Afro-Brazilian Heritage and Slavery in Rio de Janeiro Community Museums

2013 ◽  
pp. 219-237
2017 ◽  
Vol 14 (1) ◽  
Author(s):  
Mário de Andrade

Abstract “The music of sorcery in Brazil” was given as a lecture by Mário de Andrade to the Brazilian Music Association (Associação Brasileira de Música), in Rio de Janeiro, in 1933. The author never managed to complete its revision for publication. This was undertaken by Oneyda Alvarenga, who published the text of the lecture and a series of related documents in Volume XIII - Música de Feitiçaria no Brasil-of the Complete Works of Mário de Andrade (Editora Itatiaia/Instituto Nacional do Livro, 1983, p.23-70). The author is in search for the role of music, with its distinctive rhythms and melodic form, in the mystical trance of Afro-Brazilian religions. The text combines the flavour of his direct research experience in the catimbó of the Brazilian Northeast; his erudite bibliographical studies that were strongly influenced by evolutionary and diffusionist anthropology at the end of the 19th century and beginning of the twentieth; and an analysis of the music of macumba in the Rio de Janeiro around the 1930s as found in the recordings that Andrade so much enjoyed collecting and listening to.


Author(s):  
Jeffrey D. Needell

The Introduction lays out the past and recent historiography to explain the necessity for this book, emphasizing its focus on parliamentary history (poorly understood and generally ignored over the past fifty years), Afro-Brazilian mobilization (here restored to its primacy in the origins and constitution of the movement), and Rio de Janeiro (cockpit of imperial politics). It also emphasizes the importance of understanding the movement’s history chronologically, as something born of the interactions between itself and parliament, the monarch, and the Afro-Brazilian middle class and masses in Rio over time. Finally, it provides a brief account of the contents of each chapter


1996 ◽  
Vol 28 (1) ◽  
pp. 29-47 ◽  
Author(s):  
John Charles Chasteen

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.


2006 ◽  
Vol 38 (1) ◽  
pp. 149-177 ◽  
Author(s):  
KIT McPHEE

This article examines the experiences of the Afro-Brazilian coffee transport workers of Rio de Janeiro's port district in the generation following the abolition of slavery in 1888. While they have been condemned by some scholars as reformist and placatory, this article argues that these Afro-Brazilians aggressively contested the new ‘free labour’ regime and the thousands of immigrant labourers who arrived to compete with them. Indeed, far from marking them as passive recipients of state paternalism, the subsequent decision of the port workers to seek an alliance with the state points to the importance of nativism as a middle-ground upon which successive Brazilian governments and Afro-Brazilians could meet.


Author(s):  
Matthias Röhrig Assunção

Capoeira is a martial art that developed from combat games enslaved Africans brought to Brazil. It is systematically documented since the beginning of the 19th century in Rio de Janeiro and later in other port cities. During the 19th century capoeira was increasingly practiced by the poor free people, black and of mixed ancestry, and also by white immigrants. Capoeira gangs controlled their territories against intruders and allied with political parties until the Republican purge of 1890. Capoeira survived best in Bahia, where it remained more associated with other forms of Afro-Brazilian culture and acquired many of its features still extant in present-day capoeira. From the 1930s onward, capoeira masters such as Bimba and Pastinha modernized capoeira, leading to the emergence of the Regional and Angola styles. Bahian capoeiristas migrated to Rio de Janeiro and São Paulo in search of better opportunities during the 1950–1970s. There they and their students developed what later became known as “Contemporary capoeira” (Capoeira Contemporânea) which is the most practiced style today. Capoeira was and is practiced in various ways: as a friendly game or as a fight, as a combat sport, or as an Afro-Brazilian cultural activity. Since the 1980s, capoeira has undergone a process of globalization and is now practiced in many countries around the world. Capoeira is the only martial art of the African Diaspora that is known and practiced worldwide. Writing on Capoeira has rapidly grown in a number of disciplines, leading to the constitution of its own interdisciplinary field of study.


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