularity and elegance of North American swing, and eventually gave in to the wave of mellower pop instrumentals and vocal music of the so-called "radio singers" era.
Other variants
- Bossa nova ("new beat") is essentially a type of samba, played with jazz instruments and sung with softer voices.
- Samba-Reggae, also known is a new poppish type of samba from Bahia (from 2001 onwards). The rhythm is influenced by Reggaeton, Calypso and Latin melodies.
- Samba de Roda is a ritual dance preserved in some Bahian towns. It usually refers to Samba being performed in a Capoeira roda (roda refers to the formation of the capoeiristas (capoeira players) in a circle)
- Samba-exaltação ("Exaltation Samba") is a subgenre inaugurated by Ary Barroso's popular song "Aquarela do Brasil".
Other forms
Many Brazilian singers eventually recorded samba, though they were not faithful to the original character of the genre.
Jorge Ben Jor for instance mixed samba with rock, funk and jazz and composed songs dealing with unusual themes, like esotherism ("Os Alquimistas Estão Chegando" -- The Alchemists are Coming) or history of
India ("Taj Mahal").
Further Information
Get more info on 'Samba'.
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