Samba Influence
Samba: Roots and Influences
Introduction
Samba is one of the most popular forms of Brazilian music in the world. Its roots, strongly from Africa add to its history and power as an expressive outlet. Samba comes from the word “semba” of the Bantu language of South Africa which refers to dance and clapping of hands in a circular formation. Today, Samba is celebrated most widely through one of Brazil’s national celebration of Carnaval, located most famously in the Sambódromo of Rio de Janeiro. Samba schools participate in the parade where they are expected to present new developments of the musical tradition. Although Samba is deeply engrained in Brazil’s national heritage, these festivities have become commercialized for touristic purposes. …show more content…
A look at the history of its musical development will enable present generations to appreciate its beauty and why its commercialization might benefit national economy but it will likewise bury the pureness of its expression (Oliven 104).
History
In the era of slavery, many tribes in African countries suffered national attacks and oppression. African slaves were consequently shipped to varied nations all over the world where they were sold as slaves into varied industries. Despite the grim history of slavery, it also provided the roots for the integration of African culture into the Brazilian way of life. African culture began to manifest in Brazilian food, religion, features, art, and music. It was a long time before the slavery was abolished in 1888, so the Brazilian way of life provided a convenient outlet for African culture to thrive. It also provided the Africans with a sense of hope to their prevalent miserable status due to abuse and torture. Because of the contrasts in cultures and traditions, the heritage of the combination of races resulted in varied expressions that are both beautiful and contradictory with each other (Galinski 121).
The Quilombos planted samba’s Latin American roots to the flouring musical expression it is today. Quilombo refers to a place where many black fugitives would live, notably in deserted areas with no decent structures for shelter. The term itself is Bantu-Angolan, and used as a form of autonomy from the South American countries. In the middle of the eighteenth century the government formed the Overseas Council with the primary aim to manage colonies. The proclamation resulted in centralism which prompted protests from the colonies and triggered the rise of Quilombos, which comprised of descendants from Africa and other ethnic groups (Anku 212).
The resistance of the Quilombos gave rise to the cultural heritage and survival of African Samba through the efforts of ethnic groups such as Ewe, Yoruban and Fon, among others. In these trying times, music brought these protestors of various African descents together in a venue for expression of their traditions and cultures. Their unity also provided refuge in a place where most of them felt lost and unwanted. The government was able to disband the Quilombos in the eighteenth century by putting them in jail or secluding them back to their previous dwellings. Eventually, they were emancipated through a proclamation by Brazil’s Princess Isabel in time for its political independence from Portugal in the late nineteenth century. By this time, the musical tradition that thrived in an era of protest had developed through venues like Brazilian carnavals which used many cultural rhythms and influences from Africa (Sheriff 24).
Musical groups such as Embaisada Africana, Imperio da Africa and Pandecos da Africa emerged in Bahia. These groups had the same African sound but were segregated by the regions in Africa from which they originated. Another factor that distinguished them from each other was the way their African rhythms incorporated with the Brazilian sound and way of life. Before the twentieth century, Bahians held a carnival that replicated the festivals in African countries. This tradition established a cultural heritage that would remain through the rest of the musically rich twentieth century (Sheriff 15).
The musical development of samba became a source of gratification among the varied ethnicities in Brazil. It also triggered the emergence of numerous samba schools and other musical contributions by the Afro-Brazilians, like the blocos afros and afoxes. Aside from the unstoppable influence of samba, the afoxe also highlighted African sound with the use of a gourd musical instrument surrounded by strung beads. The music was manifested through Gege-Nago rhythms and dances outside the temples during liturgical ceremonies in an Afro-Brazilian religion. The bloco-afros, on the other hand, refer to the celebration of musical consciousness that was thriving among Afro-Brazilians (Anku 220).
Samba has evolved into many different styles like the Samba de terreiro, samba-canção, samba-corrido, samba-lenço samba-enredo, samba exaltação samba-chulado, samba de quadra, samba de breque, sambalada, samba de partido-alto, samba de exaltação, samba carnavalesco, sambalanço, samba de gafieira, samba-choro and samba-batido. These samba variations integrate unique lyrical structures where its variations move slowly at first turning the beats eventually into fast rhythms (Anku 25).
The styles evolved according to the community where traditions and religions strived, different regions prompted people to use different kinds of instruments and musical patterns.
The development and evolution of samba music was largely contributed to by the black population’s migration into different states. Wherever they settled, it established an advantageous ground for the development of samba music. Their migration not only formed a mixture of races but also a mixture in Samba styles. In Rio de Janeiro, composers like Donga, Joao da Baiana and Pixinguinha started composing samba music at the same venue called Aunt Ciata’s Place believing that the namesake’s ability in cooking would contribute to the excellence of their music. Aunt Ciata’s Place also became a meeting place for musicians from all over the land. It likewise became a refuge for those who were struggling to make transitions in their music. The arrival of radio in the country elevated the status of samba into a fashionable form of music making it the most popular one of the era. (Rafael …show more content…
79).
Ismael Silva, one of the more famous samba composers of the time established the first samba school that at the time commonly practiced their music in a vacated lot near a college institution. Although they did not interact with or were taught by professional teachers, they still became teachers in their own right. The most popular samba music makers of their time were indeed more knowledgeable of their subject than any professors in the nearby universities and colleges. Samba schools were founded through the idea of escolar which is the incorporation of shared musical experiences of people in the community. Establishing a samba school, therefore, involved the cooperation of thousands of musicians and artists that were willing to contribute their knowledge in music, art, costume-design and other crafts (Rafael 80).
African Timelines of Samba
Samba music is marked by intensified responsorial crooning with focus on percussive interaction and accented rhythm. It is inscribed in a 2/4 meter with a structure comprising a stanza, refrain and various interconnected lines. Its second beat has the strongest accent which is an effect of the integration of African and Brazilian musical influences. During its early evolution, samba was referred as a verb in the present tense that meant to celebrate oneself by participating with a collective celebration. Its swing and rhythm has changed over the years because of the nature of its purpose, which integrally is to forget the moment, notoriously related to class struggle, and simply celebrate through music. Samba writers believed that the evolution of samba, manifested in the increased beat of the drums, contributed to its main purpose which is to be danced. Its older rhythms which had a swing or a marching rhythm prompted the evolution to a more upbeat form that was more suitable for the general movements of singing and dancing (Anku 225).
Kubik in this Theory of African Music asserts that ostinato percussive lines are the powerful models in African music-making. So are other music concepts found in samba like the responsorial singing, basic and gross pulses, and interconnected playing. Kubik defines these concepts of African music-making as authoritative elements that are experienced in many forms of African music, particularly in Central and West Africa (Kubik 43). Additionally, he says that the timelines of the music are well structured that they are virtually the music’s backbones (17). The patterns of such African music are also referred as standard patterns of rhythm to signify a stable span of time (Kubik 151).
Another theorist, Agawu, agrees and coins the term “topoi” referring to a point of reference in terms of time (72). However, these repetitions in patterns are not just used in reference to time but a means of conceptual guideline in terms of rhythm for every part of the musical mixture of instruments and vocals. Timelines can be conveyed as a repetition through a concrete sound, usually coming from elevated beats of drums and instruments made of wood or metal. It may also be contained in the combination of music (Agawu 76). It only confirms that timelines are used to manage more than time but also other elements in the musical mixture.
In West African music for example, timelines use two unequal halves, which is an example of asymmetric patterns. These timelines are manifested by repetition creating a balance for two contrasting sides. Two sides create equilibrium. Repetitive asymmetry, therefore, creates symmetry and balance in a musical ensemble. It also allows for seamless response and flow of action and reaction. Tension is trailed by an experience of liberation before another kind of tension begins anew. In this sense, tension in the rhythms should not be considered as a struggle or conflict considering that it will only pave the way for a liberating experience in music (Agawu 79). The opposition in rhythms is also advantageously manifested in the fundamental samba dancing where body movements show tension in the next step’s release where the feet supports the dancer’s body weight.
Balanced asymmetry overcame the Middle Passage and was integrated successfully in the New World’s musical process, particularly in Latin American nations such as Brazil and Cuba. In early 19th century, Havana welcomed a large number of Bantus, which paved the way for African-Cuban music. The migration created the Clave rhythm which is the structural principle of rhythm. But it also found expression in other rhythmic phrases and timelines that went along with Clave rhythm. Timbales which have a direct influence of Bantu music are one of the instruments that use such timelines. Its African influence is manifested in the principal timeline referred as Cascara or pattern C, which uses the side of the drum. Timelines that are manifested on the side of the drums are used not just in samba music but also in Batuque and Yuka music which are part of Cuban heritage. It goes to show how the timeline concept overcame odds together with African descendants. It also shows the degree of integration not just in the instrumentations, but as a creative concept (Kubik 127).
The significant idea conveyed by timelines is asymmetry and the accurate location of the notes. However, its relevance is only for stylistic purposes. In analysis, asymmetry has more to do with the seamless flow of release and tension of the rhythm. Tension focuses on the beat’s opposition to the dance. Release focus on the beat’s harmony with the dance steps. According to Agawu, the beat is parallel to the gross pulse (73). West African music, for example, have more than twelve beats expressing the same tension and release flow. The tension happens in beats three, five, six and eight. The release beat happens on the tenth (Kubik 16). The tension happens mainly on the first bar and the release on the second bar. However, in sixteenth beats timeline, the release comes in the first bar while the tension comes in the second bar. The difference in tension and release depends on the degree of integration of African influence with foreign music. Brazilian and Cuban differences in patterns are marked very clearly in terms of the tension and release concept. The Cuban pattern has ten strokes, while the Brazilian patterns are similar to the Angolan pattern, with nine strokes.
The Brazilian timeline pattern is marked by the silence at the second bar, and a missing beat which is particularly shared by Cuban music. The missing beat is commonly recognized by African communities and subsequently by other communities that have adopted and adapted the music (Agawu 78).
The Samba Dance Evolution
There are many influences that contributed to the evolution of the samba dance. Its steps, however, found its origins from a traditional ritual for native African villagers where would gather together in celebration of their heritage through dance and music. A member of the village would be invited to do a pattern samba dance which would involve touching the belly button. The ritual is done with very powerful music that is comprised of wind instruments, most prominently the percussion. Batuque refers to the dance choreography with heavy percussions as accompaniment, which share the same term. The choreography contains “umbigada” which comprised of repetitive belly bouncing and pelvic thrusting. Because of the nature of such choreography, it was considered immoral by many nineteenth century writers. This association with the Bantu heritage of Angola was also manifested in the instrumentation. African descendants danced the Batuque along with sounds of the Basque drum and rattle sound coming from ridges of a thick cane being rubbed by a small stick (Galinski 130).
While the Basque drum is of Arabic origin, the rattle sound was derived from the Cassuto which is of Angolan origins, and was adapted by the Brazilians. In early 19th century, varied cultures in Brazil were already deeply interconnecting with each other. Batuque music was not only experienced in the city but in the rural areas, as well. In the countryside, the umbigada was the common dance. Aside from the Batuque, another common dance was the Lundu which also involved provocative choreography and dance steps. Essentially, the Lundu had the same foundations as the Batuque. In early 19th century, however, the elite community adapted the Batuque and incorporated Iberian fandango choreography. It also developed its own Lundu music to accompany the dance eventually deeming it more decent and acceptable than the Batuque, which was still deemed immoral (Kubik 41).
The Lundu’s popularity prevailed among the lower classes of different races, while the elite classes developed it as a song form (Kubik 111).
It was eventually seen in the theatres as a humorous form of music, considering the suggestive choreography reminiscent of the umbigada and unique lyrics. Today, aside from its apparent contribution to Samba music, Lundu is still being danced in the northern part of Brazil, more commonly as a song form, and rarely as a dance using more subtle choreography. The Lundu is also performed in religious rituals. The Lundu's song form originated in the religious rituals of the Africans of Calundus, the development of its dance, however, may not be appropriate for religious activities but is more connected with courtship dance, which can also be traced from Angola’s messemba which is a pre-wedding ritual. The line between song and dance, secular and religious practices has created problems in the evolution of samba. Dance celebrations were often held after religious rituals and were prohibited by the government’s police forces. Samba suffered such repression triggering sambistas to use religious rituals as fronts for Samba festivities (Galinski
126).
By the twentieth century Samba evolved into a dance that combined the Batuque, Messemba, Lundu, and Maxixe which was a contribution from Europe and the United States. It also had steps from the Polka dance using the music of Cuban Habanera. In the 1930s, the Carioca, a kind of Samba, became popular in the United Kingdom and in the United States. Through movies, Samba likewise became well-known through the help of famous actors like Ginger Rogers, Fred Astaire and Carmen Miranda. Today, Samba’s dance choreography styles include Samba de Roda, Samba de Gafieira, Pagode, Samba Rock and Samba no Pe (Oliven 110).
Commercialization
With its popularity came disadvantages. The demand of Samba music continues to rise of radio stations defying copyright laws. Today, the tradition of Samba is already a mixture of varied cultures. Particularly, the ballroom Samba which was launched in 1956 by Pierre Lavelle is a far cry from the purity of its origins in terms of music (Oliven 105). Commercialization of music, which has affected the music industry as a whole also prevents the development of the musical expression that began as a way of forgetting the moment and the struggles of the time and enjoying the music. However, Samba can still be celebrated for generation to come as long as people continue to experience and celebrate its music.
Introduction
Samba is one of the most popular forms of Brazilian music in the world. Its roots, strongly from Africa add to its history and power as an expressive outlet. Samba comes from the word “semba” of the Bantu language of South Africa which refers to dance and clapping of hands in a circular formation. Today, Samba is celebrated most widely through one of Brazil’s national celebration of Carnaval, located most famously in the Sambódromo of Rio de Janeiro. Samba schools participate in the parade where they are expected to present new developments of the musical tradition. Although Samba is deeply engrained in Brazil’s national heritage, these festivities have become commercialized for touristic purposes. …show more content…
A look at the history of its musical development will enable present generations to appreciate its beauty and why its commercialization might benefit national economy but it will likewise bury the pureness of its expression (Oliven 104).
History
In the era of slavery, many tribes in African countries suffered national attacks and oppression. African slaves were consequently shipped to varied nations all over the world where they were sold as slaves into varied industries. Despite the grim history of slavery, it also provided the roots for the integration of African culture into the Brazilian way of life. African culture began to manifest in Brazilian food, religion, features, art, and music. It was a long time before the slavery was abolished in 1888, so the Brazilian way of life provided a convenient outlet for African culture to thrive. It also provided the Africans with a sense of hope to their prevalent miserable status due to abuse and torture. Because of the contrasts in cultures and traditions, the heritage of the combination of races resulted in varied expressions that are both beautiful and contradictory with each other (Galinski 121).
The Quilombos planted samba’s Latin American roots to the flouring musical expression it is today. Quilombo refers to a place where many black fugitives would live, notably in deserted areas with no decent structures for shelter. The term itself is Bantu-Angolan, and used as a form of autonomy from the South American countries. In the middle of the eighteenth century the government formed the Overseas Council with the primary aim to manage colonies. The proclamation resulted in centralism which prompted protests from the colonies and triggered the rise of Quilombos, which comprised of descendants from Africa and other ethnic groups (Anku 212).
The resistance of the Quilombos gave rise to the cultural heritage and survival of African Samba through the efforts of ethnic groups such as Ewe, Yoruban and Fon, among others. In these trying times, music brought these protestors of various African descents together in a venue for expression of their traditions and cultures. Their unity also provided refuge in a place where most of them felt lost and unwanted. The government was able to disband the Quilombos in the eighteenth century by putting them in jail or secluding them back to their previous dwellings. Eventually, they were emancipated through a proclamation by Brazil’s Princess Isabel in time for its political independence from Portugal in the late nineteenth century. By this time, the musical tradition that thrived in an era of protest had developed through venues like Brazilian carnavals which used many cultural rhythms and influences from Africa (Sheriff 24).
Musical groups such as Embaisada Africana, Imperio da Africa and Pandecos da Africa emerged in Bahia. These groups had the same African sound but were segregated by the regions in Africa from which they originated. Another factor that distinguished them from each other was the way their African rhythms incorporated with the Brazilian sound and way of life. Before the twentieth century, Bahians held a carnival that replicated the festivals in African countries. This tradition established a cultural heritage that would remain through the rest of the musically rich twentieth century (Sheriff 15).
The musical development of samba became a source of gratification among the varied ethnicities in Brazil. It also triggered the emergence of numerous samba schools and other musical contributions by the Afro-Brazilians, like the blocos afros and afoxes. Aside from the unstoppable influence of samba, the afoxe also highlighted African sound with the use of a gourd musical instrument surrounded by strung beads. The music was manifested through Gege-Nago rhythms and dances outside the temples during liturgical ceremonies in an Afro-Brazilian religion. The bloco-afros, on the other hand, refer to the celebration of musical consciousness that was thriving among Afro-Brazilians (Anku 220).
Samba has evolved into many different styles like the Samba de terreiro, samba-canção, samba-corrido, samba-lenço samba-enredo, samba exaltação samba-chulado, samba de quadra, samba de breque, sambalada, samba de partido-alto, samba de exaltação, samba carnavalesco, sambalanço, samba de gafieira, samba-choro and samba-batido. These samba variations integrate unique lyrical structures where its variations move slowly at first turning the beats eventually into fast rhythms (Anku 25).
The styles evolved according to the community where traditions and religions strived, different regions prompted people to use different kinds of instruments and musical patterns.
The development and evolution of samba music was largely contributed to by the black population’s migration into different states. Wherever they settled, it established an advantageous ground for the development of samba music. Their migration not only formed a mixture of races but also a mixture in Samba styles. In Rio de Janeiro, composers like Donga, Joao da Baiana and Pixinguinha started composing samba music at the same venue called Aunt Ciata’s Place believing that the namesake’s ability in cooking would contribute to the excellence of their music. Aunt Ciata’s Place also became a meeting place for musicians from all over the land. It likewise became a refuge for those who were struggling to make transitions in their music. The arrival of radio in the country elevated the status of samba into a fashionable form of music making it the most popular one of the era. (Rafael …show more content…
79).
Ismael Silva, one of the more famous samba composers of the time established the first samba school that at the time commonly practiced their music in a vacated lot near a college institution. Although they did not interact with or were taught by professional teachers, they still became teachers in their own right. The most popular samba music makers of their time were indeed more knowledgeable of their subject than any professors in the nearby universities and colleges. Samba schools were founded through the idea of escolar which is the incorporation of shared musical experiences of people in the community. Establishing a samba school, therefore, involved the cooperation of thousands of musicians and artists that were willing to contribute their knowledge in music, art, costume-design and other crafts (Rafael 80).
African Timelines of Samba
Samba music is marked by intensified responsorial crooning with focus on percussive interaction and accented rhythm. It is inscribed in a 2/4 meter with a structure comprising a stanza, refrain and various interconnected lines. Its second beat has the strongest accent which is an effect of the integration of African and Brazilian musical influences. During its early evolution, samba was referred as a verb in the present tense that meant to celebrate oneself by participating with a collective celebration. Its swing and rhythm has changed over the years because of the nature of its purpose, which integrally is to forget the moment, notoriously related to class struggle, and simply celebrate through music. Samba writers believed that the evolution of samba, manifested in the increased beat of the drums, contributed to its main purpose which is to be danced. Its older rhythms which had a swing or a marching rhythm prompted the evolution to a more upbeat form that was more suitable for the general movements of singing and dancing (Anku 225).
Kubik in this Theory of African Music asserts that ostinato percussive lines are the powerful models in African music-making. So are other music concepts found in samba like the responsorial singing, basic and gross pulses, and interconnected playing. Kubik defines these concepts of African music-making as authoritative elements that are experienced in many forms of African music, particularly in Central and West Africa (Kubik 43). Additionally, he says that the timelines of the music are well structured that they are virtually the music’s backbones (17). The patterns of such African music are also referred as standard patterns of rhythm to signify a stable span of time (Kubik 151).
Another theorist, Agawu, agrees and coins the term “topoi” referring to a point of reference in terms of time (72). However, these repetitions in patterns are not just used in reference to time but a means of conceptual guideline in terms of rhythm for every part of the musical mixture of instruments and vocals. Timelines can be conveyed as a repetition through a concrete sound, usually coming from elevated beats of drums and instruments made of wood or metal. It may also be contained in the combination of music (Agawu 76). It only confirms that timelines are used to manage more than time but also other elements in the musical mixture.
In West African music for example, timelines use two unequal halves, which is an example of asymmetric patterns. These timelines are manifested by repetition creating a balance for two contrasting sides. Two sides create equilibrium. Repetitive asymmetry, therefore, creates symmetry and balance in a musical ensemble. It also allows for seamless response and flow of action and reaction. Tension is trailed by an experience of liberation before another kind of tension begins anew. In this sense, tension in the rhythms should not be considered as a struggle or conflict considering that it will only pave the way for a liberating experience in music (Agawu 79). The opposition in rhythms is also advantageously manifested in the fundamental samba dancing where body movements show tension in the next step’s release where the feet supports the dancer’s body weight.
Balanced asymmetry overcame the Middle Passage and was integrated successfully in the New World’s musical process, particularly in Latin American nations such as Brazil and Cuba. In early 19th century, Havana welcomed a large number of Bantus, which paved the way for African-Cuban music. The migration created the Clave rhythm which is the structural principle of rhythm. But it also found expression in other rhythmic phrases and timelines that went along with Clave rhythm. Timbales which have a direct influence of Bantu music are one of the instruments that use such timelines. Its African influence is manifested in the principal timeline referred as Cascara or pattern C, which uses the side of the drum. Timelines that are manifested on the side of the drums are used not just in samba music but also in Batuque and Yuka music which are part of Cuban heritage. It goes to show how the timeline concept overcame odds together with African descendants. It also shows the degree of integration not just in the instrumentations, but as a creative concept (Kubik 127).
The significant idea conveyed by timelines is asymmetry and the accurate location of the notes. However, its relevance is only for stylistic purposes. In analysis, asymmetry has more to do with the seamless flow of release and tension of the rhythm. Tension focuses on the beat’s opposition to the dance. Release focus on the beat’s harmony with the dance steps. According to Agawu, the beat is parallel to the gross pulse (73). West African music, for example, have more than twelve beats expressing the same tension and release flow. The tension happens in beats three, five, six and eight. The release beat happens on the tenth (Kubik 16). The tension happens mainly on the first bar and the release on the second bar. However, in sixteenth beats timeline, the release comes in the first bar while the tension comes in the second bar. The difference in tension and release depends on the degree of integration of African influence with foreign music. Brazilian and Cuban differences in patterns are marked very clearly in terms of the tension and release concept. The Cuban pattern has ten strokes, while the Brazilian patterns are similar to the Angolan pattern, with nine strokes.
The Brazilian timeline pattern is marked by the silence at the second bar, and a missing beat which is particularly shared by Cuban music. The missing beat is commonly recognized by African communities and subsequently by other communities that have adopted and adapted the music (Agawu 78).
The Samba Dance Evolution
There are many influences that contributed to the evolution of the samba dance. Its steps, however, found its origins from a traditional ritual for native African villagers where would gather together in celebration of their heritage through dance and music. A member of the village would be invited to do a pattern samba dance which would involve touching the belly button. The ritual is done with very powerful music that is comprised of wind instruments, most prominently the percussion. Batuque refers to the dance choreography with heavy percussions as accompaniment, which share the same term. The choreography contains “umbigada” which comprised of repetitive belly bouncing and pelvic thrusting. Because of the nature of such choreography, it was considered immoral by many nineteenth century writers. This association with the Bantu heritage of Angola was also manifested in the instrumentation. African descendants danced the Batuque along with sounds of the Basque drum and rattle sound coming from ridges of a thick cane being rubbed by a small stick (Galinski 130).
While the Basque drum is of Arabic origin, the rattle sound was derived from the Cassuto which is of Angolan origins, and was adapted by the Brazilians. In early 19th century, varied cultures in Brazil were already deeply interconnecting with each other. Batuque music was not only experienced in the city but in the rural areas, as well. In the countryside, the umbigada was the common dance. Aside from the Batuque, another common dance was the Lundu which also involved provocative choreography and dance steps. Essentially, the Lundu had the same foundations as the Batuque. In early 19th century, however, the elite community adapted the Batuque and incorporated Iberian fandango choreography. It also developed its own Lundu music to accompany the dance eventually deeming it more decent and acceptable than the Batuque, which was still deemed immoral (Kubik 41).
The Lundu’s popularity prevailed among the lower classes of different races, while the elite classes developed it as a song form (Kubik 111).
It was eventually seen in the theatres as a humorous form of music, considering the suggestive choreography reminiscent of the umbigada and unique lyrics. Today, aside from its apparent contribution to Samba music, Lundu is still being danced in the northern part of Brazil, more commonly as a song form, and rarely as a dance using more subtle choreography. The Lundu is also performed in religious rituals. The Lundu's song form originated in the religious rituals of the Africans of Calundus, the development of its dance, however, may not be appropriate for religious activities but is more connected with courtship dance, which can also be traced from Angola’s messemba which is a pre-wedding ritual. The line between song and dance, secular and religious practices has created problems in the evolution of samba. Dance celebrations were often held after religious rituals and were prohibited by the government’s police forces. Samba suffered such repression triggering sambistas to use religious rituals as fronts for Samba festivities (Galinski
126).
By the twentieth century Samba evolved into a dance that combined the Batuque, Messemba, Lundu, and Maxixe which was a contribution from Europe and the United States. It also had steps from the Polka dance using the music of Cuban Habanera. In the 1930s, the Carioca, a kind of Samba, became popular in the United Kingdom and in the United States. Through movies, Samba likewise became well-known through the help of famous actors like Ginger Rogers, Fred Astaire and Carmen Miranda. Today, Samba’s dance choreography styles include Samba de Roda, Samba de Gafieira, Pagode, Samba Rock and Samba no Pe (Oliven 110).
Commercialization
With its popularity came disadvantages. The demand of Samba music continues to rise of radio stations defying copyright laws. Today, the tradition of Samba is already a mixture of varied cultures. Particularly, the ballroom Samba which was launched in 1956 by Pierre Lavelle is a far cry from the purity of its origins in terms of music (Oliven 105). Commercialization of music, which has affected the music industry as a whole also prevents the development of the musical expression that began as a way of forgetting the moment and the struggles of the time and enjoying the music. However, Samba can still be celebrated for generation to come as long as people continue to experience and celebrate its music.