The Prehistory of Samba: Carnival Dancing in Rio de Janeiro, 1840–1917

1996 ◽  
Vol 28 (1) ◽  
pp. 29-47 ◽  
Author(s):  
John Charles Chasteen
Keyword(s):  
Twentieth Century ◽  
Rio De Janeiro ◽  
Modern Dance ◽  
Social Meaning ◽  
The Social ◽  
Social Dances ◽  
Brazilian Identity ◽  
Afro Brazilian

AbstractRio's pre-Lenten carnival and its Afro-Brazilian dance, samba, have been symbols of Brazilian identity since the 1930s. This article explores the choreographical antecedents of samba, before the crystallisation of the modern dance genre with that name, highlighting the importance of earlier social dances in the evolution of the twentieth-century symbol. It traces the development of carnival dancing in Rio de Janeiro from the time when few danced, through the long reign of the polka, to the emergence of generalised carnival street dancing around 1889. A modified view of the roots of samba has interesting implications for on-going debates on the social meaning of Brazilian carnival.

The Social Life of Dances

Valuing Dance ◽  
2019 ◽  
pp. 89-140
Author(s):  
Susan Leigh Foster
Keyword(s):  
Twentieth Century ◽  
Hip Hop ◽  
Social Life ◽  
Modern Dance ◽  
Wild West Shows ◽  
Studio Instruction ◽  
The Social ◽  
Social Dances ◽  
Private Studio ◽  
Historical Moment

Chapter 3 pursues the thesis that commodity and gift forms of exchange are interconnected and inseparable. It does this through an examination of three case studies: hip-hop, private dance studio instruction, and powwow. The recent histories of these three examples is examined alongside some of their antecedents at the beginning of the twentieth century. Hip-hop is located along a continuum with the early twentieth-century African American social dances that fueled a dance craze taking place in the urban United States. Private studio instruction is traced back to the social and modern dance instruction offered by entrepreneurial teachers who codified and sold those dances. Powwows are connected to the Wild West shows and other exhibitions of Native dances that brought Native peoples into greater contact with one another and with white audiences. Analyzing the development of these dance practices over time enables a more focused inquiry into the values and belief systems that infuse dance in a given historical moment and the ways that these connect to larger systems of shared values. Each example also calls attention to the way that commodification yields values that collude with forms of social and political domination including racialization and racist ideologies, Orientalism and exoticism, and colonial settler logics.

scholarly journals Spirit of the Place and the Place of the Spirit

2021 ◽  
Vol 57 (2) ◽  
pp. 209-30
Author(s):  
John Björkman
Keyword(s):  
Twentieth Century ◽  
Social Norms ◽  
Common Ground ◽  
Social Role ◽  
Belief Systems ◽  
Social Meaning ◽  
Border Zones ◽  
The Social ◽  
On Farm ◽  
Village Society

Southwest Finnish folklore recorded in the early twentieth century contains a wealth of legends about local spirits, residing and acting both in the wilderness and on farm premises. They belong to belief systems that express social norms and regulations. Many of the legends contain enough information to allow us to locate exactly where local spirits are said to appear or interact with people. In this paper I study these locations and their place in the structure of village society, using historical village maps. The results shed new light on the nature of borders and boundaries in folklore and vernacular belief, as well as on the view of the social meaning of local spirits. Borders and border zones are common ground between several societies, lacking a clearly defined master. In places of uncertain mastery local spirits, endowed with taboos and the authority of the surrounding societies, play a social role in regulating the activities of people on such common ground.

The End of Heart Balm

2011 ◽  
Author(s):  
Joanna L. Grossman ◽  
Lawrence M. Friedman
Keyword(s):  
Twentieth Century ◽  
Sexual Intercourse ◽  
Sexual Revolution ◽  
Social Meaning ◽  
Married People ◽  
The Social ◽  
Traditional Marriage ◽  
Century Development

This chapter considers the decline and fall of a group of closely related causes of action: breach of promise of marriage, alienation of affections, criminal conversation, and perhaps even civil and criminal actions for “seduction.” The story here is tangled and complex; no one factor explains why these causes of action lost ground. But they are connected with the social meaning of marriage, and very notably, with one striking twentieth-century development: the sexual revolution—specifically, the end of the idea that only married people were entitled, legitimately, to have sexual intercourse. These causes of action lived in the shadow of traditional marriage, and depended for their validity on traditional marriage. As it declined, they too receded into history, although not entirely.

scholarly journals Variability of artistic and aesthetic features of social dance Brazilian Zuk and its bedding

2021 ◽  
Author(s):  
Anastasia Zhuravleva
Keyword(s):  
Modern Dance ◽  
Dance Movement ◽  
Social Dance ◽  
Smooth Flow ◽  
The Social ◽  
The Gift ◽  
Domestic Art ◽  
Social Dances ◽  
Individual Type ◽  
Theoretical Generalization

The purpose of the article is to identify the genre, stylistic and rhythmic specifics of the social dance Brazilian Sound, as well as to theorize the artistic and aesthetic features of the new dance backgrounds developed on its basis. Methodology. A typological method was applied, thanks to which the main characteristics of the social dance Brazilian Zuk were determined; figurative-stylistic and formal-stylistic method, which helped to identify a system of typical forms and lexical features inherent in the dance and developed on its basis substrates; the method of comparative analysis, which revealed the common and distinctive features of the traditional social dance Brazilian Sound and innovative backgrounds created on its basis; method of theoretical generalization, which helped to summarize the results of the study. Scientific novelty. The process of origin and development of one of the most popular social dances of the XXI century is studied. Brazilian Zuk; the compositional features of the Brazilian Sound were identified and analyzed; For the first time in domestic art history the genre-stylistic and rhythmic features of the main sub-styles (Rio-zouk style, Porto-Seguro style, M-zouk, Neo-zouk) and sub-styles (Modern zouk, Soulzouk R&B zouk) of the Brazilian Zuk are considered and the specificity of their art is revealed. aesthetic variability. Conclusions. The study found that the Brazilian Sound is an independent style of modern dance art, which is characterized by a number of features: the atmosphere of performance (platforms for social dances, dance conferences, seminars, etc.); creating a composition of the Brazilian Sound is usually a collective process - the authorship of style and background belongs to talented dancers, who are endowed with the gift of improvisation and specific temperament; special individual type of dance movement: the basic sequence of steps is connected with metrorhythmic features of musical accompaniment; a specific combination of plasticity, flexibility, and rotations creates individual dance backgrounds: acrobatic Acro Zouk, smooth Flow Zuk, contrast Zuk Revolution, improvisational M-zuk, inflammatory Lambazuk, philosophical-hypnotic Neo-zuk, and others. Prospects for innovative research in the field of genre-style interaction of the Brazilian Sound and modern dance trends are the unique basis of dance, which is positioned as the initial impetus for further lexical and rhythmic-intonational choreographic experiments and depends on the peculiarities of musical material. Keywords: Brazilian Zuk, social dance, artistic and aesthetic features, M-zuk, Neo-zuk, Lambazuk.

scholarly journals Um Brasil Maxixe: Representações Culturais e Identitárias em Composições desse Gênero Musical

ILUMINURAS ◽  
2019 ◽  
Vol 20 (50) ◽  
Author(s):  
Débora Bender ◽  
Juracy Assmann Saraiva
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Convergence Theory ◽  
Late Nineteenth Century ◽  
Musical Genre ◽  
Late Nineteenth ◽  
Brazilian Identity ◽  
Brazilian Culture ◽  
Afro Brazilian

Resumo: A teoria da sustentação da identidade brasileira sobre o amálgama de  três raças, que surgiu na virada do século XIX para o século XX, foi uma tentativa de compreender e de explicar a cultura brasileira. Ela pressupunha a miscigenação como resultado da convivência harmônica de três raças –  a branca, a indígena e a negra  ̶  e como marca fundamental da identidade brasileira, concepção que deixou resquícios no imaginário nacional e estrangeiro e ainda vigora na atualidade. O maxixe, que se efetiva pela ruptura e pela articulação de ritmos europeus e afro-brasileiros, pode ser considerado reflexo desse processo. O presente artigo investiga representações culturais e identitárias, expressas em letras de quatros maxixes que alcançaram sucesso no Brasil, no final do século XIX, para discutir sua correlação com a teoria da convergência das três raças. Palavras-chave: Maxixe. Representação. Cultura. Identidade. Miscigenação.  A BRAZIL MAXIXE: CULTURAL AND IDENTITY REPRESENTATIONS IN COMPOSITIONS OF THAT MUSICAL GENRE  Abstract: The theory of the three races, which emerged at the turn of the nineteenth century to the twentieth century, was an attempt to understand and explain the Brazilian culture. It presupposed the miscegenation as a reflection of the harmonious coexistence of three ethnicities  ̶  the white, the indigenous and the black  ̶  and as a fundamental mark of the Brazilian identity, conception that left traces in the national and foreign imagery until the present days. The maxixe, since it is configured in the disruption and in the articulation of European and Afro-Brazilian rhythms, can be considerer as a reflex of this process. This article investigates the Brazilian cultural and indentity representations present in the lyric of four maxixes, which were successful in Brazil, in the late nineteenth century, to discuss its correlation with the convergence theory of the three races.  Palavras-chave: Maxixe. Representation. Culture. Identity. Miscegenation.

Addressing the Social Determinants of Health

2019 ◽  
Vol 101 (4) ◽  
pp. 357-395 ◽  
Author(s):  
Saty Satya-Murti ◽  
Jennifer Gutierrez
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Social Determinants Of Health ◽  
Social Determinants ◽  
Social Activism ◽  
Determinants Of Health ◽  
Medical Attention ◽  
Community Center ◽  
Early Twentieth Century ◽  
The Social

The Los Angeles Plaza Community Center (PCC), an early twentieth-century Los Angeles community center and clinic, published El Mexicano, a quarterly newsletter, from 1913 to 1925. The newsletter’s reports reveal how the PCC combined walk-in medical visits with broader efforts to address the overall wellness of its attendees. Available records, some with occasional clinical details, reveal the general spectrum of illnesses treated over a twelve-year span. Placed in today’s context, the medical care given at this center was simple and minimal. The social support it provided, however, was multifaceted. The center’s caring extended beyond providing medical attention to helping with education, nutrition, employment, transportation, and moral support. Thus, the social determinants of health (SDH), a prominent concern of present-day public health, was a concept already realized and practiced by these early twentieth-century Los Angeles Plaza community leaders. Such practices, although not yet nominally identified as SDH, had their beginnings in the late nineteenth- and early twentieth-century social activism movement aiming to mitigate the social ills and inequities of emerging industrial nations. The PCC was one of the pioneers in this effort. Its concerns and successes in this area were sophisticated enough to be comparable to our current intentions and aspirations.

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