She has been featured in Brazilian National Media like Rede Globo TV, Vogue Brazil, local print and online media and when she returns to Australia, "all eyes are on local star Mishel", the Australasian Queen.
Let's get to know more about this diva?
We asked her a couple of questions and we hope you get inspired by her journey!
Where did your Samba journey begin?
My first experience with Samba was when I was 18 years old (way back in 1998!) and I went to a Latin night at a dance academy in Brisbane, Australia. They taught an ‘Intro to Latin styles’ class followed by a dance party, and I instantly fell in love with the vibrancy of South American music.
We learnt a little bit of Merengue, Salsa and Bachata, and at the end of the class they taught Brazilian Samba to live drumming. I clearly remember thinking:
"What is this magical culture, this infectious rhythm and these incredible body movements? Where have they been all my life?!”
I had never seen dancing or heard music like that before, and watched in awe as some of their performers started Samba-ing to the drums - they were so confident, feminine and beautiful. I was completely enchanted and my love affair with Samba and Latin dance was born!
So what happened next?
I was studying to be an English language teacher at University and was doing a Languages and Linguistics degree majoring in French, Spanish and Japanese. Being interested in all of these cultures and languages definitely helped my journey towards learning Portuguese, but more on that later!
When I turned 21, I graduated from University and got a job as an English teacher at an international college in Brisbane where there were lots of Brazilian students. I had continued learning Latin dance during university, and had made a handful of Latin friends, but suddenly I had all of these crazy Brazilians in my English class! Having daily interactions with the Brazilian culture and people, I fell even more in love with their warmth, vibrancy and extroverted nature – I finally felt like I’d found ‘my people’!
My students would often bring Brazilian music to class, or they would invite me to a Festa (party) or Churrasco (BBQ) on the weekends. It was here that I started to get a feel for Portuguese, and through listening to both Forro music (Falamansa were my favourite) and Pagode (Grupo Revelacao were truly a revelation!) I became interested in learning the language, despite being frustrated that Brazil is one of the only countries in South America that doesn’t speak Spanish!
When did you go to Brazil for the first time?
After a few years teaching English, I was in need of an adventure. I had just turned 23 and one day I woke up and decided I would book a one-way ticket to Rio! It was one of those decisions you make when you are young, naïve and wanting to experience life away from your parents in a far off land! I had never lived overseas before, besides spending a few short months with a host family in Japan on exchange. But it was one of those ‘big girl’ decisions - I was so enchanted with this culture and the only way I knew I was going to learn more about it was to fully immerse myself in it.
My parents were terrified for me – even though a few of my students had returned to Rio and had offered to show me around, it was still such an unknown destination for Aussies (not to mention 24 hours by plane away!), and all we heard about on the news about Brazil was the violence and crime. This was also in the days before social media and YouTube (early 2000s), and even before web cams were invented, so it was going to be hard (and expensive – think phone cards!) to keep in touch with loved ones!
How did you feel arriving in the City of Samba?
Arriving in the Cidade Maravilhosa (the Marvellous City as Rio is known by locals) for the first time was a somewhat spiritual moment for me - a strange feeling of "coming home”. I remember flying over the illuminated Cristo Redentor (Christ the Redeemer statue) at night, with his arms wide open - almost welcoming me to the city - and thinking, “I have been here before”.
I am not Brazilian and I don’t have any Latin heritage, nor had I grown up with Brazilian friends or the Latin culture. My mother is from Holland and my father from Australia, so it was such an odd sensation of feeling like I was returning home...
Tell us about life in Rio!
I decided that I would spend the first 6 months in Rio studying dance. I went to the famous Carlinhos de Jesus and Jamie Aroxa dance academies and focused on dança do salão - ballroom dance styles including Samba de Gafieira, Zouk Lambada, Bolero and Forro. It was a very social world of constant bailes, practicas and weekend-long congresses, and although I couldn’t speak much of the language, you don’t need to when you’re dancing, so I met lots of locals and had a ball dancing the nights away!
Once the initial thrill of living overseas wore off though, and I had to deal with the daily difficulties of getting around an enormous city using public transport, paying bills via public telephones, standing in line for hours at the post office and struggling with intermittent internet to keep in touch with family and friends back home, I became really homesick.
I also found Portuguese so much more difficult to learn than Spanish, and although my French background would help me with the reading and writing, the accent from Rio was so challenging with all the "shhh" words and endless slang!
I really loved Cariocas – Rio locals who truly embodied that Brazilian lifestyle of sun, surf and Samba! Their ‘joie de vivre’ is so tangible and infectious, and regardless of the frustrations of trying to make a living teaching English on minimum wage and make myself understood in my limited Portuguese (as most locals don’t speak any English), they made me feel so welcome and embraced me as one of their own.
How did you become a dance teacher?
During my first time living in Rio, as well as studying partner dancing, I had regularly gone to my local gym to work out and discovered Lambaeróbica classes (basically a Latin Fitness class long before the days of Zumba!).
Once I returned home and back to English teaching, I was really missing authentic Brazilian dance classes but had nowhere to go in my city that taught in the way I’d learnt in Rio. So I decided to open my own class!
I had no dance teaching experience or a partner to teach with, but was a university-trained teacher, so figured I could just work it out as I went along! I had a few CDs of Axe and Samba reggae music (fun, upbeat styles from Bahia) that I’d bought in Brazil, and some Lambada, Salsa and Cha Cha music so I decided to do a Latin Mix class for women at my local gym, where they didn’t need a partner nor any dance experience, and could experience the joy of dance and Latin music whilst getting fitter and making friends – that’s how Sambaliscious essentially began.
When did you next go back to Brazil?
I was slowly starting to build a following in Brisbane teaching my Latin Fitness classes, but soon realized that if I wanted to take my dance teaching to the next level and transition out of my day job, I needed to study further, and the only place where I could learn from the very best was of course Rio!
Each week I’d get paid in cash for my classes at the gym and I had a money tin at home where I’d stash my earnings away until it was full. Once it was, I knew I’d have enough money to pay for a flight back to Brazil! It took me 18 months to save, and then I marched into the travel agent one sunny day and bought a 12-month return ticket to Rio! Little did I know that this next trip would totally change the trajectory of my life!
Returning to Rio…and falling in love with a Brazilian!
Well, it was bound to happen!
I returned to Rio and to my dance classes, and ended up falling in love with my dance teacher!
He was Carioca, from Rocha Miranda in the Zona Norte (Rio’s infamously dangerous suburbs), and of course a total malandro. He was handsome, smooth and full of baggage – lots of children with different women and lots of broken hearts in his wake. He was also 15 years older than me…
I was young, bright-eyed and bushy-tailed (as we say in Australia!) and totally fell for his charm. Next minute we were living together in Lins de Vasconcelos (a suburb right next to a slum with bullet holes in our apartment walls!) but I was having the time of my life.
We went out dancing most nights and spent weekends on the glorious beaches of Ipanema. He took me up into the favelas to Baile Funk parties and out to Via Show, a famous suburban show venue where you could hear some of the best Samba bands in Rio.
We went to glamorous bailes at Estudantina – a traditional Gafieira ‘dance salon’ where local band Brazil Show would play and the dance floor was packed with beautiful people dressed to the nines, partner dancing till the early hours of the morning. I had such an amazing cultural immersion and grass roots experience with him, which truly shaped the professional dancer I would become later on.
At that time, our focus became training me up to perform with him at events in Rio, and then we started to discuss the possibility of him migrating to Australia and us opening a dance school, especially since at the time Zouk Lambada and Samba de Gafieira were starting to become popular in Australia and there was a market for classes in my home town.
He wasn’t really keen on the idea of moving to the other side of the world, as he loved his city and his lifestyle so much. I could see there was so much possibility back home for us, but he still remained hesitant. The money I was earning teaching English in Rio was only just covering my bills and I was working 12-hour days followed by dance training and then going out dancing afterwards. I was exhausted and couldn’t see how we could build a life in Brazil and get ahead, especially as I was used to not just surviving but thriving back home.
Eventually, my money ran out and I had to go home. It was one of those sliding door moments in life – we both could have chosen to walk away (or in my case fly away!) from the relationship, but we knew we had something special together and wanted to give it a red hot go.
In order to get him to Australia with the intention of migrating for good, we had to get married, but there was a lot of bureaucracy and red tape involved, including a long and very expensive process of applying for his visa. As we were now apart, we ended up having to get married over the phone (to the horror of my parents!) and he arrived 10 months later without a cent to his name and no English language skills. The things we do for love!
We opened a dance school called Ipanema Dance and taught all of the Brazilian ballroom styles with quite a lot of success, but unfortunately the relationship turned abusive as he struggled to adapt to life in Australia and to having an independent, free-spirited woman by his side. After 2 years of hell, I finally gathered the courage to leave him and everything I had worked so hard for behind. It was a crazy, passionate relationship that nearly destroyed not only my life, but my love of dance, and would greatly mark me for the rest of my journey ahead.
So, what happened next?
After my divorce, I hit rock bottom. My confidence was shattered, I was emotionally exhausted and financially ruined, and did not want anything to do with dance or Brazilian culture.
I went back to teaching English and was so sad that I couldn’t even listen to Brazilian music, let alone dance to it because everything reminded me of him, of Rio and of all of the dreams we had had to travel the world and teach and perform together.
Many people asked me to come back to dance teaching, but it was so difficult to find a new dance partner who was my height, or taller, who had the dance experience that he had, who understood the Brazilian culture/language and who was as committed to a dance career as I was.
After about a year and a half of being depressed and not doing any dancing, a friend of mine who was a Salsa teacher gave me a stern talking to! I still remember her words to this day:
"Look Mishel, I know how much you love to dance and I understand that a lot of your passion for it was connected to your ex-husband, however you didn’t go to Brazil for him, you went to Brazil because you love the culture, you love the music and you love to DANCE!
So just because you are not together anymore, doesn't mean that should quit. You have found your passion and you have a gift for teaching dance – and you need to share it with the world!”
What a friend!
Her words were so instrumental in catapulting me out of my funk, and I started to really reflect and realize how right she was - BRAZIL, MUSIC and DANCE were all connected to me, and not to anyone else. The fire inside me was ignited again, and maybe, just maybe, I thought I might be able to return to Rio again one day.
How did you go back to dance teaching?
My friend was the Director of a Salsa dance academy in Brisbane and without asking me, said she had already promoted a Zouk Lambada course with me to her students, and it was fully booked!
I obviously resisted, and reasoned with her that I didn’t have a dance partner to teach with. “I’ll teach with you then!”
“Two girls can't teach Zouk together – the guys need a male reference and I only know how to follow, so can’t even teach you how to lead!”
“No worries – I lead Salsa all the time so I’m sure I can work it out!” And she did!
Despite her being very short and me very tall, and our 20-year age gap, our classes were a hit. They were fun, light-hearted and helped me to not only regain my confidence, but also heal my heart and rediscover my love of dance.
How did you move from partner dancing into solo dance?
During that time, I could see that women who were coming to my classes needed something more. They enjoyed Zouk, but they often didn't want to be led or told what to do on the dance floor, or be in close contact with a man they didn’t know.
I could sense that they wanted more freedom of movement, rather than learning sequences, and also wanted to improve their confidence and femininity, so I started to think about solo female dance styles.
I decided to do some Egyptian Bellydance, Hawaiian Hula, Spanish Flamenco and Stiletto heels classes. I was totally out of my comfort zone but loved the sensuality of bellydance, the gracefulness of hula, the power of flamenco and the sassiness of stiletto.
Freestyling for me had always been a challenge as I had only trained in partner dances, but gradually my confidence in dancing by myself improved, and an idea started to form in my mind for a ladies only dance class.
What Inspired You to Start Exploring Samba?
When I was last in Rio, I had had a few Samba no pe lessons with ‘Passistas’ (professional Samba dancers in Carnival) but I didn’t really pursue the style as it was just too difficult (and dangerous) to go up into the slums each time for a class (this was long before you could learn on YouTube or Instagram!)
I did however record some footage on my little JVC Camcorder (which I’d nervously hide in my bag each time I went up into the slums for a class!) and when I dug it out of my drawer after all of those years and watched the playback, I was so surprised to see the joy on my face whilst dancing, and the vibrancy and energy of the instructors and music. I couldn't believe I had forgotten all about Samba!
I had very minimal content on my Camcorder, but I rewound and fast-forwarded, paused and slowed down those basic Samba movements again and again and tried to work out how to break down the basic Samba step, arms and hips from the videos.
I knew many women also struggled to walk elegantly in high heels, move their hips with sensuality and hold good posture, so I created an outline for a class which would include these elements, plus some basic movements of the other solo styles with the vision of helping them to reconnect to their bodies and feel sexy and confident moving on their own.
Little did I know that this would essentially be the start of Sambaliscious!
So how did Sambaliscious begin?
I launched my first ladies only course in 2011 and had only one student for the first week! She loved it so much that she brought two friends with her the next week, who then brought more friends the following week, and suddenly I started to have a bit of momentum!
After a few courses and getting such positive feedback from the students, I realized I was onto something, but also was very aware that I needed to up skill quickly to keep ahead of the game (remember that this was still before any dance teachers were actively using YouTube for online instruction!)
In my classes, the girls’ favourite style was proving to be Samba, as they loved the femininity, vibrancy of the music and the fitness it brought them. I definitely felt more confident teaching Samba over the other styles, especially as I could understand the music (having trained in Samba de Gafieira) and had spent time in Brazil.
I decided to travel interstate to some Latin Dance congresses to seek further knowledge. Although these events usually only had one or two Samba workshops and the rest were Salsa and other partner styles, I enjoyed networking and returning to my partner dancing roots. I spent thousands of dollars attending these events (travel, accommodation, entry fees etc.) but still didn’t seem to be able to find anyone who could really take my Samba to the next level.
Deep down, I knew I had to return to the homeland.
How did your Rio Carnival tours come about?
One day, one of my students said to me, "My dream is to dance in the Rio Carnival - will you take us?"
"No, no, no - I haven’t been back to Brazil for 5 years and I don't really know the Carnival scene, nor do I have many contacts there anymore.”
What I really meant was that I was terrified of returning to Brazil and to all of the memories that would resurface once I arrived back in Rio.
They were a determined bunch however, and continued to push me. "You speak some Portuguese, you lived there with a local and trained at dance schools, so please find a way to take us!"
I thought about it for a long time. Who did I know there who could help me? Would I be able to pull myself together to return to the city that had broken my heart?
Then I remembered that I had an English student who I’d taught many years before in Brisbane who was from Rio. I didn’t then know it, but later discovered that he lived in Vila Isabel (a famous suburb in Rio known for its Samba artists and division one Samba School) and was a mad fan of Samba and Carnival.
I reached out to him and said “I've got some girls who are interested in coming to Rio - do you think it's possible for them to parade in Carnival?"
This was at a time when the Carnival industry wasn’t anywhere near as open to receiving foreigners like it is these days, and all negotiations to parade with a school were done in person in Rio with the school’s president. With the agreement (stern warning!) that the dancers would learn to sing the school’s enredo (theme song) in Portuguese and dance Samba well to represent the school (and not embarrass them or cause them to lose points), my friend managed to convince Imperio da Tijuca, a second division school, to accept us.
We were the very first Australian group ever to perform on a float in Rio Carnival (2012), and I was having such a great time being back in Rio that I decided to extend my stay for another 6 months to fully immerse myself in the magical world of Samba.
Every year my tours grew in numbers and became more organized and professional. With each tour, I learnt more about my students’ needs whilst travelling in a foreign country, about navigating my way around Rio (in high season with crazy traffic and millions of extra tourists) and doing business in Portuguese with, at times, some very shady people in the Carnival industry. As well as performing in Carnival, I tried to create a more cultural experience for the girls so that they fully immersed themselves in the Rio way of life and left with a deeper understanding and appreciation of the culture behind Samba.
To this date, I have taken over 500 foreigners to perform in Rio Carnival, and each year I stay on afterwards to continue my professional development as a dancer and keep up to date with current trends.
And guess what? From the moment that I returned to Rio on that very first tour, all of my painful memories subsided and I was filled with only excitement and love again for the City of Samba, my soul city. So far I have been to Brazil 11 times – so it definitely must be a true love affair!
How has Sambaliscious evolved over the years?
I have been running Sambaliscious now for 13 years! Can you believe it?
As each year came to a close, I always thought, “I am going to have to return to full time work next year as I’m sure my luck is going to run out and I won’t be able to work another year being self-employed”. But I always found a way to diversify and create multiple streams of income based on the question “What do women want/need?”
For example, when women start a course, they initially need active wear and high heels, so how can I source quality products from Brazil to get them feeling excited about Samba? How can I ensure that their bodies are ready for Samba by adding strength + conditioning training and yoga to their dance classes? How can I encourage them to train outside of class with online lessons?
Once they’ve been dancing for a while, they want to perform, so how can I source costumes and work with Brazilian choreographers to ensure to keep up with the latest trends? Once they’ve had a taste of performing, many want to dive deeper into the culture, so how can I teach them Portuguese?
How can I help them to overcome their stage fright by not only teaching dance technique but also working on their mindset so they can truly own the stage like a Carnival Queen? If they can't afford to go to Rio straight away, how can I create a Brazilian event in my city that gives them a feel for the essence of Carnival?
This is how my business has evolved over the years – always asking women what they want and showing them what they need! This is how I also had the ideas to create the Brisbane Samba Encontro, Australasian Samba Queen Competition and World Samba Congress.
Tell us about your Samba Encontro + Samba Queen Competition?
I wanted to bring together artists and students from around the country for a weekend of Brazilian cultural immersion, including workshops with live drumming, parties with DJs and performances, and a Brazilian fashion bazaar with gym wear and lifestyle wear to create the feeling of being in Rio! I decided to call it an ‘Encontro’, which means a ‘get together’ in Portuguese.
At the same time, I was seeing a lot of Latin Dance Competitions happening around Australia, where Samba was thrown into an ‘Open’ category along with other dance styles. The girls who performed were only doing choreographed routines, there was no live batucada drumming, and they were being judged by Latin teachers, not specifically Samba teachers.
These girls were winning and saying "I am the Australian Samba Champion", but they couldn’t freestyle...the majority of them were Salsa dancers, who had simply learnt a Samba routine but had never actually studied the art of Samba. That put a fire in my belly to create an authentic Samba competition reminiscent of the Rio de Janeiro Queen of Carnival Competition (which by then I had been to watch many times so I had a guideline of how to run one) and the USA Samba King + Queen Competition (to which I was invited to judge and perform and is immaculately run and beautifully presented by Angelique Marquand in Phoenix each year).
With this experience and insight, I was able to create a platform where dancers could showcase their knowledge of Samba and freestyling skills to live drumming, and were judged by experts in the Samba industry.
These 2 events, which have now been running for 5 years, have become an instrumental part of my business to showcase the beauty and diversity of Brazilian culture, nurture upcoming artists, connect Australians with the joy of dance and music, and build a supportive and inspired community.
What inspired the World Samba Congress?
You’d think that with these events I would have had enough on my plate, especially as my annual Rio tours were growing (meaning a lot more admin/marketing 6-12 months in advance) as well as developing a teacher-training program to expand my classes around Australia and into Europe and Asia. But when you are truly passionate about something, it gives you energy and motivation to keep on raising the bar. I decided to jump (and what a jump it was!) and launch the 1st World Samba Congress and International Samba Queen Competition in Rio de Janeiro in 2017.
My vision was to create a safe environment for foreigners from around the world to come to Rio to learn from the Masters of Samba and to compete at the highest level possible for a Sambista from overseas.
I didn’t want students having to go through what I did years ago - trekking up into the slums in 40C heat trying to find passistas to teach them, or not being able to understand them due to the language barrier.
I wanted a beautiful venue, which ended up being the Novotel Hotel, where they could both stay in comfort and safety, and learn from the very best in the industry in the one place. I invited so many prominent industry professionals – Queens and Muses of Carnival and famous choreographers to teach workshops, local singers and musicians to perform, Candomble priestesses to bless the event and even the cultural minister of the arts and the reigning Queen of Rio Carnival at the time to judge the competition.
I am so incredibly proud of that event as it took 2 years of hard work and lots of set backs (not to mention all of my own money invested) to come to fruition. I only just covered my costs, but I learnt so much and it was an historical event for the city of Rio, which had never seen a foreigner host an international Samba event before.
I’d like to think that this event was not only important for the progression of my career, but also for the promotion of Samba on the international scene, and moreover, motivating local Rio artists to recreate their own similar events.
How did you become the first Australian Muse in the history of Rio Carnival?
Each year that I returned to Rio for Carnival, I would perform with my students on a float in the second division one night, and then return the following night to be a spectator and watch the incredible parades of the first division schools. As each school passed, my heart grew sadder watching the beautiful Muses parade down the avenue in their stunning costumes and showing off their Samba skills, and I had a burning desire to showcase my skills on the ground, rather than on a float.
I started asking around about how I could perform as a Muse (this was before it became popular and relatively easy for foreigners to be Muses) and everyone kept telling me the same thing – you either have to pay a hefty fee to the school (think the price of a deposit for an apartment!) or offer a ‘favour’ to the school’s president. I decided to pay!
In order to prepare for my role, I trained with Muses, Queens and Passistas a year in advance, and enlisted a personal trainer to improve my strength and conditioning for the avenue. It was a huge personal investment, but I knew it was essential for elevating my career, and a once in a lifetime bucket list goal I had to achieve.
As a dancer, I had beautiful arms, footwork and poses, but I didn’t have the resistance or stamina that other Brazilian Musas had to be able to endure the almost 1-kilometre long, 55 minute parade in 40C tropical heat with 100% humidity! They were able to train all year long at their samba schools in Rio, whereas I had to improvise back home by training along asphalt running paths with weighted vests (to replicate the weight of a backpiece) and in knee high boots (my neighbors all thought it was hilarious!) It was definitely like preparing for a marathon!
Even after a year of both physical and mindset preparation, I was a bundle of nerves on the avenue, but I managed to hold it all together and debuted as the very first Australian and International Muse for Rio’s oldest Samba school, Estacio de Sa, in 2017. You can read more about my nerve-wracking experience in my free E-book series
What are some other major career highlights for you?
After my debut as a Musa for Estacio de Sa in the second division, I decided I wanted to try to perform in Rio’s first division – the highest level of Carnival. I knew that there was going to be a lot more responsibility and expectations of me in this level, and I would need to train ever harder to get in peak performance condition for such a coveted position.
Whilst I was on tour teaching Samba in Europe, I went to Italy to do some private classes with Quiteria Chagas, an icon of Rio Carnival and the Queen of Rio’s most traditional and respected samba school, Imperio Serrano. After our final session, she surprised me by inviting me to be a Muse with her school, and I excitedly accepted!
In the lead up to my debut as the first Aussie to perform as a Muse in the first division of Carnival, there was a lot of media hype around me, particularly because by now my Portuguese was fluent and radio/TV/magazines could interview me without the language barrier.
I was invited to perform together with Quiteria and the bateria drum squad of Imperio Serrano on Brazil’s most famous talk show, Encontro with Fatima Bernardes (think the Oprah of Brazil!)
I was also chosen by Vogue Brasil to appear on their cover (a dream come true!), and was interviewed by Quem (Who) and Ela (She) magazines about my love affair with Brazil and Samba.
These were truly spectacular career highlights, and you can read about them more in my free E-book series!
Where have you taught Samba around the world?
It’s been such a pleasure and honour to be able to travel the world and connect with so many other Samba lovers over the past decade, sharing my knowledge, experience and passion for Samba and Brazilian culture.
I particularly loved my USA Tour where I got to come to San Francisco and meet you in person! I also taught in LA, San Diego and New York, and judged, taught and performed at the USA Samba Queen + King Comp in Phoenix.
My absolute favourite Asian destination is Singapore, as it reminds me of Rio with its lushness and tropical vibe. I’ve been there 5 times to teach, perform and do business coaching with the ladies from the Singapore School of Samba to help grow their school. Whilst in Asia I also was fortunate to be invited to teach in China and Vietnam.
A few years ago, another dream came to fruition when I toured Europe – I taught, performed and did teacher training and business coaching in England, Holland, Belgium, Switzerland, Sweden and Denmark. I’ve also taught all over Australia and New Zealand, and cant’ wait to return to touring soon.
What advice would you give to a Beginner student?
There are a few things that I say at the start of my courses for absolute beginners. The first thing is that this is your own personal journey, and everyone comes to class with a different experience and background, so don’t compare yourself to anyone - only to yourself and your progress from week to week.
Secondly, make sure you don't put pressure on yourself. Dance is supposed to be fun and bring you joy, not stress you out and cause insecurities! Your goal for each class should just be to connect to the music and try to get out of your head and into your body.
Thirdly, learning to dance is like learning a language – the more you practice, the better you become. It’s a simple as that. Try to add a little bit of dance and movement to your daily routine, and start to listen to Brazilian music to get a feel for the groove.
Finally, Samba is 50% technique and 50% fitness. You can learn all the technique in the world, but if your body isn’t prepared for Samba, you won’t improve. I also encourage my students to add weight training, Pilates and Yoga into their practice to help to condition their body for Samba.
And for dancers who are already on their Samba journey and might be feeling like they aren’t progressing, or are perhaps losing their joy for it, always remember why you started to Samba in the first place. We can get very caught up in doing a million sequences, dancing in Carnival for the social media images and peer recognition, or learning a choreography to perform, but the essence of Samba is the joy and freedom of movement, the way the music makes you feel and the community that you connect with when dancing.
What Do You Love Most About Our Store?
I love your passion for authentic Brazilian costumes of the highest quality, how you support local designers by bringing their styles to the forefront and provide income for them, and how professional and caring you are with your international customers to ensure they get the costume of their dreams.
When you and your brother Andre started BrazilCarnivalShop, it was really inspiring to see how passionate you were about sharing the history of Samba in Rio and connecting Brazilian artists with foreign dancers.
I’ve really appreciated your unwavering support as a sponsor of my events over the years, and especially during this difficult time of COVID where you’ve continued to support us.
You are not just a costume shop. You’re a touch point of Brazilian culture for Samba lovers around the world.
Let's Connect With Mishel?
Click the photo below to check out her Facebook, YouTube and Instagram Page!
We hope you enjoyed this blog and got to know a bit more this ICON in the Australian samba community!
]]>Passistas are part of our cultural samba history and identity, so we decided to comb to internet, read many publications from researchers, universities thesis and piece together some fascinating facts about the "passistas".
We wanted to see the evolution, the history of these dedicated samba dancers and show our readers how they became to be the most respected samba dancers in the world. This is not a short blog, and it will serve to many as a bucket of information and fascinating facts about this career in the samba world.
PASSISTAS
Above Passista from Mancha Verde, São Paulo.
Ok, we all know Brazil is famous for its Carnival, but famous too, for its talented carnival samba dancers, who have a specific name in Portuguese: the “Passistas”. But does everybody knows who are these talented women of all ages that devotes their lives to the culture of carnival and samba dancing?
In this blog we will learn about the woman passista (though passista can also be a male dancer), its history and definition.
This blog will try to explain who are the professional Brazilian Carnival Samba dancers: The “Passistas” who enchant samba and dance lovers all over the world.
Passistas History and Definition
The definition of "passista" in the Brazilian dictionary are many: "(Brazil) que dança bem o samba com muita desenvoltura e graça, em especial em desfile de escola de samba". Which means "that who dances well the samba, with resourcefulness and grace, in special at the samba school parade".
Above, Priscila Mathias, Passista.
"Passista" words comes from the Portuguese word passear - meaning to walk. They commonly walk, stroll and samba dance in front of the drummer sections. Dancer of a samba school, that knows how to choreograph the samba steps.
January 19th is Passista Day! It became a Bill number 4.462 by Valci Pelé
Below are several definitions of a Passista:
"Passistas appear within the culture of samba schools as the recognition of women in the community who best represent the samba dance. These women basically have the role of defending their school's pavilion and winning the public's sympathy and admiration. Representing a school pavilion means representing an entire community, a region and the work of many, many people."
Passista sketch by pepeckt - DeviantArt
"The Passista wing is made up of girls and boys from the school communities, who show off the so-called samba-no-pé (samba in the foot) during the presentation. The group is formed, on average, by 20 of the best dancers in the association."
"With the role of enchanting and seducing the spectators, the passers-by bring a climate of joy and relaxation to the parade, while thrilling the other components, always encouraging the participation of the audience that accompanies the live show.
"Girls and boys from school who bring samba-no-pé with joy and relaxation. They play on the avenue and also encourage singing, exciting the other components of the parade. For girls, being a passista is the first step to becoming a Queen of Drums."
Above, Samba School Little League Filhos da Água, Rio de Janeiro, Brazil
First Official Reference of the Word Passista
The subject of the “passistas” became relevantly lately, not only within the samba/carnival business but abroad and a thesis paper was written in 2006, by SIMONE SAYURI TAKAHASHI TOJI student for a Master Degree in Anthropology. In this thesis paper, (the first official reference to the term “passista” – the individual that does the samba movement) - came out in newspapers around 1950´s, even though, other terms like “cabrocha”, which is a woman that possesses the samba dance art mastery skills, appears way before, in the 1930´s, with the development of samba and carnival itself.
Above, an early photo of a group of women participating in a carnival parade, probably passistas of a local samba school circa 1950.
Still according to her studies, the first official “passistas wing”, was formed at Mangueira Samba-School, in 1972 by Drums Section Master Djalma Santos, and it was called “Vê Se Entende” – (See if You Understand) – in a free translation. But still, they did not parade or dance separately. Only by the 1980´s the “passistas” started to dance and present themselves at the Rio official parade in a fully separated wing.
Above photos of Mangueira Samba School, and on the right famous passista dancer Nair Pequena that died while samba dancing during the Mangueira Samba parade.
We translated parts of a fantastic thesis "Mulheres passistas de escolas de samba do Rio de Janeiro" written by Bárbara Regina Pereira .
She explains that the term "passista" came to be known only from the 1960s, in reference to the dancers, men and women, who presented "body performances similar to juggling". However, women always were present in the construction of what would become the samba dance. Since the called "batuques" (generic denomination of some afro-Brazilian dances accompanied by percussion and, sometimes, also chant), performed in the slave quarters or in the backyards of planters, they were key participants in making the demonstrations predominantly from African societies forced for the country, resulted in what we know today as samba: a cultural complex that brings together, among other elements, music and dance.
First References and the Samba Matriarch "Tia Ciata"
Carnival as we know it today exists largely thanks to the "tias"or "aunts", Bahian women who opened their homes for the "sambistas" meeting throughout the year and thus offered a safe space for them to meet without being chased by the police.
"Aunts" are the epicenter of this Carnival culture. "Their homes were spaces for socialization and protection," says journalist Bárbara Pereira, a doctor in social history from the Federal University of the State of Rio de Janeiro.
When, in 1932, the newspaper "Mundo Esportivo" organized the first parade on an official basis (before there was no competition between the blocks) the women were called cabrochas, they learned to dance in the samba circles that incorporated, among other elements, dances related to African religions,
especially that of the Orixás.
Above, The Dance of the Orixás
The most famous were the "rodas de samba" (circles of samba) of the so-called “Aunts baianas”, whose most prominent figure was Hilária Batista de Almeida "Tia Ciata" (aunt Ciata).The matriarch received at her home in then Little Africa - where today is the region of "Praça XI", in Rio de Janeiro - representatives of all segments of society at parties that brought together musicians and their diversity of genres. But there were many others, says Pereira, who entered the historical record only as supporters of their husbands or were simply forgotten.
Above, the house of Tia Ciata
Above a movie about Tia Ciata
Above, photos of Tia Ciata dressed in typical "Baianas" outfits.
The trajectory of the samba genre, in fact, had a narrative based predominantly on male figures, but the women were not supportive in this process, they were, above all, ahead of important initiatives not only in culinary tasks, as shown in the historiography official, but also as agents promoting its culture.
In his work on the role of women in samba in the first three decades of the 20th century, the writer Gomes (2011) states that there are no documents proving Tia Ciata's participation in the music composition of "On the Telephone", the first samba to be recorded in 1916, although it is considered today a Maxixe. (Maxixe was the first type of urban dance to emerge in Brazil. It was danced in places that did not meet the morals and good customs of the time, as in forrós, "gafieiras" in the new city and in the cabarets of Lapa, in Rio de Janeiro, around 1875) (the word "gafieira" can also refer to the traditional samba music orchestra, as well as the dance hall where it is performed. The term gafieira was Brazilian Portuguese slang meaning "low dancing resort, gaff, honky-tonk" or "dance festivity frequented by the populace").
Above, photos of "gafieira" dance.
Above a typical Maxixe dance, courtesy of blog http://oblogdaginga.blogspot.com/2018/01/coco-lundu-e-maxixe.html
But, nevertheless, there are reports of frequenters at the house of Tia Ciata, planted in the region where many of the post-abolition black men and women settled, who guarantee to have seen her playing a guitar excellently, like the folklorist Mário de Andrade, a fact that does not prove the partnership in the creation of the composition, but that puts in check-mate the male hegemony in those meetings and, consequently, in the narrative of the cultural complex that today is understood as samba and its multiple aspects, such as the "samba de roda" (samba danced in a circle), the alto party and the samba-enredo (main samba plot music), all registered as heritage Brazilian immaterial ("Matrizes do Samba do Rio de Janeiro", Iphan, 2007).
Above a "Samba de Roda" or Samba circle gathering.
Above a "Samba de Roda" courtesy https://www.sambando.com/jongo-o-ancestral-do-samba
Women Goes to the Avenue
Carnival would undergo a new transformation between the late 1920s and the early 1930s, when the first samba schools were founded - and with them, women began to conquer their own space in Carnival parades.
Above, women "goes" to the streets of carnival, photo early XX century
"The matriarchy in the history of samba has meant that there has been a significant female presence since the beginning of the schools, with the wing of the "Baianas" and the wing of the shepherds, who sang the samba-enredo together with the "puller" (singer), says the historian and writer Luiz Antônio Simas.
This paved the way for women to conquer other positions in the samba school parades over time. Simas points out that the first woman to come out on drums was Dagmar da Portela, in 1939.
Above, Dagmar da Portela. Photo courtesy: Arquivo Público de São Paulo - Bateria da Portela (1954)
At the same time, women are gradually overcoming prejudice in samba schools by playing instruments considered "male", such as the deaf, the war box and the snare drum, and taking on the roles of carnavalescas, directors and drum masters, pullers and including presidents of associations. A "carnavalesco" is a planner and executor of the samba parades and other related carnival activities. "But there are still few in these positions, because the idea persists that there is a place for women and men in schools, especially in positions of power, such as the board of directors, and of more prestige, such as composition," says historian Marília Belmonte, who researches the old guard and the baianas wing of six samba schools in São Paulo.
Above, beginning of the century, woman and children playing instruments and participating in the samba school parades with specific positions within a school.
The Role of Women in Samba
Although many women still participate in the countless existing processes in the construction of the carnival of samba schools in Rio de Janeiro, both the
trajectories of the party and of the samba schools themselves were told from the
views of men, either from the point of view of the narrators, or from the point of view of samba players themselves. The book "Serra, Serrinha, Serrano" by "Valença & Valença" (2017) show, from the history of the samba school Império Serrano, that there were women extremely active in the foundation of the school in 1947, whose names are not even mentioned in the minutes of its creation. However, their husbands are there, even if they did not get so involved in the activities as their companions.
Above, the book of Serra, Serrinha e Serrano by Valença & Valença
Above, photo from the book Serra, Serrinha e Serrano. A woman participating on the carnival parade in 1947.
This scenario leads us to question whether the place reserved for women in schools of samba would have been restricted to aesthetic exposure, in different ways, whether as Bahian, either as a highlight on a float, as a flag bearer or as passers-by (passista). Gonçalves (2010) reveals that the different groups, with representative or not positions of power, compete for spaces within the associations themselves, in addition to inserting themselves in games between the samba schools.
In the midst of the need to mobilize in front of different groups are the passistas, women with different motivations to become the target of looks - positive and negative - for their ways of expressing themselves at the parade carnival. Let's look now at the roles of the passistas in more recent decades.
Passista Show Woman or Mulatta Show Woman?
There is a need to differentiate the work of "passista-shows" or "mulatto-shows", as "the women who dance samba" in shows are called, or the women who only act as samba school dancers. After all, a passista can come to participate in shows, but not necessarily every passista will be chosen for participate in shows that have this manifestation as a central attraction. The activity "passista show" became a work alternative with the inclusion of these women in these forms of spectacle by entrepreneurs like Oswaldo Sargentelli (1924-2002), the best known among several who worked in this field. He was an Italian-Brazilian and worked in the radio as a young men and later on TV as a presentator of shows.There was a controversial show he used to present called "O preto no branci e o advogado do Diabo". (the black and white and the devil's advocate). However during the military regime, he was prohibited to continue presenting this show. That's when he started in the samba business. He opened the samba spectacle night club called "Sambão" in Copacabana. then "Sucata" and "Oba-Oba". These "passistas" were called the "Mulatas do Oba-Oba". Below we see a short clip of the "mulatas" on a TV show with samba singer Jair Rodrigues.
The Oba-Oba group would travel around the world as we see below on video at an Italian tour:
Oswaldo Sargentelli, entrepreneur and his famous passistas.
Unfortunately there was much female sexual objectification of these samba dancers, and many were promised samba performing gigs abroad leading them to discover a different reality, being exposed to scams or misleading "opportunities". These so called "producers" were promising a good salary to perforn in many countries. The reality was completely different....below is a small documentary that was exposed in 1980, in Portuguese, about these exploitations of the passistas abroad; a sad chapter in so many young woman's lives.
Above a video named "In 1980 the Brazilian mulatas were exported as sexual objects".
Below are some excerpts of a thesis written by Bárbara Regina Pereira (UNIRIO/RJ) that talks about this reality:
Female Objectification in Samba
The group of women who dance the samba, as professionals or
as members of a wing of dancers, had and has, in general, their associated image to exacerbated sexualization. The objectification of the female body in samba is a frequent debate, enhanced, among other factors, by the frameworks of television cameras during the parade broadcasts, giving sexualized connotations body movements that are characteristic of samba dance, in which the sensuality is part of the body movement game.
A sensuality that, as we have seen, carries traces of ancestry itself, since the dances of the female deities of the African-based religions - like Iansã,
the queen of the winds, and Oxum, the goddess of fresh waters, performed at candomblé parties or umbanda - were some of the bases for the construction of the samba dance, as reveals writer Rêgo (1996) below:
"Oxum's arms guide the rhythm of the body as if it were pulling the oars, now forward, now backward. She reproduces, equally, sensual stirring of the shoulders. Orixá of beauty, enchantment, too Oxum dances holding the skirt of the skirt, where she looks, as looking for the image of his grace in the mirror of the waters (sua saudação é ora iêê ô) (p.8)
Above, dance of Oxum.
The marked sensuality in body movements and clothing, which features the construction of the passista persona like bikinis decorated with sequins, sandals high heels and back piece, are factors that influenced the construction of the social imaginary in relation to the women who dance the samba, attributing to this form of artistic manifestation generally pejorative labels that disregarded the manifestation itself. Objectification is not something to be denied, after all the carnival industry used - and still uses - these images to “sell” the party as a tourist element.
Passista Today
Passistas typical start dancing at their community, or the samba school they are attached to, at very early ages. Of course, then they are not called “passistas”, just young girls dancing and having fun, watching the elders and older dancers But they already try to imitate the “big girls” as they call them, and specially, the “samba princesses or queens”. Some of these girls of 6-8 years old, then move up a step. At the samba-schools, older “passistas” provide “formal” classes to these girls, as part of a series of social activities that some of the larger samba-schools in Rio provide.
Later, according to their interest, they are invited to participate at a “children's wing” either at the samba-schools parade, like Beija-Flor, Mangueira, Imperatriz, Unidos da Tijuca, which have wing just for kids (with a special permit & presence by their parents) or they present themselves at the infant parade, which happens Friday, the real first day of Carnival in Rio.
Above a project from Imperatriz Leopoldinense Samba School "Projeto Passistas Mirim", Velha Guarda da Imperatriz, photo 2016.
Above, a competition for a young passista competition.
Passistas today are very different then they were in the past: Both at the samba-school, but also out of the samba-school. It is a consensus that very few passistas are able to sustain financially themselves just with a samba career.
Passistas from São Paulo, wearing samba passistas rompers by BrazilCarnivalShop.
Most of the samba-schools have what it is called “Grupo Show”, which are Samba Dance Group shows and spectacles offered by the samba-schools to corporate events, parties, weddings, and even travel to other cities, states or countries.
Above, the elite team of Passistas from Beija-Flor Samba School.
Only the top samba dancers make it to this elite team, even within the samba-school. But even though, being part of a samba "group show", many are still unable to live exclusively by the samba dance, and have to establish themselves in professions as executive assistants, saleswomen, beauticians, etc. Many too, because of this unfortunate scenario, “flee” to other countries of the world and establish themselves there because of financial opportunities. So, it has been proven passistas still can´t live just upon their passion, which is unfortunate. Today thanks to the internet these elite samba dancers can travel around the world to teach samba classes, workshops at dance studios invited by local samba groups.
Above Karina Moraes, a respected Passista, Queen and Muse of Vila Maria, São Paulo. Costume by BrazilCarnivalShop
What it takes to be a Passista
Determination, love for the school, discipline and passion. To be a passista you need to be accepted by a major samba school, and there are even competitions, auditions and tryouts to get into a major league or a samba team. You will also see competition for fitness passistas, passistas beauty competition, and princess passistas competition. The participation of these professional dancers prior to the samba parades are extensive and extremely competitive. All over Brazil you will see the best professional dancers competing for a specific competition throughout the country and abroad. There are many events surrounding the passista world, from gatherings to even inviting groups of passistas from one samba school to visit another school. There are dedicated marketing and social media teams that will promote these events. It's a great way to have these passistas known and promote their image and dance.
Above a virtual passista competition presenting the finalist of the "1st Virtual Battle of the Passistas from São Paulo"
The samba schools like we mentioned before do have auditions for the passistas positions for the parade event itself. Even though the passista wing is the smallest one, it's the most competitive wing at a samba school. Usually its less than 60 dancers at a passista wing. To be in that team, you must be fully committed to attend all the rehearsals, buy the costumes, shoes, participate on all the events and be able to be a team player. This means that they not only have to have time to do all that but be financially able to buy their own costume and use specific samba shoes. There are still many stereotypes as to what a passistas should look, and how she should dance. That will depend on each school's overall philosophy or how the passista director/choreographer envisions that wing to look like based on what they want to achieve to win. It is to be noted that its is NOT MANDATORY to have a passista wing at the samba parade, however if there is a passista wing, they will be judged for their performance. Mostly they are looking for dancers that has a specific body type, however, this stereotype is slowly changing. You will see a mix of white, Asian, plus size, dwarfs etc.
Above, passistas plus-size project "Plus no Samba RJ" is a project that has as its main objective to regain self esteem. Here an article at a major Brazilian newspaper G1: https://g1.globo.com/rj/rio-de-janeiro/carnaval/2020/noticia/2020/01/17/projeto-de-passistas-plus-size-promove-inclusao-no-carnaval-do-rio.ghtml
Above the Instagram page of the PlusnosambaRJ.
Above, the well known dwarf Vivi Assis, parading for years as a passista as the muse of Embaixadores da Alegria Samba School. Here an article about her at G1 Newspaper: http://ego.globo.com/carnaval/2016/noticia/2016/02/vivi-assis-ana-do-carnaval-volta-sapucai-e-levanta-o-setor-1.html
Associations are getting stronger
One of the most challenging efforts today is to have this profession become fully funded by the samba schools, from providing water and food, to ensure they have full sponsorship on costumes and prototypes. Ultimately to provide them higher financial compensation is what this career needs to gain more respect and build a better future! Below is a couple of links to the "Passista Association of Brazil"; a respected association that is growing. It has its main objective as described below:
"AIMING to preserve, disseminate and strengthen the dance art of the Passista do samba (in their traditional and / or modern representations);
Defend the rights of passers-by as artists who represent a symbolic cultural value of Brazil, and fight for the respect and appreciation of this Art;
To be a link of unity throughout Brazil and abroad, for the passistas
On this date, January 1, 2021, Nilce Fran, Aldione Senna, Bruno Tete and Dhu Costa launched the Association of Passistas do Brasil “Ciro do Agogô”, a non-profit entity (Legal Entity) to organize the demands of this artistic class of samba dancers .The above video commemorates the Foundation of the Association, and has 42 dancers of all types, for the democracy of Samba no Pé dance.
Click below to be re-directed to their Instagram page:
Above, specific samba shoes used by passistas.
Another aspect is how they will samba. Since the 90's we have been seeing a change on how they will samba dance. "Samba no Pé" (samba on the feet) is a more freely style of samba, with lots of energy, very traditional. Some samba schools will allow the entire wing to be free and true roots to samba. Other samba schools will have a more choreographed wing. Overall the passistas are having a more choreographed team, and that trend is reflected on what is happening in the dance world or dance samba communities. It is a very interesting change, Samba schools like Vila Isabel, Paraíso do Tuiuti or Mocidade will allow a more free "samba no pé" for example.
Above a great video from our channel that shows the passistas in great footwork close-ups!
One of the most respected talent shows in Brazil are the King and Queen Passistas competition. This is an event that is promoted by the Mayor to pick the queen and king of the carnival parade. Usually this event is promoted and it takes place months before the carnival season. Not only a queen and a "Mommo King" is chosen, but also a "court" princess. It is a very competitive night, showcasing the best passistas of Rio, and the most amazing and expensive costumes you have ever seen. King and queen carnival competition generally are promoted by each city and draws a huge crowd. This will bring enormous status to the candidates. They have to participate on its official coronation on the "opening" of the Rio carnival and the mayor will give the Mommo King the "key" of the carnival season. A symbolic way to "open" the carnival season to come.
Above, Passista Fitness Competition - Passistas from Beija-Flor
Above, passistas from Paraíso do Tuiuti. Every year they have auditions to select the best 60 candidates to parade on the samba school parade wing of passistas. Photo Credit srzd.com
Above, passistas from União da Ilha Samba School and a flyer promoting the 1st encounter of the passistas from all other samba schools.
Above a flyer promoting the competition for the passistas and malandros "Nota 10" (Grade 10), São Paulo.
Above, a pageantry to elect the "Golden Passista" from UESP, São Paulo.
Above, a flyer to recruit passistas for the tryouts to participate on the samba school's wing of passistas. It's a very competitive position!
Above, photos on the beauty competition "Beleza 2020" promoted by the Special Group Samba School Organization. The passista Preta Coutinho was elected the most beautiful passista, from Viradouro Samba School.
Above, Queen Egili Oliveira, a respected professional passista samba dancer at the Queen and King (Rei Momo) competition
Above, a compilation of the Top 10 Samba videos for the Rio Carnival Queen Competition
https://www.instagram.com/egilioliveira/
Above, queen Marcia Gabriella, she is the daughter of passista queen Egili de Oliveira. She was elected the Queen of her city, Jundiai, 2020.
https://www.instagram.com/marciagabriellaaa/
Passista Samba Costumes and Accessories
The passistas around the world and specially in Brazil, are very specific on what they use to promote their dance and image. If the passista goes to a special event they will wear a "passista dress" and a "passista shoes". These outfits are specific for samba dancing and are made by the top carnival designers and cobblers in Brazil that will compete to dress a queen, princess or king. Passistas will be invited to perform samba shows, so they can use a dress or a costume. They will have their own wardrobe or have designer lend them a costume. Some passista will make their own bikini costume and dresses. Dressing up is very important as they will use their image and video to promote their trade.
Above, a typical passista dress, used in any important rehearsals....
For a complete "passista" dresses and shoes, please refer to our website:
https://www.brazilcarnivalshop.com/
As said before, most of them lived and where raised next to the samba-school they are closest to, in terms of location. Many see the dance, apart from the passion and love for the carnival, a chance to move up the social economiv status and be recognized as true artists, as we really think they are. We see this movement, but unfortunately only during the carnival period.travel
The Internet Gave Them Freedom
We see a trend that many well respected passistas/queens started having a fan club on social media, and can express themselves by teaching how to dance, make-up dance tutorial as they go "live" on social media and invite other celebrities to share their experience with them. This allows the world to see their work, their art and lifestyle. The passistas is able now to engage with their followers, drawing more "likes and shares. Those who learn english or spanish for example (or any other second language) can easily express themselves when interacting with their students and fan club around the world. The internet is a huge step that allowed the samba dancers to step outside their samba school and individually express themselves. Some passista will promote samba workshops and charge per class for example or ask for donations, thus making extra income. Many of these passistas can be hired for international samba school parades either as a guest, "Godmothers" or as a "parade queen". The internet allowed them to travel the world and be more independent from their samba schools. It gave them freedom, connected them to people and places that they would not normally go.
Above Passista and Samba Queen Egili Oliveira last year 2019 on a Samba Official Workshop Tour and at her community Moro de Santa Marta, Rio de Janeiro.
Later, most of them lead their regular lives and dance for pure pleasure, health and love for the carnival culture, without much glamour. Very few of them “make it to the top” of the economical-social status, unfortunately... We really think this must change, and society should recognize them and VALUE them as part of a national identity.
Age and Rising Stars
Most passistas´s age in a real top samba school average between 16 and 35, though more than ever older passistas are maintaing sculpural bodies making a number for age something of the past. As we all know, samba dance is extremely caloric spending and requires much energy. Practice sections last for 5-6 months, normally 2 or 3 times a week. Each session takes about 2 to 3 hours. So evidently it's a very physical and energy consuming exercise. During carnival season their dedications can go for days on end!
Above, Passistas from Unidos da Tijuca Samba School, rehearsing at the samba school gymnasium.
Rehearsals
The passistas rehearsals are located at the samba-school headquarters, the “quadra” (gymnasiums), and directed by a specific person, the passistas wing Director. As some passistas become older, a natural renovation process takes place each year at the samba-school, a new girls substitute older ones, or the one who abandoned for one reason or other. Many of the passistas then assume new roles within the samba-school structure, as samba teachers themselves, art coordinators, assistants and “harmonia” functions.
Above, passistas from Unidos da Tijuca Samba School.
Above, passistas at a the samba school headquarters, rehearsing for the parade.
Samba Dancing Costumes
Regarding the passistas costumes for shows, this topic too has dramatically changed along the carnival history. Passistas normally had in the past, more of what foreigners know as the “show girl look”, with skimpy bikini costumes. The passistas in the past used less clothing than the majority of the other samba dancers. Nowadays, a passista will invest in quality costumes and best material, premium feathers and high priced designers for their personal perfomance or gigs. Prized passistas will have a huge selection of costumes, however many will borrow or rent costumes for specific samba shows, competition, photoshoot or performances. Many passistas will even make and sell bikini costume as a side business and thanfully the internet allows them to become respected and well know in this side trade.
Above, a photo of Passista Layza Santiago. She won a passista competition for the TV show "Caldeirão do Hulk", a very popular passista competition, opened to all passistas.
Above gorgeous Sheila Neves, muse of the drum school "Camisa Verde e Branco" from São Paulo. Notice that she has a spectacular pheasant back piece mixed with the bottom portion "goat's beard", a more natural and vegan approach to costume making. We sell goat's beard on our shop.
Passista Wing at the Carnival Parade
In the last 30 years, due to the new carnival parade aesthetics and dynamics, more clothing was “imposed” on the passistas wing for carnival parade, as to leave them with a greater similarity of the traditional wings. Lots of feathers, shoulder pads, specific "Carmen Miranda" samba shoes and adornments were added at the top schools. A typical passista will use a "Carmen Miranda" shoes, that has a heel and a platform. During a typical parade, all the passistas will use the same style of shoes. In this link we talk about the official samba shoes: https://www.brazilcarnivalshop.com/blogs/news/the-history-of-samba-platform-shoes .
Above, a typical samba shoes used by all level of passista dancers from all over the world. These shoes can be found at our shop: https://www.brazilcarnivalshop.com/collections/open-toes-shoes/products/carmen-miranda-straps-professional-samba-shoes?variant=19076503765061 It's the Classic Carmen Miranda Shoes.
Passista Wing of Salgueiro Samba School.
All of them who we have spoken with admitted their desire to samba dance “as freely as possible” in a parade, with less choreography, more "samba no pé" (samba on the foot) in order to facilitate movements and body language. Only recently carnival designers are reviewing this demand and again trying to settle a compromise with the luxury of clothing and the “lack of clothing”, but always adding of course some spice to this treasured wing. Less adornments allows the passistas to dance more freely in their samba moves. The more covering the more restricted they feel when dancing. As a reminder, the passista wing is not mandatory in a samba school parade.
Passionate Elite Samba Dancers
All in all, hope and passion is what maintains passistas in their lives! The greatest carnival show on earth would never happen without the passistas “magic”. They make a total difference on the parade, rehearsals, street carnival, and other events.
Passistas are today in our vision the elite of the samba dancers and samba dancers around the world look at their skills to learn and to be inspired.
Above, Passistas from Unidos de Padre Miguel
Nobody today could avoid associating Brazilian Carnival without their ubiquitous presence. Passistas, just like Hollywood celebrities in the United States, are able to provoke dreams, folklore, passion to even the most skeptic minds and souls.
Let's take the opportunity to celebrate their existence and mystery and hope they are finally recognized in Brazil, for the sensational contribution they make to its culture and society. The passistas are at the core essence of carnival, just like the drums section, the Baianas, the flag bearer (Porta-Bandeira) and the samba-host (Mestre Sala). In our humble vision, the "passista" section" during the parade should open the carnival parade! Glory for the soul hearted passistas!
In our next blog, we will talk about the Historical Passista Dancers!
]]>You have no idea how many projects she is involved in to spread her passion and teaching of samba!
In one word, what's the spirit of samba? Vanessa Isaac.
Let's get a closer look at this celebrated divine soul.
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When did you start Samba Dancing and where?
What inspired you to start exploring Samba?
Vanessa: Dance has been a part of my life since as long as I can remember, from performing in front of my parents as almost every little girl does, to taking ballet classes, and dancing Samba with all my soul during our Brazilian Carnaval times.
Samba is in my veins and has always been a part of me. It’s a language that my body has always understood. I feel my body is able to express itself and my spirit with Samba. As a professional there was a turning moment in my life: at 17 years old I got a scholarship to formally explore traditional Brazilian/ Afro Brazilian dance styles formally (Samba de Roda, traditional Afro Brazilian Capoeira, Samba-no-pé, Samba Reggae styles and Brazilian Jazz etc…). At that moment, I realized, I felt that I could bring Samba to the stage in a very personal way.
I then started looking into studying the history and the roots deeply. Dance is a universal language and I started blending Samba with contemporary dance in my own way. It has been an amazing journey since then.
Photo credit: Scott London
What's your favorite part of dancing Samba?
Vanessa: So many different elements come together in Samba: history, artistry, divinity, beauty and sensuality, to name a few.
Artistically, the rhythm and the way our bodies move in syncopation is something that takes you out of thinking in a “linear” way. As a dancer, Samba opens up in you a new way to think how to express your body and work with time. It’s about dance but it is about the cosmos too, how it’s reflected in the dance…. Samba music hits your body and you feel it. You have to learn Samba from an Afro Brazilian methodology of course. Samba is an Afro Brazilian dance!
When my dancers start exploring Samba, it’s amazing for me to notice their reaction. Suddenly there are all these layers in Samba. To execute Samba well you have to feel it on a whole different level. So many dancers are used to thinking “1. 2. 3. 4…..”. I don’t enjoy counting dance and my students and dancers know this. I always think…. let’s use our ears and lets feel it. The coordination required is amazing. Even for those that are not Samba dancers (Contemporary, Ballet and other disciplines), I recommend they learn Samba. When one learns Samba they are able to do so much more. I know because I have been a guest in Ballet organizations and I have seen it.
I also love how I feel the divinity of the dance. When we dance Samba we are dancing history: Afro Brazilian history, culture and the ancestors. We are dancing the joy, the sadness, the resistance, the sacredness and the incredible richness of a culture. I tell all my dancers to touch it with utmost respect. If you dance it, respect it. I have to say that sometimes I see things online which makes me very upset. Dancers must understand that Samba is a tradition.
As a teacher and dancer, I love Community. Samba is about community and I have many wonderful colleagues who are very generous, and I have many students in Brazil and all over the world through the Online Samba Dance Academy. I love how Samba brings community together.
And, of course, the beauty and sensuality of the dance is amazing. It makes you appreciate your body, and everything that it does for you. It allows you to move your hips when so many styles of dance completely conceal it. As a woman, it’s like…. Wow! It’s OK to embrace myself, my entire body! We can be mesmerized by its expression. Samba takes you to a holy higher ground for sure.
As a choreographer, I have to say that I love all that I mentioned above plus the fact I get to create something that is very Brazilian. It’s wonderful to have this uniqueness. When I perform and create my work with my dance company or any other project internationally, I feel a great responsibility by doing so.
Photo credit: Cil de Kolda
How do you keep yourself fit?
Vanessa: First, as you can imagine, I dance. I dance a lot. I dance Samba and Contemporary Afro Brazilian Fusion and Contemporary. All the rehearsals and teaching in the studio and online via our site and zoom on a weekly basis keeps me going.
I also practice Yoga, Pilates and body conditioning. I love my beach and nature walks, they are necessary for my body but also for my soul. Sometimes weight lifting is added to my schedule but I confess, I have a love-hate affair with lifting weights in the gym. I go for a few months then I get bored and stop for a while.
What advice would you give to a beginner Samba dancer?
Vanessa: Please find the right teacher that will teach you the basics and foundations well, and take your time learning the basics. It is OK to be a beginner. It’s better to not rush. Also find a teacher that is there to teach and encourage you and not to crush your soul. The way I think is that teachers should be there to support YOU and not their ego. So find someone that meets you as a creative, a full human being, and that will share with you the tradition of Samba and not just “steps”.
Understand the culture: research, talk with your teacher, read, go to seminars, watch dancers perform, and support other dancers and your teacher too (you will learn a lot by watching them). Visit and study in Brazil if you can to live the culture. Samba is a living art.
And keep a practice schedule. It’s OK to do Samba for recreational purposes but if you want to really learn and become a dancer, commit yourself to the art. I say to my dancers, Ballet dancers don’t take “time off’, they are constantly working on their craft. They show up to every class, week after week, ready to work hard. It’s a passion. Being a Samba dancer requires the same dedication!
If you love Samba start, I support you and encourage on your journey! And you know Maria Cristina, for the beginner dancers here, I want to let them know I have the Online Samba Dance Academy, Level 1 program. I created this program to teach the Samba- no-pé movement so dancers can understand it well and practice the foundations of Samba. I invite all dancers to join us online at the academy. There are also advanced virtual classes, choreography and many new programs coming soon. Plus I love sharing inspirations and the lifestyle.
Vanessa above wearing our LONG SLEEVE SPARKLE SAMBA DRESS
Any favorite experience/moments in Samba dancing?
Vanessa: Performing for thousands of people during parades and on theater stages; being a guest teacher and dancing Samba at Universities such as USC and world class dance organizations such as Les Ballet de Monte Carlo in Monaco; teaching in so many countries Internationally and at the International Samba Congress; dancing with my students, and practicing by myself in my room lol…. closing your eyes and dancing for yourself is such a beautiful feeling! I guess every moment counts.
In terms of being able to share my passion, there were some very cool moments that I will treasure forever. I’ve been interviewed on TV by CNN and Fox & Friends on Fox TV. My dance video won “Best Dance Video of the Year” by Fitness Magazine and Women’s Health and Fitness Magazine and it was featured on Dance Spirit Magazine and more.
One day, someone called me to say that my dance video was featured in the In Style Magazine as a recommendation by Teddy Bass, who is the personal trainer for Cameron Diaz. Yes, Samba is totally amazing and athletic too. It was so cool to read in the Magazine and it was a great surprise!
I was also nominated for the International Press Award in the dance category. And that was a big honor for me! It has been a long road sharing this love for Samba and Brazil with the world.
My most beautiful moments were and are always dancing in community, in Brazil and around the world and connecting to it’s roots!
Photo by Cirio Coelho
Can you share a little bit about yourself or your Samba Company?
My company is called the Vanessa Agle Isaac Dance Company (VI Dance Company). The work is based on Samba, Brazilian/Afro Brazilian dance styles and Contemporary dance. I focus on creating dance pieces for stage and film. Now more than ever, I am interested in doing art that stays and has longevity. I am basically doing work by commission with the company for different art organizations and creating our next show.
Another focus of interest for me, as the Company Director, is in collaborating with other artists: fellow choreographers, visual artists, musicians and more. I am now doing a piece in collaboration with musician Ami Molinelli Hart. She is a percussionist who inspires me a lot and we are in the beginning stages of developing a piece.
The company just had a casting call in Paris in January and will have another one in California as soon as we can. Unfortunately due to the COVID-19 crisis everything has been put on hold for the time being, so we have to wait and see. Our priority is our wellness now.
As part of the Company mission, I teach in the Community and Internationally. I also work in our community through the annual Summer Solstice parade in Santa Barbara with collaborations with musicians that come to participate from all over under the wonderful musical leadership of musician/arranger Marcus Santos (A Brazilian musician living in Boston) and musician/music leader Matt Wright (from Stanford). These projects are open to anyone to participate, dancers and non-dancers. It’s such a beautiful journey we have together. I started this work 20 years ago with Hip Brazil and it’s amazing how many dancers and musicians have participated. I love it and I really feel this connection has enriched our lives and the life of the community. I am grateful!
Above, Vanessa teaching at the International Samba Congress in which BrazilCarnivalShop is a proud sponsor
Do you teach classes and which style?
I teach Samba, Contemporary Afro Brazilian Fusion, Dancers conditioning classes (Dance/Pilates/Yoga based), both online and in the studio. We have many classes Online for our global community and many live virtual classes on my site. I love teaching! My online Samba, Level 1 program has been very well received and we have a beautiful online community now.
I also started an online Instagram Live called “Samba Everyday with Vanessa”, a free mini live class. It is created to support dancers and students on their Samba practice.
Besides dance I share inspiration, culture and lifestyle on my site. I love the video interview I did with you Maria Cristina for my online Sexy Samba Soul Show a few years ago. It is one my favorite interviews in the first season of the show. You did such a great job explaining the costumes, shoes and history.
Online on Instagram @sexySambasoul (Your Samba Soul is Sexy J)
www.sambadanceacademy.com for Online classes in Samba, culture and inspirations. We have programs and live virtual classes. And a new subscription program is coming soon. Join me there and lets Samba.
http://www.vidancecompany.com/ to get in touch with my dance company for new works and collaborations.
Lastly, what do you love more about our store?
Working with you and Brazil Carnival Shop has been amazing. I like your attention to details, the way you are hands-on with all your orders. The support for the dancers you give is beautiful. I love I can order unique and beautiful costume pieces for my dancers. Many of my shoes come from your store, and I love them. Plus you have a great costume selection.
"Thank you Brazilcarnivalshop and Maria Cristina!"
]]>This week we interviewed Jônia Queen. She was the US Samba Queen 2016-2017. We will share with you her passion and love for samba on this candid interviewed.
"Jônia, we would love to know more about your love and passion for samba! Our customers and subscribers want to inspired by dancers like you!"
When did you start samba dancing and where?
Jônia Queen: Being born and raised in Brazil, I was always fascinated by the Samba Schools during Carnaval and admired the Samba Dancers, Queens, Muses. Originally from Recife, Pernambuco state, I grew up dancing the Pernambuco folk dances and when I moved to Sao Paulo, that’s when I had my first encounter with a Samba School. I was a trained Dancer of other styles, but I would dance Samba just as leisurely. When I moved to Los Angeles, California, that’s when I started dancing Samba professionally doing shows in different events.
What inspired you to start exploring samba?
Jônia Queen: I always loved dancing Samba, but in Brazil I thought because I didn’t grow up in a Samba community, and I was busy with school and dancing in dance companies, I thought it was an unreachable dream…But as I had the opportunity in Los Angeles, I got more and more inspired, and that secret dream I had of being a Samba Dancer was coming true very organically and as I want to improve and grow I got even more inspired by the past experiences I had in Brazil with Samba as a leisure and observer and I started getting inspired also by meeting new Dancers that were more experienced and inspiring in LA.
What's your favorite part of dancing samba?
Jônia Queen: The uplifting energy, how it makes me smile no matter what.
Costume above by BrazilCarnivalShop LARANJA SUBLIME
Jonia above with her group of students, costumes by BrazilCarnivalShop
Group costume above by BrazilCarnivalshop
How do you keep yourself fit?
Jônia Queen: Mainly dancing Samba and watching what I eat.
Jonia Queen with celebrity samba guru master samba teacher, choreographer, instructor and professional dancer Carlinhos Salgueiro.
What advice would you give to a beginner samba dancer?
Jônia Queen: I would advice for the beginner Samba Dancer to take many Samba classes, try to study about the Brazilian Samba as an art and culture and connect with the meaning and soul of it, try to watch videos from current Passistas in Brazil and reference teachers and dancers in the Samba World.
Jonia above looking very Carmen beautiful. Shoes "Eliane 4 Ankle Straps" by BrazilCarnivalShop
Any favorite experience/moments in samba dancing?
Jônia Queen: As a Solo Samba Dancer winning the National Title as “Samba Queen USA 2016/17” and going to Brazil to represent the US with a dream sponsored costume (which Brazilcarnivalshop was one of the Sponsor's ❤). As Raiz Brazil Dance Company Director our international performance tour to Russia in 2016, where we were headliners in the Arkhangelsk Street Theater Festival.
What are other achievements and awards you would live to share with us?
Jônia Queen:
Individual titles:
2001 - Princesa da Bateria ( Princess of the Drums) da Mila ( Mocidade Independente de Los Angeles )
2008 - Rainha da Bateria da Sambalá Samba a School in Long Beach (great Los Angeles)
2009 - Rainha da Bateria (Queen of the Drums) da Sambalá Samba a School in Long Beach (great Los Angeles)
2010 - Rainha da Bateria da Sambalá Samba a School in Long Beach (great Los Angeles)
2011 - Rainha da Bateria da Sambalá Samba a School in Long Beach (great Los Angeles)
2014 - Santa Barbara Brazilian Carnival Queen
2014 - San Diego Brazil Carnival Queen
2015 - Hollywood Carnival Queen
2016/17 - Samba Queen USA
2018/19 - Cory Thomas Designer Ambassador
2019 - Officially nominated Brand Queen for the Hollywood Carnival as “ 1st Hollywood Carnival Queen”
Group Titles
(Raiz Brazil Dance Company):
2009 - 1st Place in the 1st Los Angeles Samba Groups Competition
2017 - 1st Place National Competition in Arizona Semi-Pro category
Can you share a little bit about you or your samba company?
Jônia Queen: Raiz Brazil Dance Company is a Company based in Los Angeles and had its debut in February 2008 in the Sambala Samba School Carnival Ball in Long Beach. Since then we did 4 International Tours ( Mexico, Thailand, China and Russia ) and performed in many cities/states in the US ( Las Vegas -NV, Reno- NV, Phoenix-AZ, San Diego- CA, Santa Barbara-CA, Memphis-TN, Detroit-MI , Sacramento-CA, New York-CA, etc ). Raiz Brazil also has performed with Sergio Mendes in the Hollywood Bowl for 17000 people, and performed to Ozomatli Band in the Playboy Jazz Festival at the Hollywood Bowl as well. Raiz Brazil performs mainly Samba because it’s the most known but we also perform other Brazilian Folk Dances like Frevo, Maracatu, Xaxado, Samba-Reggae, Samba-Axe and the Brazilian Ballroom Dance Dance Samba de Gafieira.
Do you teach classes and which style?
Jônia Queen: I teach mainly Samba ( Rio/São Paulo style), but I have experience teaching also Samba de Gafieira, Samba Axe, Frevo, Maracatu. And I teach Samba/Fitness Workout Class.
Please share with us your website, YouTube channel, social media? How can viewers contact you?
Jônia Queen: Website: www.raizbrazilsambashow.com
Facebook page: https://www.facebook.com/joniaqueen/
Instagram: https://www.instagram.com/joniaqueen/
Instagram: https://www.instagram.com/raizbrazildancecompany/
https://www.facebook.com/raizbrazildancecompany
Last, what do you love more about our store?
Jônia Queen: I love all the costumes, products and amazing customer service.
Costume above by BrazilCarnivalshop VIBRANTE VERDE AGUA LUXURY BIKINI SAMBA COSTUME
Thank you Jônia for sharing your interview with us and your followers! We love you!
]]>The first movements towards the emergence of carnival societies took place in Rio de Janeiro, in the late 1830's. It was around this time that Rio's elites began to copy the carnival that was taking place in Paris, seeking to move away from the well-known set of games with Entrudo.
Attempts to civilize the Carioca Carnival
With the move of the Portuguese court to Rio de Janeiro, the first attempts to “civilize” this carnivalesque party appeared, through the import of Parisian masquerade balls. Thus, the “Popular Entrudo” started to suffer strong police control. Several prohibitions were imposed from 1830, in an always fruitless attempt to end this gigantic and spontaneous manifestation of the people.
The French model caused the fashion of Masquerade Balls, Fantasy Balls or Bals Masqués to be quickly copied by the Court.
Above at Largo do Rocio, also in Rio, the country's first carnival ball was held. The year was 1840 and the idea was of an Italian woman, who missed her country, wanted to bring some elements of the Venice Carnival. There was confetti, streamer, mask ...
Gradually the act of moving from the houses (even the ballrooms was becoming an event in itself) or from the headquarters of the societies (the name given to groups that met for meetings and gatherings) to the streets was becoming more evident .
Parading through the city in open carriages, showing the population the rich costumes imported from Paris would become one of the great pleasures of the bourgeoisie during the carnival days.
Rio societies were identified with the economic elite and tried to copy the carnival models of Venice and Paris as we see below. Characters such as the Colombian, Pierrot and King Momo were also incorporated into the Brazilian carnival, although they are of European origin.
The people of Rio de Janeiro watched the passage of these costumed groups with great interest, saluting their passage as they were used to, that is, throwing their scented lemons on them. To avoid this confrontation, the tours were increasingly organized in veritable training.
That same year, a group of elite revelers decided to form a social and entertainment club for its members, called "Congresso das Sumidades Carnavalescas" holding its first parade through the streets of Rio de Janeiro.
It would not be a mere journey between the houses and the balls, but an event that would suffice itself, along the lines of what was done in Paris, Rome or Nice.
The great publicity of the event marked an era and produced a founding event for Brazilian carnival; the famous parade of the Congress of Sumptuous Carnivals, considered by historians as the first Brazilian "Carnival Society". However, there was also another group from the same time, called União Veneziana (Venetian Union).
The idea behind the societies was an attempt to reproduce the party inspired by the Carnival from Venice. Its inaugural parade took place in that same year, with members of Brazilian high society dressed in Cossack's from Ukraine, Scottish clarions, Don Quixote, mandarins, nobles from the Caucasus, Fernando, the Catholic, among other luxurious European-inspired fantasies.
Above a float from 1855 from "Congresso das Sumidades Carnavalescas".
The club members were part of the Brazilian elite and took to the streets dressed in the most diverse themes following the luxurious European-style fantasies. One of the founders of this club was José de Alencar, author of the famous book and novel "O Guaraní".
But when did the carnival societies became "legal" to parade on the streets of Rio and who were the 1st organized carnival groups? There are controversies about pioneering.
One of the chains says that, in 1848, the famous Zé Pereira (we will discuss him on a later Blog) decided to pick up his kick drum and go out and play in the streets in 1848. People thought it was cool and started following him, giving rise to the blocks, others say that the first was the Congress of Sumptuous Carnivals, founded in 1855 by the writer José de Alencar. The parade was formed by a commission of intellectuals, and was authorized by Emperor Dom Pedro II, who would even have attended it.
“Long live Carnival, fine, chic and polite”
The battle cry defined the spirit of the Emerald Society in relation to the celebration. Carnival born in the slave quarters that the era was the most lowly, now enters like a Morpheus in the elite salons. The year is 1873. The two big carnival societies in Porto Alegre appear: Esmeralda and Venezianos as we will explain below.
Above, the carnival of Porto Alegre, in the year 1882, Jornal do Commercio, in the column "Folhaetim", portraying the ball carnival society Esmeralda.
Above, floats from Carnival Societies 1883, from the magazine Revista Illustrada, ano 8 n.331.
Above, the symbol/logo of the Fenianos Society Club from Petrópolis, Rio de Janeiro. In the newspaper clip, they are asking the founding members to gather on a specific date.
The fact is that the Rio de Janeiro police only authorized the parade of blocks through the streets in 1889.
In the year following parade, the Brazilian Emperor Peter II, left the Imperial Palace of Quinta da Boa Vista, to watch the parade, which passed through the streets of the city center, and entered “Largo do Paço” amid great acclaim.
In the war between the popular entrudo, of Portuguese origin, and the elite and French Carnival of Rio de Janeiro in the mid-19th century, the victory of the latter began to happen when the first parades of floats took place, with the vehicles in use, such as the couldron, the saloon and the coupe, richly decorated, decorated and packed with revelers. However, the first floats in the city of Rio de Janeiro were built and paraded through the central streets of the city in 1786 by order of the viceroy Luís de Vasconcelos to commemorate the wedding celebrations of the king of Portugal.
In the middle of the 19th century, the parades of floats marked the rise of masks and fantasies about syringes, smelly pots of water, from the old entrudos that, however, resisted until the end of the century.
Carnival dances, like the famous ball at Teatro São Pedro, were animated with the presence of more than 5,000 dressed and masked revelers, some with luxury and elegance. The carnival's golden key was the parade of masked revelers in the floats, accompanied by music bands, through the streets of the Center and the Passeio Público in Rio de Janeiro.
Above, an illustration from Bordalo Pinheiro, February 17th, 1877, mentioning the carnival society Democráticos, Zé Pereira.
The "Great Societies" promoted parades in the city with their members in full costumes.
In an edition of the Gazeta Mercantil newspaper of 1855, the writer José de Alencar, founding partner of “Sumidades Carnavalescas” wrote that during carnival Monday, instead of strolling through the streets of the city, the masked “Sumitians” (name of the revelers from Sumidades Carnavalescas) would gather at the one of Rio’s main street and there they would spend an afternoon in the same way as a carnival afternoon in Italy, throwing confetti, handing out flowers and intriguing bystanders with their masks and friends.
Above a illustrated newspaper from 1885, note how interesting they narrate the parade below. They talk about two "carnival society" groups, one called Venetian and the other Germania from Porto Alegre, Rio Grande do Sul.
"The year was 1885, on a carnival Tuesday in Porto Alegre. Germania had already presented its service the previous day. The Venetians did not take to the streets that year. But Esmeralda promised to come with all the pomp and shine, only ...
"The rain deprived the population of enjoying the beautiful tour prepared by the Esmeralda society.
All the partners were already dressed up and the cars of triumph in order to follow, when a torrential rain put everything in disarray, causing great damage in costumes, painting and so on.
The grief was general, because the "Esmeraldinos" promised a splendid feast.
The public, however, had the opportunity to see the magnificent triumphant cars, which would have the following order:
1st - Queen's car, a large rose floating in the sea, between foam flakes, and taken by four swans, guided by cupids. The beautiful queen would rise from the center of the flower, surrounded by a large court.
This car was in charge of Mr. Alfredo Chaves.
2º - Bohemian tent, richly adorned and with two huge dragons in front, guarding the figure of Minerva. The bohemian would be represented by an interesting girl, accompanied by several groups, arranged with great pleasure. The execution was by Mr. Leopoldo Masson.
3rd Car from America. In the center, on a golden throne, a young gallant would represent America, with the busts of Colombo and Américo Vespúcio beside it.
Other young women would represent Brazil and Industry. Two buggers, guarding the Maltese cross, would complete the allegory, which, as can be seen, would arouse the greatest enthusiasm.
All the work of the American car was entrusted to Mr. Araújo Guerra [...] ". (The Federation, February 18, 1885)
Other clubs emerged and organized sumptuous balls and parades through the streets, which gave new aspects to the emerging Rio Carnival. For years, the main stars of the parades of the great traditional societies were the “Clube Democraticos” (founded 1877), “Clube dos Fenianos” (founded 1869) and “Tenentes do Diabo” (founded 1855). The “great societies” paraded from the middle of the 19th century all the way to the 1950’s, but by the 1930’s, they were already on their decline. The ´Carnival Societies´, were highly organized and had their own logo, statute, and division of responsibilities among its members, as we can see below. José de Alencar also stated that the club already had almost 80 members.
Above we see men riding their horses, very typical at the carnival societies, specially at rural rich areas.
Society woman parading through the beach avenues of Rio, with the Sugar Loaf as a backdrop.
Below we see a statute of the “Tenentes do Diabo”.
Apart from Rio, Carnival historians were able to document the existence of Carnival Societies in five other cities: São Paulo, Recife, Florianópolis, Porto Alegre, and Salvador. This shows that the Carnival Societies were a national phenomenon.
Floats were part of the parades of the Great Societies
The tradition of presenting floats goes back well before the emergence of the Samba Schools and can be credited to these associations. As we will be able to see through the photos, the “Great Societies” were among the first carnival expression in Brazil to use Floats on their parades. Back then, the floats were obviously much more primitive, but were made with great care.
We can see that, the car that seems to be an allegory of watermelon was pulled by donkeys, a usual fact at that time, as seen in other photos. A beautiful brunet as described at the time was inside, in the center of the float.
Above, on the left side, a float from Tenentes do Diabo, at the carnival of 1913. A float named "Five o clock Tea".The Lieutenants together with the Democrats and Fenianos were for years the biggest stars of the parades of the "Great Societies".
A horse and its float, circa 1920.
Below, in the photo on the left, we can see the Fenianos float at the ancient and distant carnival of 1913, practically 100 years ago, presenting an allegory in the form of a lyre ("A Lira de Sapho"), apparently prepared with great care, with some members of the club on the car.
Another aspect that was much explored in relation to the theme of floats, were the allegories with satires to the governments, which were always present in the parades of the "big societies". In the photo below, on the right side a float from the Fenianos of the 1923 carnival. As usual, the car was powered by animal traction.
We can observe that the Carnival Societies had several aspects of the modern-day era samba schools. We can list a few items on that sense. The Carnival Societies had a theme they would develop upon and they had a satirical component to this critique. The revelers would parade in costumes and the members would organize themselves to decide in conjunction parade ideas.
Above a float from the "Argonautas" societies. A beautiful float that you can see was made with much care and attention to details.
Above, a float being pulled by horse in the beginning of the century in Rio Grande do Sul.
Above the Bam-Bam society group exclusively for men in 1925, Santa Catarina, Rio Grande do Sul.
A "society" parade circa 1920 at Santa Cruz do Sul, Rio Grande do Sul. Notice the horse floats.
Finally, the Carnival Societies were also the first organized carnival association to build carnival floats to help to describe the parade idea. Because of these elements, and many other as described above, we can conclude that the Carnival Societies greatly inspired the format of the robust samba schools we see today all over Brazil.
We hope you enjoyed our brief history of the emergence of Brazilian Carnival. Please comment and share with your friends.
]]>To better understand, the front commission are composed by 10 dancers/participants or more. The "opening wing" is the main float that opens the parade, right behind the front commission crew. Most of the time they will use the "opening float" to tell their story. So these two element (dancers and float) are together. In the beginning of the century these two elements were separated. The front commission was a group of its own and the opening wing float another element. Below we will explain how they merged creating a big deal back then when the two merged.
Let's see how this opening wing transformed the parades since the 1900's.
The opening wing or “Comissao de Frente” (to use the original expression in Portuguese) is also one of these criteria examined by the carnival judging panel, to help determine the parade contest winner of each year. It's the best kept secret in a samba school. No one in the samba school is allowed to know what are they going to do.
The opening wing usually tells a story, with lot's of choreography, theatrical performance and lately magical special effect to literally wow the crowd. The opening wing is seen as the "welcome" group.
In the early ages, as a contrast, the opening wings had a wooden bat on their hands, almost like a "protection" to their samba school. It started with people walking in groups, now we see the samba schools adding bigger floats that allows them to perform their show. This "group" then became more organized as we explain below.
To understand why this element became a mandatory element in Brazilian parades, we have to go back at least 120 years in the history of Brazil´s Carnaval.
Front Commission from Unidos da Tijuca 2009
The entire samba parade is 60 minutes, so the opening wing has to be quick and perform many times during a parade and specially in front of the judges.
According to the judge's handbook, the judges' considerations for giving notes to the front committee are:
"- the fulfillment of the function of greeting the public and introducing the school, being mandatory to display in front of the judgment booths;
- the coordination, tuning and creativity of your exhibition, which will be mandatory in front of the judgment booths, and can evolve as you wish;
- the clothing of the front commission, which may be traditional (tuxedos, jackets, summers, suits, tuxedos, etc., stylized or not) or carried out according to the plot, taking into account, in this case, their suitability for the type of proposed presentation ”.
Below we will provide a small summary of the opening wings origins, innovations and present characteristics so readers can enjoy the carnival culture in Brazil with more comprehension.
In the early 1900's, before samba-schools formally existed, street carnival guilds called ‘carnival societies’, or in Portuguese, “Sociedades Carnavalescas” or "Carnival Societies" used to march in Rio´s street Carnivals.
These organized clubs and samba associations celebrated Carnival the old way, in a procession, and revelers would wear rich European carnival costumes. These were the first carnival groups assembled somehow in a parade organized style.
During these days, in the beginning of the caravan, men rode horses and wore tailcoat and top hats ahead of the floats literally opening the parade/procession, and greeting spectators. Women would were elegant outfits and playful makeup. Cars would be decorated to give the street parade a more festive look.
Later, horses and carriages were substituted by open cars at the procession, in what would be called “Corso de Carnaval”. In essence, the samba-schools from today “borrowed” the idea from the Carnival Societies of the last quarter of the 1900´s in Brazil. We will talk on another blog, about the Carnival Societies.
circa 1907.
Photo Credit: Agencia FOTO BR
Isnard Araújo and Candeia, two famous samba scholars, wrote in a book called “Escola de Samba - Ärvore que Nunca Esqueceu Raiz” – that the first samba-school to present a formal opening wing during an official parade was Portela samba school.
At that time the opening wing was composed of the collaborators and founders of the school. They would literally "welcome" and wave to the everyone passing by. They would honor the oldest members of the samba school. It was a great way to say thank you for their dedication year round.
Below an excerpt from Portela's archives:
Gradually the other schools began to adopt some kind of commission to open the presentations. However, for decades, the front commissions would come after the opening wings that the schools took to the avenue.
Vizinha Faladeira, still in the thirties, sought to innovate, bringing commissions in limousine and mounted on horseback, as in large societies. However, despite the innovations of the Santo Cristo samba school having resulted in 1937, when it emerged victorious, the 1938 regulation, the first to recognize the existence of commissions, prohibited the use of elements foreign to the culture of samba schools, determining the directions that carnival would follow from then on.
If, in the first decades, the commissions were constituted using Portela's original commission as a model, that is, composed of the components that were representative to present the school, in the 1960's some associations would try to escape this traditional model.
"Portela innovated in 1938, and trying to overcome the absence of their known artist Antonio Caetano, the team prepared a mirrored wing, presenting this material for the first time in the parade of samba schools. It was left to a furniture polish man called Empata to push the wing opener on the avenue.
Under heavy rains, Portela entered Praça Onze. Mestre Betinho's drums tried to overcome the difficulties of the strong storm that was falling. Alvaiade, Head of Assembly, pleaded the wet components.
The 37 schools managed to present themselves, despite the problems, including Portela. But according to newspapers at the time, the parade was not tried because the jurors did not attend. The rain would have been the reason. However, two of the three jurors were at Praça Onze that night. The testimonies of each of them generated public discussion in the press of the time around the annulment of that year's parade."
Portela 1953 at a parade that happened at the beach front avenue.
This fact was confirmed by Hiram Araújo, another renowned samba historian in Brazil, and by carnaval researcher Amaury Jório in the book “Escolas de Samba em Desfile”. From that moment on, other samba-schools started to have a “Comissão de Frente” on carnaval parades. The samba schools then started to invest heavily on choreography and hired the top choreographers in the country!
Above, opening wing of Portela samba school 1980
On the below link you will see a very brief summary in videos on the Portela Samba School Opening Wings from 2000 to 2012.
https://comissaodefrente.blogspot.com/2012/07/portela-e-as-comissoes-dos-anos-2000.html
Brazilian journalist Francisco Duarte, listening to testimonials from Unidos da Tijuca Samba-School founders, said that ahead of parade there was usually a live animal: “once there was a frog, another time a little she donkey, and finally, in 1936, a school member was there in a dragon costume greeting and opening way through people”.
After this live animal, escorted or carried by a samba-school member, there was an opening float, usually a boy carrying a signboard made of painted cardboard. Preceding the Opening Wing, circus type clowns known as Tico-Ticos wearing satin suits came up, carrying their big walking sticks and cages.
First Innovations at Parades
As we explained earlier in the blog, Vizinha Faladeira, was the first Samba-School to win a carnival contest in Brazil, and made a “small revolution” in the Carnival of 1935, with their great novelty an Opening Wing, elegantly composed by 12 limousines.
In 1936, Vizinha Faladeira Samba-School was again innovative and brought the Comissão de Frente on horses, just like the way Great Carnival Societies (Grandes Sociedades) used to do.
"In the thirties some schools tried to innovate, placing floats on the commission, which was criticized by the jurors, who believed that there was no need for that.
But the major transformations of the opening wings came after schools hired visual artists and choreographers.
The union of the two classes caused a real scandal, due to the beauty of the presentations.
The costumes are rich, according to the school's plot, the members rehearse choreographies related to the presented story. Often, the front committee is enriched with professional dancers, in order to present a parade of higher quality."
~excerpt above from BrasilEscola/carnaval
Below, a luxurious Opening Wing by Rocinha Samba-School.
Photo Credit: Agencia FOTO BR
From 1938 on, the Opening Wing became part of the official regulation for the parades. It was then formed by distinguished samba-school members, like directors from the board, patrons, elder samba players, or important people from community. This group had the mission to present the school to the jury to the carnaval crowd and authorities, while receiving applause from samba enthusiasts. They would go marching by foot.
Throughout the years, the Opening Wing always found a way to evolve and present a different look throughout its outfits, posture, the presentation, and members/components. In 1965, in the Carnaval of the IV Centenary, Salgueiro Samba-School presented “little donkeys” as Opening Wing (typical from the folguedos - typical popular festivals from several regions of Brazil).
The first time though women came on a “Comissao de Frente” was in 1969 by Samba-School Imperatriz Leopoldinense. They represented the Africans and the theme was “Brazil, lovely flower of three races”.
In 1978, another historical curiosity: Estação Primeira de Mangueira Samba-School presented two Opening Wings during their parade. The first, which would be analyzed by the jury, was formed by women, and the second, formed by the elders from the samba-school like Cartola, Nelson Cavaquinho, Grande Otelo, and others. Today, "Comissão de Frente" may be formed by men, women, or even children. They are fancy dressed, they come in white tie, black tie, suits, or costumes, whatever the parade-theme requires.
Every day stilt commissions become more common, performing acrobatics, somersaults and other adventures. Commissions that ensure the perfection of the choreographies, such as those of Imperatriz Leopoldinense samba throughout the 90's, and those that moved the public, such as the one that revived the great names of samba, from Mangueira samba school, in 1999 are already marked in history.
Front commissions are still evolving, and this show will have an additional chapter to write each year.
Last, we will show a small demonstration of one of the most creative Front Comission from Unidos da Tijuca samba school in 2010 (giving them the title), showing once again the personality of the carnavalesco Paulo Barros who definitely enters the gallery of the great carnivales of samba. Congratulations Tijuca, congratulations Paulo Barros! Years after that Paulo Barros continued to use special effects and many other samba schools started to copy his creative approach.
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We invite you to get inspired! We thank G1 photos and we credit them accordingly below.
Above Queen Raissa Machado, Drum Queen of Viradouro samba school. Notice the all metallic gold elements and voluminous goat's beard back piece. Wonder Woman would love that.
A diva at the Viradouro Samba School with an all gold & nude costume, intricate and delicate beading, high rise one piece in a dark tone nude color to match her skin color. She has a natural color goat's beard lower back piece that matches her costume.
Muse of Acadêmicos do Sossego in an all white strappy bikini. We love the natural ombré goat's beard back piece and iconic headpiece. Big over sized cuffs empowers this muse to show how fierce they are!
Above, Queen of Império Serrano, Quitéria Chagas. Photo Marcos Serra Lima / G1. She has an all white costume, with futuristic shoulder details, delicate and embroidered one piece. Huge tall heart shaped back wings! Dangling beading on the side hip was a trend from 2018 that was carried over in 2019.
Lívia Andrade, Queen of Drums of Império de Casa Verde. Photo: Fábio Tito/G1. This costume was inspired in princess Leia from Star Wars. Notice the high cut one piece, over sized shoulder piece and over the knees vinyl boots.
Above Anny Santos, Queen of Alegria da Zona Sul samba school. Photo: Marcos Serra Lima/G1. Anny has a strappy high cut one piece in black and white, with abundant white pheasant back piece. Her headpiece has very little feathers in contrast with the luxurious abundant pheasant back piece. The back piece white back ground served in a way to showcase her beautiful costume! That's a trend we have been seeing for the past year.
Above Rosana Faria, Queen of Drums of Unidos da Ponte samba school. Rosana is all white, with off white pheasants and delicate embroidered long sleeve very high cut one piece. Notice again no feathers on the headpiece. The reason why they do that could be to give focus to the body says the experts, and it's easier and lighter to samba dance with less weight on the head. Typically in parades they invest in back pieces rather than headpieces feathers — Photo: Marcos Serra Lima/G1
Above Queen of Drums Egili Oliveira from Renascer de Jacarepaguá samba school. She is parading with a gorgeous high cut white embellished crossed trikini in white and black rhinestone beads with a over sized back piece in royal pheasants on the colors off white, white and black.
Celebrity Diva Antonia Fontenelle parades at Império Serrano Samba School. She has a gorgeous high rise very embellished nude one piece with jeweled colors emerald/silver/white accents. Antonia uses artificial feathers on her back piece and head piece, deciding not to use real feathers, a big trend coming — Photo: Marcos Serra Lima/G1
Another trend that we noticed was the multicolored pheasant back wings in a downward angel wing style, forming a heart shape design. Notice the endless tiny sprinkled rhinestones on the back wing. This muse has a very high cut bikini bottom and a gem like decorated bolero style with strappy arm sleeves. Again, no feathers on the headpiece, the focus is on the body and wings.
Above we see Mônica Nascimento, Queen of Drums of Acadêmicos da Rocinha samba school, with a colorful rainbow like back piece, dancing under the rain. Mônica has a delicate very high cut long sleeve one piece and colorful embellished gladiators — Photo: Marcos Serra Lima / G1
Above beauty Michelly Boechat, muse of Unidos da Ponte samba school is parading with a high cut look. The colorful purple and dark pink wings and matching gladiators was a trend in 2019. Color! Color! Color! — Photo: Rodrigo Gorosito / G1.
Beautiful muse in an all "Brazil flag green" costume and royal luxurious pheasant wings. We love the strappy bikini top and bikini bottom with beaded dangling straps. The decorated shoulder piece on the back wings empowers her even more!
Passistas section from Império Serrano samba school. This muse is wearing a high cut one piece open trikini, over sized shoulder piece and cap style headpiece with hair detail to be shown and pulled upward. We love the zebra style pheasants in green to match her costume! — Photo: Rodrigo Gorosito/G1
Above beautiful Pâmella Gomes, Queen of Drums of Tom Maior Samba School. She is using a beautiful gold/nude princess high cut two pieces corset like costume. Her majestic peacock back piece speaks for itself. — Photo: Fabio Tito/G1
Above Flávia Lyra, muse of Imperatriz Leopoldinense samba school — Even on a rainy night she paraded gloriously in an all natural and gold look. Her natural "lady" pheasants back piece was majestic even drenched in water. We love the gold futuristic tubular detail of the portion where the feathers starts on the back piece shoulder piece. -- Photo: Marcos Serra Lima/G1.
Above beauty Julianne Trevisol is the muse of the Grande Rio samba school —She has a bold red zebra pheasant feather back wing and headpiece and animal print inspired bikini costume with over sized shoulder pieces. Notice again the over sized shoulder piece-- Photo: Rodrigo Gorosito/G1
Above a gorgeous dancer with an all gold/nude bandage like costume, tons of dangling straps and nude/gold embellishments. Her long luxurious pheasant wings are majestic! We love the super decorated gladiators matching the costume.
We hope you enjoyed a sneak peak of these beautiful samba muses, queens and divas that inspire us. We are thankful to the samba designers, they are the true talent behind these costumes and their crew, working day and night to bring these gems for us to appreciate and share. We thank the photographers for impeccable great quality photos from G1 newspaper.
~
Maria Flynn
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We spent years collecting original samba carnival videos, from carnival costumes, to samba rehearsals. For sure, there is a video you will watch and share. Below is one of our most popular videos. "10 Carnival Costumes For Woman: Glamorous Outfits For Samba Parade" with gorgeous costume inspirations!
If you want to learn about Samba dance, get new ideas for samba choreography, Carnival Parades, Brazilian Celebrities, see new Carnival Costumes, Carnival Backstage scenes, this is it! Through exclusive videos filmed and edited in Rio de Janeiro, you will understand a bit more of the Brazil´s Carnival culture and samba personalities.
We have many categories and playlist for you to browse, and some videos seems to be more popular than others. The "Top 5 Brazilian Dance Live Presentations: 5 Rio Dancers" had over 1.5 million views.
Need some new samba dance routines? We have many videos to choose from. One of our most popular is the "Samba Dance Competition Winners & Dancing Rooutines", with over 5 million views as below:
We created a great playlist for you to choose from. You might want to check out some samba routines, watch some beautiful carnival floats, or listen to amazing samba drummers.
We are very careful in our creation of videos, trying to show to the world the different micro cultures of the Brazilian Carnival. Many think Carnival in Brazil is only about parades, but we try to show elements that are part of this entire community, which includes Samba Dancing, Samba contests, Samba Drumming, the Flag Bearers, samba-schools, rehearsals, amazing Carnival Floats, the Carnival Queens, Carnival Divas, new samba rhythms, Interviews, exclusive backstage, and much more.
We also love to cover our customers and samba friends when they are in Rio. Here we see Tania Daley Samba Queen at Viradouro's Official Quadra Rehearsal. The World Salsa, Bachata and Chicago Samba Champion paraded in a beautiful float at the legendary Unidos do Viradouro Samba School. Her samba routines and energy helped Viradouro win their Second Championship. The samba school won its first title in 1997 and paraded again this year with perfection. Tania took part in both rehearsals at the samba school premises and also the street rehearsals (ensaios de rua). Samba dance rehearsals are perfect opportunities for samba lovers to fine-tune their routines, learn the samba theme ( "samba enredo") and mingle with the local community.
Do you love Drumming? We have many videos to choose from, click the link, raise your volume and enjoy! Below is a great video "Incredible Street Carnival Drumming: Batucada at it's Best:
Love to watch those samba floats at the Carnaval Parade? Rio Carnival Floats have always been admired by artists all over the world by their finish perfection & intrinsic engineering!. Here can see their backstage! This is definitely one of the largest Rio carnival floats we have ever filmed and witnessed. It probably has 30 meters long, adorned with rich and detailed sculptures and handcraft:
We hope you enjoyed a small preview of our YouTube channel. Subscribe now and share the samba passion!
]]>Below, one of the first registered Carnival Floats in Brazil, 1920!
For the sake of better understanding, we have translated from Portuguese the word Alegorias to Allegories, in English. The second term, “adereços”, we will be translating to adornments; since we feel this word best represents its general meaning. Some researchers in English have used the term pageantry for “alegorias”, in Portuguese. We don´t agree with this use since pageantry has a much broader term. Also as to facilitate comprehension, 'Allegories' is the term generally referred to the Floats, or allegorical cars. The term 'adornments' is related to the props, signboards and portable items carried by the parade members, which aid in the construction of the visual scenario of the story plot.
Below, an example of a Float at Brazilian Carnaval. These allegorical cars help the carnaval producer tell the plot-story within the parade and are a contest evaluation criterion. Some floats are extremely rich and they carry people, statues, and other luxurious sculptures.
Photo Credit: Jaime Silva - Prefeitura da Cidade do Rio de Janeiro
Early days
Being inspired in the Sociedade Carnavalescos and in the ranchos carnavalescos, the samba schools created their Alegorias and adereços as illustrative aesthetic elements for the themes. As the themes were just clearly defined in the 50’s, carnaval allegories and the adornments took long time to become incorporated in the carnaval parade structure itself.
In the early days of parades, there was strong prejudice against the use of allegories in the samba schools, due to the Sociedade Carnavalescas, which were singularly characterized by loose allegories. The samba school Vizinha Faladeira for example, which in the carnival of 1935 had a huge caramanchão, (pergola of flowers with horses - made of papier-mâché - in a wagon), suffered strong pressure from its co-sisters before the judging commission. The 1938 parade Regulation added a specific term prohibiting allegories similar to those used by the "Sociedades Carnavalescas".
Not only the Floats are considered in this criterion. Props and portable adornments are also evaluated by the Carnaval judging panel. In the picture below, we see Thailand´s Khatakali Theater being represented by costumes, props and make-up.
Photo Credit: Jaime Silva - Prefeitura da Cidade do Rio de Janeiro
In the 30’s, the allegories were nothing but timid pergolas and some papier-mâché dolls. The innovations were on count of each school. For example, in 1932, Portela brought the theme (a sketch) Sua Majestade o Samba (His Highness, the Samba), which had a component named Eurico as a symbol of the samba in an allegory, this character was idealized by Antônio Caetano ( artist, carnival producer, one of Portela´s Samba-School founders) in the following way: the body was shaped by a barrel (bass drum), the head was the pandero, the ears were the tambourines, and the arms were the “sticks”. Important to note that note only the floats are considered within this criterion, props - portable elements the merry makers carry during the parade - are carefully evaluated.
Allegories 1940-today
In the 1940’s and 1950’s, the allegories were mounted under simple structures made of iron, wood, and ball bearing wheels; the dolls were made of papier-mâché and colored by iron oxide pigments.
In the 1970’s, new materials like plastic paint and varnish were introduced. Later, polystyrene and glass wool, which provided consistency and protection (against rain) to the works created by sculptors, were brought on. The use of glitter, the replacement of the bases of the cars (wood and ball bearing wheels) by chassis with stringer, wood and rubber wheels, the use of modern machines – all of this was improving the allegories which stopped being fragile elements, which was dismounted in the avenue when it was raining, and became real resistant allegories unlike the ones used at Sociedades Carnavalescas days. Also in the 70’s, Fernando Pamplona’s team in Salgueiro Samba-School produced the tripods (light adornments built on tripod bases) to substitute the signboards they used to carry.
Allegories have evolved tremendously. Today, the use of "living" sculptures added a human dimension to these gigantic carnaval floats in Brazil, as seen below from Unidos da Tijuca Samba School. Some of these floats today can cost up to USD 200.000,00.
Photo Credit: Alexandre Vidal / AGENCIA FOTO BR - Protected by Law
The carnival allegories and adornments are illustrative aesthetic elements from the theme: resources that must contribute for a better clarification, a better “understanding” of the theme. They must be integrated to the carnaval costumes (and vice-versa). The allegories and adornments must obligatorily have a meaning and translate the content, sum of the parts that compose the overall plot-theme.
Wondered and produced by popular and/or erudite plastic artists, they are a rich demonstration of the creativity, capability of creation, and improvising. Some foreign artists note that Alegorias and Adereços embodied at carnaval parades represent one of the best and revealing examples of the aesthetic quality of the Brazilian craftsmanship.
]]>Watch below a very cool Carnival Video of Mestre Sala performance, at the end of this page.
The Brazilian carnaval figure/element that pairs with the Porta-Bandeira- Flag bearer in Brazilian Carnaval parade is the Samba-Host. His main artistic function during the parade whilst courting his flag-bearing partner, is to protect the Porta-bandeira and the banner of the samba school. Symbolically, the Mestre-Sala carries a handkerchief or fan. Carnaval historians note that in the past, razors and small knives were concealed within the fans/handkerchiefs and would be readily used if someone tried to steal the samba-school banner.
Below, mestre-sala Rogerinho, that used has danced for Mocidade and Unidos da Tijuca samba-school, and today represents Portela. As you can see, his clothing is very rich and detailed.
Photo Credit: Diogo Mendes
The second distinguishing attribution of the Mestre-sala is to draw everyone’s attention to his protégée and make sure the samba-school banner/flag itself, attracts media and popular awareness during a parade. He wants to make sure the Porta-Bandeira will be positively evaluated, and samba-school´s banner highlighted. Unlike other samba dancers, his choreography is refined and delicate, resembling the court dances of France aristocratic palaces. Some samba-dance experts say both should “slide” during the official samba parade. The samba-host costume also resemble those elegant clothing worn on European mid 18th century saloons, including a wig.
Both porta-bandeira / mestre-sala roles in the carnival culture can really mean the top of a career and life devoted to samba. Most couples you see at Rio de Janeiro and São Paulo carnaval parades have probably been dancing and practicing samba for at least 15-20 years. They usually start practicing for that specific function very young, at the ages of 8-10 years and gradually move up the samba-school hierarchy. Many of them are direct descendants of the true founders of carnaval and samba in Brazil. The couples develop their skills and experience, hoping one day to belong to become the “couple number 1”, from one of the 12 most important samba-schools of Rio. The achievement of these positions would naturally bring them fame and glory.
First Couple is what we define as the number 1 Mestre Sala and Porta-Bandeira ( Flag-bearer) of a samba-school. Here we see Ana Paula and Robson from Imperio Serrano Samba School, getting ready to enter the Sambadrome.
Photo Credit Diogo Mendes
Now some final facts:
Above the Samba Shaker, also called Chocalho or Soalheira
Another possible reason for this curiosity is probably due to the fact that many instruments simply were not industrialized or used on a large scale outside of Brazil. They are truly very recent samba phenomena, we could say. For this reason, we are writing two specific sections on the entire samba instruments used at the Brazilian Carnaval; one relative to what we call the “Light Samba Instruments” and the other commonly called “Heavy Samba Instruments”. As you may have read under the Drums Section – Bateria blog, most of them have African roots and slowly were adapted to samba-school use. On this page you will review the ‘light group’ Samba instruments descriptions. Let´s take a close look at their descriptions, photos and use.
Originally from East Africa, the pandeiro (tambourine) is considered a complete percussion instrument because it has low, medium, and high timbres. Made of wood, goatskin, and five sets of jingles ("Pratinelas", that are loosely arranged in pairs around the sides of the instrument), the conventional pandeiro from Rio de Janerio was introduced into samba and chorinho as a rhythmic base. The pandeiro could be associated to the Brazilian equivalent of the classical tambourine and some consider it as it´s national instrument/icon.
The basic rhythm of the pandeiro is a stream of semi-quavers, each with a distinct timbre produced by the unique playing technique used for the instrument.
Below a fantastic photo from Agencia FOTO BR team!
Some of the late and present Pandeiristas that helped introduce the pandeiro in many musical include: João da Baiana, Jackson do Pandeiro, Dona Selma do Côco, Carlinhos Pandeiro de Ouro, Bira president, Paulinho Da Costa, Airto Moreira, Marcos Suzano.
Going back to the Pandeiro use at the samba-schools in Rio and São Paulo Carnaval, we could say they have been abolished as part of the regular bateria. Today they are used as a prop by some percussionists who play it—with great inspiration— most of the times close to the Queen of Drums, Samba-School God-Mother and other samba dancers. The name give to the pandeiro player is Pandeirista.
Tamborim (plural, tamborins)
Tamborim is the smallest (single- headed hand 4" ) of all drums within a Samba-School drum blog. The small frame-drum is played with a single stick or multi-pronged plastic beater (or in more intimate pagode samba settings, with the fingers). The tamborim used to be played only at Rio´s Samba-school, but today they are commonly seen in rodas de samba, pagoda, chorinho and bossa nova. The forefinger is used to muffle the sound from behind the membrane during rhythmic syncopations. The most commonly used stick is multi-pronged and very flexible. The drum is also turned and hit on an upstroke. In samba schools the tamborins are often placed at the front of the ensemble, and the musicians perform choreographic routines with the instrument as they play.
To many experts, samba-tamborins give the punch and the shape to the samba. While the surdos and the caixas provide the continuing rhythm, the tamborins add an exciting texture to the samba. The tamborim section usually has its own director.
Cuíca
The cuíca (pronounced "queekaa") is a single-headed Brazilian friction drum, in which sound is produced by rubbing a short, thin, carved bamboo cane attached to the membrane on the inside of the instrument. It produces an unearthly sound and exceptional pitch range; hence its popularity as a solo instrument. The pitch is altered by pressing the thumb against the skin near the node where the cane (bamboo skin) is tied. The thin bamboo stick is attached to the centre of, and perpendicular to, the drum head, stretching into the drum's interior. The instrument is held under one arm at chest height with the help of a shoulder strap. Its rhythm depends on the beat of the surdos, which it follows.
The body of the cuíca is normally made of metal. It was probably introduced to Brazil by Bantu slaves, though there are also types of friction drums in various parts of Europe.
The cuíca plays an important rhythmic role in samba music of all kinds. It is particularly notable as a fixture of Rio de Janeiro's Carnival groups, which feature entire sections of cuíca players. The Cuíca is also considered a “sensual” samba instrument, both because of its “crying” noise, and also because of its shape.
Agogô [Double cowbell]
An Agogô (meaning gong or bell in Yoruba) is a single or multiple bell now used throughout the world but with origins in traditional Yoruba music and also in the samba baterias (percussion ensembles). The Agogô may be the oldest samba instrument and was based on West African Yoruba single or double bells.
The Agogô has the highest pitch of any of the bateria instruments. Império Serrano samba-school is famous for its Agogô section, being one of its trademarks. They have up to 50 Agogô-samba percussionists.
Reco-reco [Scraper]
The Reco-reco is a scraper which produces sound by drawing a metal rod across the corrugated grooves of one or more metal springs. Alterations of timbre can be achieved by placing the thumb of the weak hand across the springs for particular notes. In some regions of Brazil the Reco-reco is known as 'reso-reso', 'raspador' or 'casaca', and it is used in a variety of African-Brazilian traditions in both rural and urban contexts. Some samba-schools don’t use the reco-reco anymore, but some still do. In pagodes and chorinho they are used sometimes.
Chocalho
The chocalho is a type of two-handed shaker that is an aluminum frame of pratinelas set out like an abacus. The chocalho section, within the bateria, will often use some choreography in the same way as the tamborim section. Do not be fooled into thinking that this is an easy instrument to play, stamina and efficiency of movement are required here as it is played at or above head height. It contributes heavily to the "swing" of the bateria. There are chocalhos with two, three, four five and even six rows of jingles.
There is not much of a difference in the sound of chocalhos based on the number of rows, but the larger number of rows, the stronger and more powerful the sound will become. This instrument appears more in the refrains of the samba, and there can be entire passages without being heard. The chocalhos helps the caixa provide swing to the samba, but they can be lighter.
Rocar
The rocar is another type of shaker. It uses the same pratinelas as the chocalho but they are arranged at each end of a 1" square bar of wood. It can be played with one or two hands and is a little lighter than the ganzá. Care must be taken with this instrument if played at head height as the ends of the pratinela baring rods are exposed.
Ganza
The ganzá is another type of shaker. It is an aluminum cylinder filled with beads or gravel. They come as singles, double and sometimes triple. The chocalho is favored in the bateria because it is louder than the ganzá.
Shekere
The shekere is another type of shaker. It is the Nigerian Yoruba name for a gourd instrument with a net of beads strung around it. It is played by shaking the beads and striking the gourd. Some skilled players are able to juggle this instrument while keeping time. It's more widely used in Northern Brazil.
photo credit: How To website
Frigideira
The frigideira is basically a frying pan adapted to play in some samba drum sections. This funny, but somewhat used samba instrument is played like a tamborim in some samba-schools and its interesting metallic ring can be heard very clearly above the other instruments in the bateria.
photo credit: Wood Brass Instruments
Apito – Whistle
The apito is a short high-pitched whistle with one, two or no finger holes. Some apitos have a captive pellet to add a roll to the sound, similar to a football referee's whistle. The apito plays a key role in the batucada, as it is blown by the Mestre de Bateria, the Drum Section Master, and used to direct the percussionists. It is very difficult to hold this particular metal apito between your teeth if you are playing a drum. A small referee's whistle is used normally to cut through the volume of the bateria. There are also plastic versions of the tri-tone apito.
photo credit: Musicstore.de
We would like to thank the Editor of Samba Party website, where we used as reference to some of the opinions, as well as wording of some of the instruments descriptions.
Photo Credit: Agencia Foto BR - Alexandre Vidal
In the 1930’s and 1940’s, the themes were not as they are today; they were expressed by the rudimentary aesthetic elements used that time, such as papier-mâché dolls, signboards, and other adornments. However, in 1952, the Carnival Regulation made obligatory the use of costumes in the parades, so that, we can say the identity of samba schools was finally concluded. The Enredo could be then clearly defined through the elements that formed it, like script, samba-enredo¬, costumes, as well as trimmings and adornments.
Choosing Enredos – Plot themes for Parades
In the past, the themes were chosen by the Board of Directors from the School. Today, the carnavalescos (carnival producers) usually choose the theme, but at times samba-schools’ directors analyze several subjects and vote for the best.
At first, the themes referred almost all to History of Brazil. Because of this pride-nationalist themes phase, people started thinking they could not use other ‘subjects’ for enredos. Perhaps, this happened due to the fact the first parade Regulation was created in the beginning of the Estado Novo (New State), in 1939, establishing a preference for such subject, although it was never a requirement. Further, the carnaval parades at War times (1943 to 1945) contributed for such conviction, since the enredos were determined by the National Defense League and by the Students’ National Union. Thus, in the 1930’s, the 1940’s, and the 1950’s, the Carnaval themes were based on episodes, fights, important characters, etc., all taken from books on History of Brazil.
Jayme Silva - Prefeitura da Cidade do Rio de Janeiro
In the 1960’s, Fernando Pamplona, pioneering Carnaval Director created an enredo exalting the black people, it was called Quilombo dos Palmares. Accordingly, the subject became diversified and, finally, Carnaval producers realized there was nothing in the Regulation determining the themes were exclusively regarding to History of Brazil. The enredos, thus, started to be designed based on Brazilian rich folklore, legends, customs, and literature. Today, the only requirement is that the enredos must be somehow linked to Brazilian culture.
Creating & Developing Enredos – Plot Themes
Enredo’s creation presents two different moments, the literary and the visual-aesthetic. It is tells a story, a sequence of events. It is a literary play performed in the avenue with costumes, trimmings, and music.
There is a script written as a narrative about this enredo. This script is called Argumento. The Argumento can be original, that is, totally created by the author, or it may be inspired or reproduced from other texts, books, etc.
In addition, there is a Guide or Parade Order, which is the performance guide for the Wings, Floatees, Trimmings, and Adornments. This guide is important since the samba-school must be loyal and fitted to the enredo during the whole parade, showing clearness to the development, as well as originality and creativity by exploring the whole potential of the theme.
The Carnival Artists
First, the great societies, then the ranchos carnavalescos and the samba-schools became a stage for amazing art creations, making Carnaval stage sets more and more beautiful throughout time. In 1855, Clube Sociedade Euterpe Comercial started hiring artists to design and adorn the floats, as well as to decorate the balls salons and paint the Flags. A skilled group was, thus, created, making specific sceneries for Carnaval parades. Such specialists are called carnavalescos (carnaval producers), and form a very popular and Brazilian aesthetic design school. Please refer to specific tab on the Carnavalescos.
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On other terms, the global and general view of the samba-school parade organization is also taken into account. All sections and wings of the samba-school parade are analyzed, such as the Baianas wing, the energetic Bateria, and Comissão de frente – Opening Section. Nothing can be ignored. Meticulous attention should be made in the following aspects of the samba parade: sequence, unity, coordination and cohesion. Likewise the Evolution criterion, blank spaces may severely damage the samba-school´s scores for this criterion.
The criterion is so important that
Evolução is the way the dance is presented, as well as its progression during the parade. Members from the samba-school have to be creative, stimulating, and vibrating all through the Sambadrome runway. They cannot leave blank spaces (known as buracos) which are not a good view for who is watching the parade. The buracos, as well as members squeezing, must be avoided in the wings and in the trims.
On this excellent HD Carnival Video below, we will be able to see exactly what we are trying to explain regarding the Evolution criteria: Here we see Mary Cavalcantu which was Musa ( Diva ) for São Clemente Samba School , coordinating a section.
See the way she moves, is carefully in harmony with the wing just behind her. Good or above average parades, we almost dont see "blank" spaces. Evolution Criterion and specially "Harmonia", has a lot to do with the avoidance of the "blank" spaces. Although the video below was shot in what is called in Rio Carnival "the technical parade", with no costumes, all samba-schools take profit exactly of these rehearsals (each Top samba school is granted to have 2 official rehearsals, and the second league ( minimally one ), with the purpose to practice how the parade wings flow, adornments and parade floats size, samba dancing choreographies, distance between wings and "floor highlights" , the baianas movements and so forth.
The Passistas section for example, (samba dancers) shall pay attention to their performances, since mixing one wing to another is also a score losing item. Integration of one wing to another makes each of them losing identity as well as the beauty of each wing, since they are separated by different colors and different costumes.
As you can see below on the photo, there are no blank spaces or "buracos" at the parade. This shows a good coordination and Evolução Score (as well as a "Harmonia" score ).
Photo Credit; Agencia FOTO BR / Alex Vidal
Passistas (samba dancers) shall pay attention to their performances, since mixing one wing to another is also a score losing. Integration of one wing to another makes each of them losing identity as well as the beauty of each wing, since they are separated by different colors and different costumes.
Some wings have natural blanks, like comissão de frente-opening wing, mestre-sala and porta-bandeira, in addition to special choreographies.
Below we see a Samba Dancers section and their harmony within the Sambadrome.
Photo Credit; Agencia FOTO BR / Alex Vidal
Another important aspect to observe is the synchronicity in the singing during the parade. This issue is a vital element to be considered for the harmony evaluation, that is, the group needs to sing in a single tone. School members shall sing the samba together with the lead singer.
The rehearsals for Evolução criterion aim at nobody singing out of the samba rhythm, and following the drums rhythm, otherwise, the Samba-School may lose scores. In case there is a sound system interruption, the incident is not considered as score problem by the jury, since it´s caused by the organization of the parade and not the samba-school itself. If this happens, the samba-school must feel motivated enough to sing even without the leading voice of the amplifiers. The drums must help as well maintaining the rhythm and the show
]]>Just like a play director, they create dreams and invite everyone to join them. As you will see below, they are the ultimate responsible for selection of plot-themes and how these fabulous stories are staged at the parade. From their imaginative minds, we spectators from all over the world are able to see how a carnival story is told, through the 90 minutes of the carnival show. From the days of quasi famous samba-school artists of the 30´s to legendary Carnival Producers like Fernando Pamplona from Salgueiro and Joãozinho Trinta – Beija-Flor, of the 70´s and 1980´s, we will describe below some of the Carnavalesco´s early origins, involvement with samba-schools, attributions, and historic representative.
Origins of the Carnavalesco
The carnival producer, “Carnavalesco” in samba/carnaval language is the main responsible for the ‘carnival’ show presented by the Samba-Schools at the parade. Although the expression “carnavalesco” (Carnival Producer) is old within the samba-schools world, its meaning has suffered several changes throughout the years. In the initial parades of 1930´s and 1940´s, carnival producers had varied and somewhat unspecified functions, since everything was still done in a very improvised and amateur manner. Most of them had impressive artistic talent, but no formal art education, from a university or academy. Their knowledge on materials, fabrics, structures and the engineering came ‘from the streets’. Most of these early Carnival Producers were members of the Samba-Schoolsthey supported and were associated. They were loyal enthusiasts and would never leave that school for another one. As an example, in Portela, the second oldest Samba-School in Brazil, the Carnival Producer was one of its founders itself, Paulo da Portela. Payment was also out of the question. They would develop their artistic talent for their love and devotion to the Samba-schools and Carnaval.
Photo Credit: Agencia FOTO BR - Alexandre Vidal
Some of the works executed the Carnavalescos at this stage included the creation of carnival costumes, trimmings and adornments. They would also supervise the collective and voluntary work done by art-skilled samba-school members and associates. These early Carnavalescos were already responsible for organizing suppliers and overall production schedule. On the other hand, at these incipient years, the hiring of carnival producers from outside the community/ samba-school occurred in very small proportion. Historians point out craftsmen from Casa da Moeda (Brazilian Mint) and from Navy Arsenal in Rio de Janeiro, as some of the first external resources recruited by samba-schools. Another Carnaval researcher stated the Vizinha Faladeira Samba-School, the most famous samba school from the 1930’s, did hire Garrido Brothers – celebrated scenery painters of the time; for the execution of some tasks at the carnival parade of 1935. But as a rule, in these initial days of the Brazilian parades, 95% of all carnival producers were really samba-schools members.
Carnavalescos uses Floats seen below to help compose the parade plot:
In the 1960’s, this voluntary work started to be done by the professional artists from City Theater and from Escola de Belas Artes (School of Arts). The barracões (buildings) are now a professional institution and, a way of living for the artists, whether local or not, who have a team of skilled and non-skilled workers working for them. It became a job market for several activities, which presents today a demand of about 50 thousand people. Physically, the barracões from all samba-schools were grouped in a new gigantic facility called ‘Samba City’, established in 2003 next to harbor zone in Rio.
Below, Fabio Ricardo´s team of artists that produced Rocinha´s Carnaval Parade in 2008.
Photo Credit: Agencia FOTO BR - Alexandre Vidal
Carnaval producers’ functions
Carnaval producers are kind of art directors. They work together with their team and this work can be divided in two phases: the first is the arrangements before the carnaval, and the second is during the carnaval.
The Arrangements involve seven steps, starting with the Theme Creation, which is one of the most important moments. That is when the subject for the enredo (the theme) is chosen, and consequently the enredo is developed. The success of the presentation will depend on the potential, creativity, and novelty from the theme. In addition, the title of the enredo is extremely important, it must give an idea about the theme and make people get curious and long for the parade.
After the theme is set, the Script is written. The Carnaval Producer researches and learns more about the subject, sometimes by asking about it to a journalist, a historian, or a writer, in order to develop the theme. He must know the samba-school very well, its potential and what can be done, since everything related to the parade, like the structural order, the wings, etc., will be defined by how people and how material resources will be used.
Below, one of the greatest all time Carnaval Producers in Brazil: Joãozinho Trinta:
The carnaval producer must be very creative and imaginative to design characters, trimmings, and adornments. He counts on a professional designer and a plastic artist, as well as engineering and architecture advisors for planning and building the floats.
Then the Carnaval Producer produces a theme abstract that is a written summary of the theme. It should be clear, objective and presents the main theme passages, as well as the main topics that will be explored and developed. He also delivers this abstract to the composers of the samba-enredo (samba-theme) and tells them what he/she wants in the lyrics.
Distributing the costumes to wings and floats as drawings is also a task for the carnavalesco. He/she guides all components as to the specific material to be used. The costumes production is made under his/her supervision.
The carnaval producer must participate on the choice of the samba-enredo, since the music is one of the factors for the success of the samba-school in the carnaval.
Further, the Carnaval Producer must supervise the works in the barracão / Samba City, he must be there full-time guiding the teams and supervising the tasks.
Finally, during the big day at the carnaval parade, the process is divided in three key steps. First, he actively participates on the transportation of trimmings, adornments and floats from barracão / Samba City to Sambadrome on the parade’s eve.
Next, the carnaval producer, together with other samba-school’s members, must organize the school for the parade. This is what we call Armação (Assembling). There is a schedule to be strictly followed, so that, the team places the trimmings, the adornments, and the components on the indicated sectors, according to such schedule, thus, preparing them for the parade.
During the Parade, all carnavalescos run non-stop along the samba-schools observing and analyzing their performance, correcting or warning the corresponding sectors as to eventual faults.
Legendary Carnaval Producers:
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And do you know that in Rios Carnival, some samba-school drum sections have their own trademarks? Yes, this is true! After some training you will find out that it´s possible to identify one other samba-school drums sections´ specific characteristics like rhythm acceleration, beat or type of samba instruments used. Just like in marching bands, tunes can also become a trademark of a specific Drums Section. Let´s take a look at the some of the traditional marks of the most important drum sections in Rio samba-schools.
Below, Master Taranta from Mangueira and his Drum Section:
• Mangueira’s Samba-School Bateria is the easiest of the drum section trademarks to being distinguished: When the stick of a surdo beater is up, all sticks follow them and lower at the same time. This “beat move” was created by “Mestre de Bateria” ( Drums Section Master ) Lúcio Pato and is maintained until today. This is the only Drums Section conducted like this. The tune is the only one in the big surdos. The small ones and the tambourines, at times, make a cut. The late Master Valdomiro was the most famous director from Mangueira’s Drums Section.
• Mocidade Independente’s Drums Section has its basic mark in the third surdo and in the repique: the three beats of a third surdo, between the first and the second (the offbeat) confer a very special sound. Sebastião Estevão (Tião Miquinho) was the beat creator and Master André, the executor.
• Mocidade Independente brought its tambourines wing from the end of the “Bateria” / Drums Section. From 1984, observing an increase in the number of heavy instruments, they were placed in front of it. Master André also invented the rattles of batinela - which produced a sounds similar to the caixas. In then 1960’s, this Drums section became famous due to its “little stop”. In a specific moment of the samba song, the instruments make a silence, having just the repique playing the chorus (for a 30 seconds/1 minute time). The “restarting” brings up great enthusiasm to the school. The “trick”, however, was audacious since some critics accused the “boldness” of being dangerous, because it could cause the beat crossings.
Below, the famous agogô wing from Portela Drums, by Agencia FOTO BR
• At Império Serrano, Portela, and Tradição Samba-Schools, the agogôs wings excel. Also, they are most known drums sections that use many first and second surdos. The different agogôs’ apertures allow them to play the seven musical notes. Thus, complete melodic drawings are common in the “agogôs conventions” (they play regular known songs), giving a special color to the execution of these baterias.
• Portela’s Drums section, as a reference to the ‘Orchestra Tabajara’ of Severino Araújo, was considered the “Tabajara of Samba”, and still has as its basic characteristic the third surdo with the loosened leather, which was created in the 40’s by Mestre Sula. When the heavier samba beat from such surdo is played between the first and the second. The cuicas are also played in this moment, resulting in a special sound. It´s most famous director was the late Master Betinho. They are also famous for using cymbals.
• At Império Serrano Sambo-school, similar resources are used, but the instruments which enter together with the main surdos, (making them so powerful) are the tambourines and the caixas. Also, Imperio Serrano was the first school to have the Drums Section in full Carnival costumes at the parades, in the end of the 40’s. Calixto, a old component from the Bateria, also introduced the cymbals as samba instrument.
• Estácio de Sá Drums Section trademark is their strong repiques, emphasizing the beats, the taróis and the caixas, creating a good complement. Between the first and second surdos there are the repiniques emphasizing the rhythm.
If in one hand the Drummers take all the heat and responsibility, on the other they attract all the famous dancers, because of their vibration and vigor! Below, the muse from Renascer do Jacarepagua, taken by Alexandre Vidal.
Salgueiro’s Drums Section has its climax in the caixas and tambourines. Also, another distinction is the multiple rhythmic drawings of the several of the samba light instruments, creating a mix swing followed by many admirers.
• Beija-Flor de Nilópolis’s Drums Section has its biggest secret in the creative “tambourines conventions”, which receive “support” from the taróis and caixas rhythms.
• União da Ilha’s Drums Section has been considered one of the most innovative during the last years. Its “tambourines conventions” and the “little stops” make people literally stand up. The tambourines make several kinds of bossas, making a variation every year, in accordance with the theme-samba. Also, at the beginning, when the samba-de-enredo¬ starts to be played, the cymbals beat together with the first surdo: A striking trademark of Uniao da Ilha.
• At Imperatriz Leopoldinense Drums Section, the tambourines excel, being improved every year with new “conventions” created by Drum Section Masters Paulo Moura and Milton Manhães. The surdos repiniques offer a drum beat is characteristic of the school.
• Unidos da Tijuca’s Drums Section, named “Pura Cadência” has a strong beat and obtains a good balance thanks to first and second surdos, who do not swap. They also heavily rely on the third surdo, another trademark. The late Master Marçal was in charge of this Drums Section for many years. The current Drums Director is Master Casagrande.
• Caprichosos de Pilares’ Drums Section has caixas with a slower cadence, similar to the jongo beat. The caixas excel by duet performed with the centralized surdos.
Below, an excellent picture of Alexandre Vidal from Mestre Casagrande from Unidos da Tijuca. He learned his samba drumming techniques with legendary Master Marcal.
Also, the Diretor de Bateria must be charismatic and willful. Some of the most legendary Brazilian Carnaval Drum Section Master also have strong personalities, which helped them not only maintain the power of their samba beat, but make sure ‘his percussionists’ follow him along many years in his samba-school. Let´s learn a bit more of this important figure within the Brazilian Carnaval, who is literally located at the heart of any parade or samba gathering!
Below, one of the bateria masters from Academicos da Rocinha Samba School at the technical rehearsal at the Sambadrome. The photo shows how allignment and harmony is important.
If you have ever seen the Carnaval parade in Rio, you have probably felt the intensity of the drums section. Many consider this segment of the parade, the most enthusiastic and vibrant, naturally. Now imagine that in each major samba school you can have up to 280 percussionists…Almost a full battalion! That´s why several drum masters and one “chief” or general Drum section Director is needed to coordinate this giant orchestra of percussions, which is the “samba-school bateria”. The overall coordination direction of a samba-school drums section is formed by the chief-director and his three main assistants. This number may grow up to 10, since you may have sub-assistants for row of the percussions wing. Drum Section Directors, use different methods to conduct his group.
Below, Mestre Ciça from Grande Rio Samba School, conducting a great practice at Estacio de Sá Samba-School.Please check more than 30 Videos Carnival Rio Brazil in our Video section clicking on the link. Mestre Ciça today is considered one of the best in Brazil, within the TOP 3, certainly.
As an example Mestre André, a renowned Drums Section Director from Mocidade Independente Samba-School in Rio, would not use whistle, just use the wand. He would incredibly command his samba percussionists dancing just ahead and along of the Drums Section, and make conventional signals to them. Most of the Drum Section Directors conduct their bateria facing their percussionists, similar to an orchestra conductor. Still, since samba has many styles, some Directors conduct their “baterias” looking at the same direction of their conducted (as giving his back). (As a note, samba players / percussionists are called "batuqueiros" in Portuguese, in a more informal language.)
In today´s modern Carnaval scenario, the head of the Drum Section has a prestigious position within the samba-school. But, nonetheless to say, this prestige is conquered without sweat and blood: The Drumming at the parade counts as a full criterion for the Carnaval contest in Rio and São Paulo. This means that if anything goes wrong in the tuning, beat or samba harmony of the drums section, the samba-school can be penalized for that criterion. As a consequence, the Drum Section Master will be accounted for and questioned.
Above we see that the Mestre de Bateria figure is passed along generations of samba percussionists: The boy from Renascer do Jacarepagua Samba-School is on his 1st parade as an "assistant director" of a full samba-school in Rio! Photo by Alexandre Vidal / FOTO BR Team.
On the other hand, if his percussion executes everything as planned, and they receive perfect scores, (full 10 scores) , his name will be associated with competence, professionalism and fame. Needless to say that due to Brazilian Carnaval´s recent professionalism, this position is also heavily disputed amongst samba-schools and some drum master are well paid in terms of salaries and bonuses.
Review below some of Director/ Mestre de Bateria´s Responsibilities:
- Care for percussion instruments conservation
- Conduct the School-School Drums Section at parades, events
- Organize and create disciplinary rules
- Tune the instruments, mainly the first, second and third surdos.
- Manage human resources / relationships within the Drum Section
- Liaison with Samba-School directors and upper staff
- Keep close contact to Samba-School composers, singers
We also listed some of the legendary Mestres de Bateria / Drums Section Directors that literally made history in the development and establishment of this fundamental presence in the Brazilian Carnaval evolution:
• Mestre Louro - ( 1945-2009) - Salgueiro Samba-School
• Mestre Valdomiro – Estação Primeira de Mangueira
• Mestre Sula – Portela Samba-School
• Mestre Mug – Vila Isabel Samba-School
• Mestre Marçal – Unidos da Tijuca Samba-School
• Mestre André - Mocidade Independente
• Mestre Bira – Mocidade Independente
• Mestre Aimorecy –Império Serrano
This is the energy we will try to describe on these pages below. To simplify translation issues, we are using the term ‘Drums Section’ (of a samba-school) for the Brazilian Carnaval term “Bateria”. In this introductory discussion about the Drums Section, we will go over the following aspects: early days, the samba rhythm, origins of the samba instruments and the distribution of drum section instruments within a Samba-School.
But before we go through the more "technical aspects" of the samba drumming, I have to confess that it is very hard to put in words what we actually feel when we are inside are next to a samba drumming section. It is mixture of many emotions, vibrations ( literally ), thrills that make we have those famous goose-bumps. Some just stare in awe, others cry, others feel the adrenaline running by, each with a different sensation, but never the equal. Being next to a full top samba school drum section, with 200 , 300 and even 400 percussionists is one experience in life everyone should go through at least once in life. A real "super-natural" thrill!
Origins of Samba & Carnaval Drumming
As we know, samba and the Brazilian Carnaval music have Negro origins. The roots are notoriously African. Historian Juana Elbei dos Santos in the book “Nagôs e a Morte”, says: “all sound formulation is born as a synthesis, as third element provoked by interaction of two kinds of genitors: the hand or stick beating the leather of the drum, the stick beating the body of the agogo… The resulting sound is the product of a dynamic structure, in which the appearance of the third term creates the movement. In all systems, the number three is associated to a movement.” Rhythm is the organization of sound in time. And moving to the samba drum beat, the “syncopation”, its main rhythmic characteristic, was clearly inherited from African roots.
Great photo of the Drums Section from Rocinha Samba-School at Rio´s parade.
Photo Credit: Agencia FOTO BR - Protected by Law
From Primal Africa to Samba Beats
Always pulsing in a binary beat (2/4), the Samba-School Drums section - Bateria is a perfect orchestra, formed exclusively by percussion instruments (in samba bands, which are different by nature, brass instruments are permitted. Please see samba bandsdefinition.) The Bateria is not just the combination of several types of percussion instruments, but the distribution of “in leather” sub-groups. These groups beating in unison bass and treble sound, promotes a special design to the rhythm.
Below, the exotic shekere, a true African and samba instrument. Many samba instruments were incorporated over the last 20 years.
Photo Credit: Agencia FOTO BR - Protected by Law
Early Samba Percussion Instruments
At first, the percussion/drum section instruments used in samba were very poor and simple. They were in essence real imitations of tribal African drums, inherited from the slaves and produced by local artisans in Brazil. These pioneer samba instruments, at first used very rustic materials like leather, wood and nails. The leather skin used as drum heads was taken from cats. (After the “drying” and “stretching”, they were fixed with nails in barrels and wood squares.) These were still the first days of samba instruments; 1905-1940. The tuning, as another example of early experimentation, was done by heating and molding the drums in fires made of old papers. The sound, naturally, was not good. In the 1930’s, Vizinha Faladeira, a prominent samba-school at the time, innovated buying French barrels to improve their surdos – the most common drumming instrument within a samba-school drum section (throughout time, wood was substituted by metal and production was industrialized.)
In early century Rodas de Samba (Informal Samba / Percussion sessions - see definition), tambourines were already present. They had the form of a shovel, but they could also be square-, hexagon-, and octagon-shaped (made out of wood with the leather heads fixed by nails). Later, they were replaced by more modern ones, being rounded and metal produced. The panderos, since their introduction to samba, went through the same transformation process as the tambourines, and evolved considerably. (Today they are mostly used as instruments for juggling in Samba-School Drum Sections.)
Essential in every roda de samba, the old cuíca made out of a barrel, were also one of the first samba instruments. They were made out of wood, and later were replaced by silver or golden sparkling metallic cylinders, where the cuíca players can now obtain more varied sounds. Also present at these early drumming sections, was the reco-reco, which was made of bamboo or animal corns with stretched spring. It produced a very screechy sound that gave lightness to the drums section (see under the Samba Instruments tab, full definition and photo for every samba-percussion instrument used in Brazilian Carnaval.)
An excellent still shot from Vidal of a "tamborim" from Beija-Flor´s Drums Section!
Photo Credit: Agencia FOTO BR - Protected by Law
Baterias Improvements´
Slowly, small improvements were made in samba instruments. As example, animal leather used as drum heads started to be substituted by nylon heads during the 60´s. One of its main disadvantages was the water resistance (animal leather was not tolerant to rainy days.) In fact, wet leather caused a sound loss and became weak over time. On the other hand, the sonority produced by nylon heads sounded somehow artificial – definitely not the same produced by original leather heads. Still on 60´ and 70´s, samba percussionists who preferred using leather heads, used a common technique of bathing the leather heads with linseed oil to avoid damages caused by rain. Another trick was to mix nylon and leather heads, leather in one side of the instrument, and the nylon on the other side. As you could see, everything was rustic and non-industrialized until very recently, on the origins of samba-school baterias.
Calabashes with nets made of beads, metallic rattles, agogô (brought by the Yorubas) caixas and taróis, used in the cordões and ranchos were also used in first Drum Sections. João da Baiana (1887-1974), and Caburê, two of the first samba personalities, were responsible for introducing to samba the pandero and reco-reco, respectively (both original from spiritual candomblé ceremonies - see Wiki).
Physical Distribution of Percussionists in Samba-School
The percussion instruments are carefully grouped in the Bateria and generally are distributed according to the First Director´s – Mestre de Bateira´s request. There is a common rule though that every Drum Section Director takes into account: heavy instruments do not mix with the light instruments. In a samba-school parade or event, heavy instruments always stays stationed behind and the light ones in front of the Drums Section.
According to the conductor Milton Manhães, who is a musician and samba percussionist from Imperatriz Leopoldinense Samba-School Drums Section: “The first surdos consist of the essence of the Drums Section within a binary beat. They comprise three types: the first surdo (first beat) and stronger, like the C in the contrabass; the second (also called response surdo), performs the cello in a Symphonic. It is less strong and is tuned as A or B in the contrabass. The third surdo is in between both, but also called surdo de corte. Its tune is similar to the drum. The tune in the contrabass is the F.”
Below, the energy of a percussionist using a chocalho, a typical samba instrument.
Photo Credit: Agencia FOTO BR - Protected by Law
When the Drums Section is large, there is the need of putting the first and second surdos closer, they stay on the same side and the caixas and/or repiques are arranged between them. The third surdos, or balance surdos, are distributed among the first and second surdos, and their functions are to balance the first and second, and provide the needed ‘swing’. The repique surdos or repinique (the smaller) perform a variety of rhythmical beats and the taróis and caixas are responsible for the ‘counterbalance’. Light instruments in a samba-school bateria or carnaval band add rhythm and treble too.
Similar to an orchestra, there are moments in which all instruments are being played, and others in which just one of the groups perform. For example, when the samba starts, everybody plays, in the second part, the heavy instruments almost make silence, becoming the light ones more intense. The tambourines and rattles stop, the other instruments may keep playing.
When similar instruments play rhythmical drawings at the same time, enjoying the samba syncopation, we have what we call “conventions”. The “conventions” that are most widely performed today are played by the tambourines.
Following is a chart that displays the arrangement of the percussionists in a bateria. It shows more or less how the 200+ members of the bateria march in the parade, usually starting with the lighter instruments. As described before, the heavy surdos are in the middle for stability.
Samba Drummers, apart from being the heart and soul of the parade, sometimes they have to wear strange costumes, like the one below! Note how the Cuica is played.
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Below you will see a great Baiana Photo by Agencia FOTO BR:
The Baianas are respected not only by their age and costume distinctness, but principally because of the ritualistic folklore they symbolize. In this section of BrazilCarnival.com.br, we will briefly describe the unmistakable element of the ‘Baianas’ at the Brazilian Carnival culture.
Carnival historians note the origins of the Baianas are dated before the samba-schools existed. They probably came from days Brazil was still a colony from Portugal, when the “Taieiras”, black women dressed up as Baianas, formed a special guard in honor in the Nossa Senhora do Rosário and Saint Benedict (King’s Day - January 6th) processions.
Moving to Carnaval in Rio, when the Samba-Schools were organized in the late 1920´s, the Baianas were introduced because of their profane-religious character, and thus became ‘mandatory elements’. They provided the incipient samba-schools a kind of spiritual-religious blessing.
Below, the energy and pride of a Baiana wing member, swirling with a richly produced characteristic costume.
At the photo above by Agencia FOTO BR, we can see the magical dance of the Baianas: Credits: Alexandre Vidal, Ari Versiani, Fernando Azevedo, Levy Ribeiro, Luiz Alvarenga.
Slowly, the Baianas figure gained more and more respect and authority by Samba-School directors. According to testimonials of Caetano, Tia Vicentina, and Doralice, three elders from traditional Portela Samba-School, the Baianas ‘formed voice choirs and had influence in the choice of the best sambas that would be sung in the rehearsal courts’. Isnard and Candeia (authors of the book called Escola de Samba) also point into this direction: “Paulo da Portela (one of the founders of Portela Samba-School - all time winner of Rio de Janeiro Carnaval contests) listened to the Baianas choir before defining the sambas to be sung in the parades”. Again, the Baianas represented not only the image of respect, but of wisdom too.
Still on the origins of the quintessential element of the carnaval, we could find historical notations in Brazilian Literature. Manuel Antônio de Almeida, a great Brazilian author of the 19th century, described in his book ‘Memoirs of a Militia Sergeant’, the presence of the Baianas in religious festivals in 1930´s : “corporation present in several processions, which used to go on the parade as a big group, which walked ahead the procession, attracting more, or as the saints, the stands, the sacred signs, the devotees eyes… black women dressed as the women from the province of Bahia and who danced in the intervals of the “Deo-gratias”, a special and extravagant dance.”
Above, tia (aunt) Ciata and Tia (aunt) JoSefa , two of the first Carnival Baianas and samba promoters in Rio. These elderly Baianas were respected and organized musical soirees in the early 1900´s. The first samba music was recorded at her house.
Baianas Presence in Samba-Schools
Moving up at the time-scale, at the early days of the carnaval in Rio do Janeiro, Baianas were also present. Ironically or not, the Baianas where in reality men dressed up in ‘Baianas-style costumes’ at the samba schools. There was a reason for this, protection: The ‘Baianas-men’ were lined up on the sideways of the parades, and had to defend the school from the violence suffered when rival groups met. The Baianas-men brought razors attached to their legs, under their costumes, and defend themselves, as well as the samba-school.
Later, as parades became less marginal and gained minimum of stability, such ‘Baianas-de-linha’ were replaced by ropes for the samba-school´s protection. When Baianas were no longer queued on the sideways of the parade, an exclusive wing was created for them and they continued to participate thereafter at the parades.
Agencia FOTO BR - Protected by Law
Baianas performance in today´s Carnaval:
Today, the Baianas wings are exclusively composed of women, and there is a specific regulation for their “parading performance” during the official Rio and São Paulo carnaval costests. The Baianas wings are not judged separately, but have mandatory presence at the official contest. Now let us take a look of some of today’s distinguishing attributes and characteristics:
• Their movement is made of out of spins, being more constant or with intervals, depending on the stimulus and the choreography rehearsed by them or by the responsible wing director. There are several kinds of choreographies specific for their wing, like: “Zigzag” (constant evolution by the school), “movement in column” by a compact group, as “side movement” by the school, “side change”, with constant spins.
Below the traditional Baianas´wing from Mangueira Samba-School with their characteristic zig-zag 'dance' at Rio´s Sambadrome
• The Baianas in general have no fix position, although they must advance through the runway always in block, compact formation.
• The Baianas costumes are typical, have a class of its own, and do not need to be linked to theme. They may be made in the colors of the school, or not. Their costumes resembles early 20th century “samba aunts”
• They first registered appearance in carnaval parade happened in 1930, as way to pay homage to the “old aunts”, who pioneered samba singing during its prohibition days.
• During the 1940´s and 1950´s, the presence of men at the Baianas wing was widespread. Only in 1990, the Carnaval League that manages the official carnaval contest in Rio de Janeiro, decide to ban this practice.
• The Carnaval League that runs the parade today is studying to include a specific judging criterion for the Baianas section.
Below, another moment of pure emotion, the tears in the eyes of the Baiana at the Sambadrome: Can´t get better than this!
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1951 Império Serrano participates on Moacyr Fenelon’s film Tudo Azul.
- End of Civil Association of Samba Schools and creation of Confederation of Samba Schools.
1952 Due to the end of Civil Association of Samba Schools, the merger of Samba Schools Federation and Association of Samba Schools origins Association of Samba Schools of Rio de Janeiro.
1956 The High-Life Club, one of the main bohemian residues.
- Emilinha Borba records Salgueiro’s samba-enredo (samba-theme) Brasil – Fonte das Artes, by Djalma Sabiá, Eden Silva (Caxenê) and Nilo Moreira. This was the first samba-enredo to be recorded.
1957 Ala dos Impossíveis (Wing of the Impossible Ones) from Portela introduced the passo marcado (a kind of choreography) that, for ‘hiding’ the wigs (instead of being sisal hair giving a poor effect) created a choreography using ‘swords’ (hand allegory).
- Galeria Cruzeiro (name given to Hotel Avenida) was demolished.
1958 The carnival song, which is in decay, recovers audience by having the songs played in several radio programs. Fanzoca do rádio by Miguel Gustavo, Os Rouxinóis by Lamartine Babo, and the samba Madureira chorou by Carvalhinho and Julio Monteiro are some of them.
- With demolition of the building where today there is the Av. Central building (at 156, Rio Branco Ave.), Galeria Cruzeiro no longer exists, meeting point of artists, bohemians and intellectuals.
- From 1958 to 1962, Coca Cola Company and the newspaper Última Hora sponsored parades in samba schools out of carnival time. The events performed in Praça Sete and at Fluminense Stadium awarded the best percussion band with Antenor Gargalhada Award.
1959 I Baile dos Enxutos, at Recreio Theater.
- For the first time a samba school – Acadêmicos do Salgueiro – parades with no cords (public isolation), a rule from parades regulation.
1960 Fernando Pamplona and his team formed by Dirceu and Marie Louise Nery, Arilindo Rodrigues and Nilton Sá, begin a work at Salgueiro that would make a revolution aesthetics in the samba schools carnivals with the theme ‘Quilombo dos Palmares’.
For the first time, the parade regulation contemplated losing points in case of delay at starting the parade. These were called negative points that were being introduced in order to avoid big delays by the schools. In the current ranking, Salgueiro got 95 positive points, Mangueira 98, and Portela 100. Salgueiro had no negative points, Mangueira and Portela, however, had 15 negative points each one.
It was not possible to have a final score (Salgueiro would be the Champion), since the score counting ended up in scuffle. Some days after that, they got to an agreement and they declared the first five big schools as first place. There is no more richness, sculpture and illumination requirements to be judged.
1962 For the first time Tourism Department builds grandstands on the parades location and keeps in charge of the tickets selling.
- I National Congress of Samba is organized, the Carta ao Samba (Letter to Samba) signed by Edson Carneiro and the State Decree by Federal Deputy Frota Aguiar, which declares December 2nd as Samba National Day, are published.
- On February 14, there is the I Percussion Band Contest of Guanabara State at Maracanãzinho. Judge Commission: Pixinguinha, Donga, Osvaldo Sargentelli, and Lúcio Rangel. First place: Salgueiro and Flor do Lins.
- Created the State Department of Tourism, having Victor Bouças in charge.
1963 Tourism Office becomes Department of Tourism. It was created a public contest for city’s decoration. Act 396 on October 23 created by Carvalho Neto deputy.
1964 Composer Ari Barroso dies.
- Nilton Sá wins the first public contest for city’s decoration with the theme: African patterns.
- Isabel Valença – Salgueiro’s floatee – wins the first place on Municipal Theater parade with the costume “Queen Rita of Vila Rica”.
- Mestre Waldomiro creates Mangueira’s children percussion band.
1965 Creation of Blocos Carnavalescos Federation of State of Rio de Janeiro.
- The city’s trams no longer exist.
- All samba schools had themes regarding to IV Centenary of the City.
The innovations introduced by Department of Tourism are the following:
- Building of steps on places where audience, who did not buy a ticked, used to stay;
- Platforms at the end of the avenue for samba schools participants;
- A raised platform over the parade area for installing TV cameras and radio microphones; and
- Special platform for the photographers.
It was also created a parade for the Champion Schools on the Saturday after carnival.
1966 Creation of Ipanema Band. I Samba Symposium takes place from December 2 to 4 in Santos. Adir Botelho, David Ribeiro, and Fernando Santoro win the contest for decoration of the city of Rio de Janeiro.
- Carnival parades are now official in São Paulo.
1967 II Samba Symposium takes place in Santos. Fernando Pamplona wins the contest for decoration of the city of Rio de Janeiro.
1968 Disc News Recorder, Codil, edits for the first time sambas-enredo LP. The record, which was recorded live, was produced by Norival Reis, Expedito Alves and Nilton Silva being called Festival de Sambas.
- Mangueira creates Alas Reunidas (United Wings) – organized for performing in parties and obtaining financial resources for carnival.
- Adir Botelho, David Ribeiro, and Fernando Santoro, ‘the trine’, win the contest for decoration of the city of Rio de Janeiro.
1969 TV Tupi tries to make a revival of carnival songs by creating two festivals, being no succeeded.
- Adir Botelho, David Ribeiro, and Fernando Santoro, ‘the trine’, win the contest for decoration of the city of Rio de Janeiro.
- Fernando Pamplona, Salgueiro’s carnival producer incorporates a new element to samba school parades – a tripod that substitutes the heavy signboard that were carried by samba players.
- III Samba Symposium takes place in Santos.
1970 Having the unification of the samba entities, the only representative from Rio is from the Samba Schools Association of the City of Rio de Janeiro. The initiative was Amauri Jório’s, its president, who promoted a set of innovations in the entity, such as:
- Creation of Superior Council of Samba Schools, which produced the work singed by Edson Carneiro on parades organization and the first concepts and judge criteria.
- Adir Botelho, David Ribeiro, and Fernando Santoro win the contest for decoration of the city of Rio de Janeiro.
- Recording of the first samba-enredos LP by AESEG.
- Attempt in creating a specific legislation on the rights of TV transmission of the schools parades.
1971 Time chronometry is incorporated to the samba schools parade competition requirements.
1972 The newspaper O Globo institutes Estandarte de Ouro (Flag of Gold) award.
- Creation of Riotur by Act 2.079, of July 14th, signed by Chagas Freitas Governor. On September 11th, through Decree “E” 5.696, the entity is named Riotur S/A Empresa de Turismo do Estado do Rio de Guanabara, nominating Colonel Anibal Uzêda de Oliveira as its first president.
- With the initiative from Samba Schools Association, it is created Rio Samba e Carnaval Magazine, managed by Mauricio Mattos de Araujo.
1973 Last samba schools parade on Presidente Vargas Ave. due to the beginning of Metro construction.
- Carnival producer, Joãozinho Trinta, innovates on placing the floatees on the floats.
1974 José Carlos Vilela Rabelo is named Riotur’s President from August to September 18. On September 19, Edson Costa Matos is named Riotur’s President.
1975 Samba Schools Association has now its own head office at 67 Jacinto St, Méier, which is called Samba Palace.
- On 3/31/75, Victor de Oliveira Pinheiro is named Riotur’s President.
- By merging the State of Rio with Guanabara, Riotur is now named Riotur Empresa de Turismo do Municipio do Rio de Janeiro S/A, under management of Victor Pinheiro as President.
- 45º Congress of ASTA-American Society of Travel Agents, which ending, on November 1st, had the performance of ten samba schools.
- Riotur establishes a new criterion of payment for carnival groups. Samba schools and other groups, which received “allowance” as subvention until then, now have a contract as service provider.
1979 On 3/23, Eugênio Agostinho Neto is named Riotur’s President. On 9/10, Ermelino Matarazzo is named Riotur’s President. On 11/31, Victor de Oliveira Pinheiro is named Riotur’s President.
1980 On 6/19, João Roberto Esteves Kelly is named Riotur’s President. Dies Amaury Jório.
1981 Riotur creates Zé Pereira competition as a motivation for street carnival. Death of Neide (porta-bandeira), Mestre André, and Cartola.
1982 Last Baile dos Enxutos at São José Theater.
1983 End of term for second contract as service providers. Samba schools from Group 1, which received 555 UFERJ, asked for 1000 UFERJ for the contract renewal. It was created a great impasse on these amount differences.
Having the beginning of construction of Sambodrome, there was a communication channel among samba players and the government, and a new contract was signed.
Now the contracts are annual.
- It was approved the Decree by Sérgio Cabral creating the course for Judges Formation, but the Law was interposed by Mayor Marcello Alencar.
- On 10/05, Armand Aoad is named Riotur’s President.
- On October 16, Governor Brizola settled the Sambrodome cornerstone.
1984 On March 2nd (Friday), the Avenida dos Desfiles (Parades Avenue) is inaugurated, being commonly called Sambodrome, and today is called Passarela do Samba (Samba Walkway).
With the construction of the dreamed Passarela and with the creation of Liga Independente das Escolas de Samba (Independent Association of Samba Schools), the groups from I° Group are subdivided, and have their parades on Sunday and on Monday with a specific number of schools each day.
- Winner schools from Iº Group (with parades divided in 2 days), compete now for Super Championship title on the Saturday after Carnival.
- Creation of Coordination of Judges managed by the researcher Hiran Araújo, and the first course for judges formation (preparation) is done.
- The scores for the competition requirements are now from 5 to 10 points.
- In the schools regulation, the requirement for comissão de frente (front commission) wing to come after abre-alas (the first wing) no longer exists.
- Creation of Império do Futuro, first children samba school of carioca carnival.
- On 5/30, Trajano Ricardo Monteiro is named Riotur’s President.
1985 I Seminar on judgment criteria is organized, under guidance of Coordination of Judges.
- Guidance on evaluation commission for children samba schools.
1986 On the contract renewal, samba schools received from Riotur 210 millions of cruzeiros, being included the rights for parades transmission.
- On 2/13, Wagner Teixeira is named Riotur’s President.
1987 Inauguration of Carnival Museum at Apoteose Square. Hiran Araújo, its first manager, creates the Advisory Council of Carnival Museum.
- Now the contracts are based on participation on the incomes between Riotur and the Association.
- Organized the first judgment of Group I samba Schools under responsibility of the Independent Association
1850 Grandjean de Montigny, a French architect, dies in Rio, victim of the "molhança tradition" (people throwing water to each other).
1851 The police prohibit the East Ball, where prostitutes, capoeira players and gamblers used to go. The ball roused the nightlife on Teatro St.
- Schottische is fashion now.
1853 The Supreme Court Judge Siqueira’s edictal prohibits Entrudo. Actually, for the first time the Entrudo does not occur.
1855 It is founded Congresso de Sumidades Carnbavalescas (Congress of Carnival Personages), the first of the Great Societies in Carioca carnival.
- Appearance of people in “Dominos costumes”, the great sensation that time.
1856 Creation of Sociedade União Veneziana (Venetian Association Society), first Congresso de Sumidades Carnavalescas’ competitor.
1862 Henrique Fleuiss prints on Revista Ilustrada (Illustrated Magazine) the carnival character of Rei Momo (King Momos). The city gets its sewer and septic tank system, and the Santana’s Park trenches are grounded.
1866 Creation of Clube dos Vinte Amantes (Twenty Lovers Club), which later originated Clube dos Democráticos (Democratic Club).
1867 Democráticos Carnavalescos was founded and Tenentes do Diabo (Devil’s Lieutenants) first parade was performed.
1869 Creation of Fenianos (Fenians) and Congresso dos Fenianos (Congress of Fenians).
- Hilário Jovino Ferreira, from Bahia, who is precursor of ranchos carnavalescos (literally carnival “ranches”) moves to Rio.
1870 Appearance of Maxixe, a Brazilian urban dance. And the song “E viva o Zé Pereira”’ rises as the first try for creating the carnival music.
1872 It is announced the existence of the rancho carnavalesco ‘Dois de Ouro’.]
1877 Appearance of Pufes (see 1892)
1879 The Imperial Ball at Teatro Pedro II is promoted.
Below, a very rare 1915 photo of a woman in a car in costumes
1880 Sociedade Carnavalesca dos Cocumbis’s Parade, the first arranged group of the city.
1883 Ivete, who was on a Fenianos float, falls off the float and dies. She was on the main float as a floatee (a destaque – a person who populates a Carnival float).
1886 According to Eneida, the newspapers registered for the first time the word cordão (literally ‘strings’) to define masked people groups.
1887 Beginning of carnival decoration on streets in the center of Rio. The arranged carnival arrives in the suburbs.
1888 Democráticos are now called Clube dos Democráticos and the Great Societies participate now very actively in favor of Abolition of the Slavery.
- Appearance of Zé Codeia character, ancestor of today’s “dirty”.
1889 Chiquinha Gonzaga composes for the famous Cordão Rosa de Ouro, the marcha (a carnival kind of music) ‘Abre Alas‘ - prototype of carnival song.
- There is a new fashion in Rio: the rental of the big houses’ windows in the center of the city, so that families could watch préstitos and parades.
1892 Pufes on vogue (they started in 1877. Texts, some times literary works from writers, journalists and poets, through which the Great Societies praised their own merits and criticized their competitors).
- Appearance of confetti and serpentine is the great novelty in préstitos, parades and cordões.
- For the first time two carnivals are promoted in the city. One in summer (February) and the other in winter (June). Reason: Yellow Fever, which transferred carnival from February to June.
1895 Creation of Dia dos Blocos (Blocos’ Day).
1897 "Golden confetti" is now being used.
1900 Appearance of Afoxé (a rhythm).
- Appearance of the historical character malandro (a kind of scamp man), mainly characterized at Praça Onze and Estácio. The carnival malandros are specially originated from groups of bohemians and blusterers.
1902 This year was considered the cordões year. Police gave licenses to 200 carnival "cordões" this season.
1903 Societies started to present huge floats in their préstitos.
1904 The ragged masquerades are now called “dirty”.
1906 Beginning of lança-perfume (ether-spray) selling.
- Parades move from Ouvidor St. to Central Ave.
- First carnival cordões promoted by Gazeta de Notícias newspaper.
1907 Beginning of children’s balls.
- The first confetti battle is created by Gazeta de Notícias, going from the old pavilion to the Admiral Tamandaré statue.
- First carnival cordões parade on Central Ave.
- Foundation of Rancho Carnavalesco Ameno Resedá, the most famous of all times.
- Luiz Edmundo happily announced the death of Zé Pereira, who had been in agony since 1904. Many fought the noisy presentations from this Portuguese with his bass drum or zabumba and the characteristic song supported by Le Pompiers de Nanterre melody.
Below, one of the first carnival photos in Brazil: 1914
1908 The creation of the High-Life Club in Pascoal Secreto’s mansion changed the city nightlife, with big carnival balls and being the meeting point of bohemians (Santo Amaro St., in Largo da Gloria). The club ended in 1956.
1909 High Life promotes the first Brazil carnival costumes contest.
1910 Black clown Benjamin Oliveira performs Rei Momo for the first time in Spineli Circus.
1911 The big carnival clubs decide to have a parade on Fat Tuesdays.
- They incorporate Confetti Battles in pre-carnival parties.
- Cordões start to decay.
- By Mr. Barnabé Bouis suggestion, who is harmony director from S.C. Paladinos Japoneses, a competition for ranchos carnavalescos starts taking place, and they are supported by Jornal do Brasil (a newspaper).
- The great power of carnival is ranchos carnavalescos.
- Fifty thousand lamps lighten Central Ave. for the parade.
1912 The death of Baron of Rio Branco just a few days before carnival made the government to put it off for April, starting on Hallelujah Saturday and ending on Tuesday. Despite of the govern decision; the foliões - revelers celebrated carnival in the usual date and in April, as well, thus having two carnivals.
1913 New and simpler carnival costumes, like sailors, substitute the traditional ones, like ‘old man’, ‘bat’, ‘skull’, and ‘little devil’. The ranchos carnavalescos, have their parades on the Passeio Público (public footway) as a competition; the winner is awarded with a trophy offered by Cervejaria Hanseática. The ranchos change their way of performance, which used to be simple and took place on Largo de São Somingos, at Aunt Balbina’s “Lapinha”: they became beautiful shows, similar to an opera parade.
1914 Pufes evolution.
- The corso ( seen in many of the photos at this page ) has its climax on Rio Branco Ave.
- The great scandal that time, which was on the newspapers, was the performance of ‘corta-jaca’, a song composed by Chiquinha Gonzaga, in a palatial reception. The conductor had, then, Mrs. Nair de Teffé, the first lady of nation, esteem.
- Fenians, on April 12th (Easter Sunday) promoted a micarême in Rio.
1917 Release of "Samba Pelo Telefone" composed by Donga and Mauro de Almeida.
1918 Creation of Cordão Bola Preta. (December 31st).
1919 Newspapers announce, for the first time, Bloco do Eu Sozinho, created by Júlio Silva, which went on the streets in a Clown costume – it become popular as Clóvis.
The carnival player, which paraded having his face painted, used to carry a signboard with funny and malicious phrases and sentences. Júlio Silva stopped parading on 1972 and died on July 9th, 1979.
1920 Appearance of "carnival marchinha" (a type of samba music). It is a fusion of polka, and the American one-step and the ragtime. The song was Pé de Anjo composed by Sinhô.
- The journalist Francisco Guimarães (called Glow Worm) tries to introduce the French custom micarême by organizing a competition among the ranchos on March 7th, from which the winner was Rancho Arrepiados. The experience was repeated for only two more years.
1922 The beginning of celebration of Penha Festival and Independence Centenary. Also, the first radio transmission in Brazil.
1923 Creation of Bloco Carnavalesco Vai como Pode in Oswaldo Cruz’ neighborhood, which would later originate Portela Samba School.
- Creation of Rancho’s Day celebrated on January 28th. On this day, the first regulation for the parade was created.
1925 First Confetti Battle on Atlântica Ave.
1926 First sea bathing with people wearing carnival costumes.
Below, a Confetti Battle in a 1920 Carnival Photo
1927 Carnival columnists have a Confetti Battle at Quinta da Boa Vista (Park of the Nice View)
- Appearance of lança-perfume rodo metálico (ether spray in metallic container).
- Lamartine Babo, a composer, has his debut in the Carioca carnival. In the 30’s he would make a revolution in the carnival music with the marcha ‘Os calças largas’, together with Gonçalves de Oliveira and in the interpretation of Frederico Rocha.
1928 Creation of "Deixa falar", historically considered the first samba school.
- Creation of Mangueira Samba School.
1929 With the appearance of the trams, carnival gets new attraction. Because a tram is an open vehicle that integrates the neighborhoods, it became one of the ways for people play the carnival.
- The first competition among samba schools happens
1930 The journalist, researcher and composer Almirante innovates by recording percussion instruments.
- The expression Batucada (Beat) is now set.
1932 The I Carnival Ball of Municipal Theater is performed.
- Carioca carnival is now official.
- The main gafieiras (dance halls of the working class people) are created in Praça Onze.
- Lamartine Babo releases the marchinha ‘O teu cabelo não nega’, which is considered one of the greatest all time carnival success.
- Samba school "Deixa Falar" becomes a "rancho carnavalesco"
Below, another great photo of Rio Street Carnival in 1932
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http://www.vanessaisaac.com/blog/
On a beautiful but cold morning I went to Napa Valley not to talk wine but, ironically, to talk Samba fashion, culture and of course Samba costumes....Ok, I confess, I happily had a "few" glasses of wine too.
My guest, Maria Cristina Skowronski Flynn and her beautiful daughter Maria Luiza received me for an interview in their home. They were both very gracious and welcoming hosts as we filmed this episode of Sexy Samba Soul™. Luiza even modeled a pair of shoes for us. Thank you beautiful Luiza!
Maria Cristina is a very dynamic woman and the founder of Brazil Carnival Shop Online (www.brazilcarnivalshop.com). She brings to the table, besides her "Brazilianness", a background in marketing and fashion (Yes, I mean she worked with Oscar de La Renta)!
As an artist I love the historic context of things and I truly appreciate when someone can give me cultural insights. As the interview progressed it was obvious that she shares this passion for culture with me. We talked about Brazil, Carnaval and Samba and she would always refer to the traditional framework of the styles and pieces. Even when we talked shoes she referenced it back to one of my idols- the great Carmen Miranda, since the professional Sambista shoes today are based on Miranda's famous platform style.
On this interview she shows us beautiful dresses and passistas (Samba dancers) pieces, Samba shoes to die for and Brazilian active wear to inspire us to hit the gym and the dance studio for classes.
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So when you look at a professional samba dancer in Brazil, i am sure your eyes are all over the costume and the dancer, but did you ever noticed a platform sandals, gladiators or platform boots? No? Well, take a closer look now.
Platform samba shoes are the trademark of a Brazilian samba dancer.
Samba dancers in Brazil use a platform sandals, and that platform usually starts at 12 cm thick heel. The lower heels will not have a platform and you will not achieve that "Brazilian samba look", however you can still dance in smaller heels. Ballroom dancing shoes for "Latin", rumba or samba does not have platforms or thicker heels. Ballroom shoes typically has suede insert sole and dancer who dance samba on them will often complain that their feet will slide down when dancing. Those shoe have a more glamour look, smaller thinner heels and many side straps. They typically resemble a more romantic 40's style party shoes.
Original platforms shoes were made of cork and wood, and until this date, the core of samba shoes are hand made, sculpted on wood. During the 2nd world war, wood or cork was easy to purchase so most later popular styles was fabricated with primarily wood.
So when did this "look" started, who spread the fashion into samba? Who placed the platform sandals in the spotlight? In Brazil samba history, actress Carmen Miranda not only became a synonymous for her plastic fruit accessories, but she popularizes around 1930's the platform sandals.
To every fashion history there is always a reason why a trend starts...Well, to Carmen there was a reason why she used platform shoes. Carmen was short, very short, so she had a Rio de Janeiro cobbler make an orthopedic sandals for her. These were not any shoes, these were thick-soled to boost her height. Remember, she was just 5 ft tall. Around the same time Moshe Kimmel was designing a pair of platforms for Marlene Dietrich that later was considered the "first" official platform shoes. Carmen was the highest paid actress in Hollywood, and her platform shoes became her trademark. With movie, magazine and celebrity life style, her shoes were the translation to Brazil look.
Carmen used Brazil inspired costumes, dances and accessories to have a look or trademark of her own. She even made the hem of her dresses shorter so that she would look taller with her platform heels. Those platform shoes were very noticed and everyone wanted to have one.
She introduced to the US a different look, inspired by Afro-Brazilian female street vendors inspired by Brazil Colonial times. Brazil thanked her and she became an inspiration for the local samba dancers at the time. If she was dancing the "Brazilian dance", then the samba community wanted to bring to their feet exactly what Carmen was using when she was dancing: the platforms. If she could dance on those heels, the samba dancers would dance in them too!
Miranda's rise to Brazilian stardom was directly linked to the growing popularity of a her Brazilian style of music: the samba. So Carmen Miranda became popular, Brazil's nationalism was on it's peak during President Getulio Vargas, and of course samba platforms became an instant hit not only as a new addition to the samba dancers but among the ladies around the world. She put Brazil on the map and introduced samba to the consciousness of the world.
So what kind of shoes did samba dancers and revelers use before Carmen introduced them? This is a very good question and after looking at many old photos, videos and movies, we could notice some similar styles among the samba ladies. Prior to the 1930 we noticed French and Italian inspired shoes on the "samba floor". Shoes mainly inspired by the movie divas...The predominant colors pre-war was black, brown and white. These styles would be some high heels, thin narrow closed front, pump styles, "Mary Jane" styles are also seen in the samba or carnival parties. A "proper lady" would use outside their homes a shoe that would cover her feet, and more masculine collection was readily available for the ladies, like oxfords and Edwardian boots. In 1923, the Ferragamo shop called "The Boot Shop" was already the to go store for local and international artists. Also around that time, around the world the "flappers" -young liberal woman - would introduce shorter dresses and shoes were adorned with brooches, embellishments and sequins. This same style was seen on the more upscale carnival parties in Rio and São Paulo.
Black patent leathers or synthetic material was seen with most costumes around the streets of Rio. Flip flop styles and ballerina slip on where also seen on the carnival parades of Rio and São Paulo.
The Great Depression of 1930 created the lack of basic materials at cobbler's box. Italian shoe designer Ferragamo discovered that steel of a lesser quality would not work for his heels, so he brought back to fashion a type of heel used back in Ancient Greece: the anabela heel. This was a heel made of cork! Around 1939, 86% of Ferragamo's shoes were made of anabela heel. In Rio specially smal family owned cobbler shops started to copy Carmen's style and until this date our Brazilcarnivalshop still uses this second generation cobblers for our samba shoes maintaining the same tradition as in Carmen Miranda's time! We are proud to say we sell authentic hand made samba shoes!
Anabela Heel, designed by Ferragamo for Carmen Miranda
Carmen with a Ferragamo platform
Brasil Colonial street carnival
Carnival at a club in Brazil, for the elite. Notice the ladies using Mary Jane style shoes.
Revelers using flip-flops
Samba ladies using pump heels
A samba dancer using flat ballerina shoes
Carmen with a anabela style shoes
Sequined shoes made for Carmen Miranda.
So how what is the essential Brazilian samba shoes look when we are referring to samba shoes? We list some points below:
At our shop you will see over 80 pairs of samba shoes. Some are classic styles and other are an updated version of samba shoes with heels a bit thinner, or even small heels for tall dancers. All of our shoes are made in Brazil, by local cobblers, hand made by these professional shoe makers that serve the samba community in Rio. We must say it's a profession that is harder to find, and less and less "cobbler" is a profession...usually it's a family business. Their dedication to each pair is seen on the customer's reviews and happy faces of our sambistas around the world.
https://www.brazilcarnivalshop.com/collections/samba-shoes
Here photo of some of our most popular samba platforms:
Next time you think of getting an authentic samba shoes, give us a call, email us. We would love to help you get your 1st pair of samba shoes. For sure, your look will be of a Brazilian samba dancer !
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Below, a 1963 video of Brazilian Carnival parade already in color. At this time, samba-schools and the main parade itself started to gain popularity and followers. Many people, even Brazilians, don´t know that until 1940´s most of the Carnival activities and events happened outside the "parade limits". Please see below second carnival videos to see early 20th century Carnaval´s expressions.
Here we see one of the first Warnercolor Documentaries on Rio Carnival, in English, around the 50´s.
The second reason naturally derives from the first one. Historians who have described Brazil´s early days, simply couldn´t associate at the time, those events to which we today identify as part of the Brazilian Carnaval. To make this easier, Brazil Carnival Ooah! will chronologically list episodes and events which contributed to the organization of the Brazilian Carnival as we know today. We hope you will have fun in this reading as we did during our research!
Below, one of the first depictions about the Brazilian Carnival made by a famous painting in Brazil, Debret.
O entrudo no Rio de Janeiro, 1823
Jean-Baptiste Debret ( França 1768-1848)
Aquarela sobre papel
Museu da Chácara do Céu
Rio de Janeiro
Brazil Carnival Chronology
1600 For the first time, a playful popular party is registered in Brazil, with the development of the Entrudo, imported from Portugal. In this violent, rough, yet playful activity, foliões (name given to people who have fun during carnival days) threw water and lemon at each other using buckets, barrels and cans. Some more fanatics threw stones and wastes…!
1604 Due to the aggressive manner the foliões were having fun, the local government decided to prohibit the Entrudo for the first time.
1608 After 1605, several groups insisted on going out to streets “playing” at the Entrudo. Again, the government disallowed these manifestations.
1641 D. João IV’s coronation to Portugal´s throne celebrated in Rio de Janeiro. The préstitos, a type of musical procession go to public streets. According to historians, this was considered the first carnival expression in Rio de Janeiro. Thus, many Carnaval scholars consider the year of 1641 the starting point for Brazilian Carnival.
1680 Entrudo partying is once again prohibited by authorities.
1689 For the first time in Rio do Janeiro, police forces make illegal masquerades and hooded people on the streets.
1691 Once again, Entrudo was banned although it could still be seen in Rio de Janeiro streets.
1700 A new governmental decree prohibits hooded and the masquerades in Rio de Janeiro.
1711 A masquerade group killed Francisco Duclerc, French Commander who was living in Rio de Janeiro after a failed invasion attempt in Brazil. He was killed in one of the most important streets in town: Quitanda Street.
1720 Martinho Vieira, commonly referred to as the “hated magistrate” in Brazil, was killed by a group of carnival fans at Morro Velho – Old Mount in Rio de Janeiro.
1734 Once again, local authorities ban the Entrudo partying. The main reason continued to be its violent character.
1748 The Folia Negra da Coroação dos Reis do Congo (Black Festival of Congo’s King Crowning Ceremony), performed at Rosario and Saint Benedict Fraternity, established and now officially recognized as typical festivity. Congos and Cocumbis originated thereof.
1763 A festival celebrating the birth of D. José, (D. Maria’s first son), was performed, presenting floats (carros alegóricos) at the parade.
1786 Celebrations in homage of D. João and Dª. Carlota’s wedding in Lisbon, lasted for the first time for 3 consecutive days, in Rio de Janeiro. At this commemoration, “parade type” processions were organized with music, dances and different kinds of floats. These first parades were called préstitos. These specific parades could be considered the true origin, inception of modern day carnival parades in Rio Janeiro. Merry makers marched in festivity for hours, from city´s center all the way to the old Gipsy Park (today Santana Park). The floats were designed and crafted by an army Lieutenant called Antonio Francisco Soares.
1790 During the pre-Lent days in Rio do Janeiro, a group of people started to practice “Serração da Velha” (a playful activity and expression where people literally saw a doll, representing rejuvenation and renovation). Some considered this event the beginning of carnival due to its music and dance, but most of all, because of the period when it was organized.
1800 Religious processions grew in size and popularity and became regular festivals. The most representative ones, marched through Rio do Janeiro´s streets with carnival personas and performances.
1808 New Vice-King decree prohibits the Entrudo manifestations in Rio.
1810 Again, a new law forbade the Entrudo, even though police force was used to curb these events.
1816 Ferdinand Denis, famous traveler, historian and French writer specialized in Brazil, writes a full Opera during carnival based on the Entrudo theme.
- In Rio de Janeiro, Frenchmen Debret (painter), Taunay (painter) and Grandjean de Montigny (architect) arrive in Brazil in a French mission to spread European art. Brazil was still a Portuguese colony, but soon to become independent in 1822.
1825 Balls given by traditional families like Carneiro Leão’s and Baron of Rio Seco’s become extremely coveted and well known.
1831 Brazilian newspapers announce once again Entrudos as a main popular entertainment.
1834 First carnival masks are sold at Ouvidor Street shops.
1836 Before the Lent period, several shops begin to market carnival masks and costumes for the upcoming carnaval celebrations.
1840 Singing and Jongo (African derived type of dance) start to be performed in Rio de Janeiro. In fancy carnival celebrations, the use of carnival costumes and masks substitute the rough Entrudo activity.
- In a famous hotel in Rio called Hotel Itália, the first carnival ball for the general public is performed. The music played on this event was the waltz, habanera, quadrille, and the schottische.
1845 The ‘polka’ is introduced in Rio de Janeiro and played at local ballrooms. The Brazilian Polka Society is created.
1846 Actress Clara Delmastro organizes a carnival ball in the São Januário Theater in Rio. Many historians call this event as the first private carnival ball in Brazil. Masks, costumes and even a supper were provided to the invitees.
1848 José Nogueira de Azevedo Paredes, a common Portuguese shoemaker, walks off Rio de Janeiro streets with a bass drum and creates a fictional character called “Zé Pereira”.
Some historians affirm this carnival manifestation gave origin to blocos de rua (street groups), since many people “would follow” Zé Pereira; wherever he was.
Below, a Brazilian Carnival video edited in "Black and White" photos!!
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Roman Saturnalias decpcited above
Celebrations linked to natural time cycles have taken place since ancient times and they are linked to agriculture and graze, but as societies were getting more organized under strict laws, debauchery and profligacy were incorporated to festivals, they worked as escape valves when social conventions became more liberal. Such characteristics are evident amongst Egyptians and Hebrews and particularly more evident amongst Greeks and Romans.
Please check more than 30 Videos Carnival Rio Brazil in our Video section clicking on the link.
Thus, from December 16th through 18th when the return of the Sun allowed people to work the land again, Saturnalias were again celebrated in honor to god Saturn. It is said Saturn had taught the art of agriculture to Romans. During the Saturnalias, the social differences had an end, slaves were manumitted, schools and courts were closed. Everybody danced and sang on the streets making loud noise. These were three days in total anarchy.
Roman Saturnalias main characteristic was the opening parade with big cars imitating ships – the carrum navalis – presenting naked men and women dancing wildly and obscenely. It seems the real origin of carnival is Roman Saturnalias. Some say that the Italian expression “carnivale” originated from carrum navalis, and it would originate expressions in several other places (see etymology of the word below). Brazilian Researcher Osmar Frazão concludes: “this colored and uncontrolled Roman Carnival would be adopted by Christianity with no continuity solution, notwithstanding the holy teachings. There is truth in saying that carrum navalis was forbidden and there are no more obscene allegories, but Church finds difficulty in controlling the traditional sense of equality amongst people, permissive of some wildness.”
As a rule, during Middle Age, carnival happened with performances and liturgical senses, hunchback races, knights fights and urban “wars” with objects like eggs, in general; everything happened at night, under candle stubs fairy lights.
Back to carnival history, during Roman festivals, Lupercalias were celebrated after Saturnalias as a kind of purification, celebrating fertility. The festivals were organized on February 15th, worshipping God Pan, who killed the wolf which nursed Romulus and Remus, Roma founders. Lupercans, Pan’s priests, used to leave the temples wearing no clothes and soaked in goat blood, and after being milk-washed and covered with male goat-leather, they ran after people on the streets beating them with a belt. Virgin women, when touched, believed they would be fertile, and the pregnant ones, if touched believed they would have a painless labor. Bacchus-Dionysian festivals, called bacchanals, also profligate festivals, occurred in February and March, celebrating the return of the Sun and the beginning of spring. According to Greek mythology, Komo and Momus used also to participate in such festival orgies.
Regarding to these festivals, Francisco Duarte, Carnaval historian explains, “Saturn, Bacchus and Dionysius, from the first echelon of Greek-Roman Gods, used the “virtues” from these two Sub-Olympus Gods to “activate” their “priests and priestesses in said festivals, festivals that gave origin to our present and fond carnival. Komo and Momus promoted different aspects from the same festivals. Komo protected and stimulated body and flesh manifests, which have been perverted throughout times and have felt into lascivious Greek-Roman festivals, which landed in Entrudo: brutal and malevolent, at Komo’s image, full of wet, sensual and pantagruelic games. Momo was in charge of skilful and intelligent, clever, wise, and hilarious joy: The “decent” joy. From such aspect, which Momo motivated the elegant and fancy Carnival came up. It was first celebrated in 1855 in Rio de Janeiro, Brazil. From Komo, Carioca/Brazilian carnival inherited his libertine and sensual aspect. From Momo, it inherited the laugh from Lycurgus, the God of Laughter, who held fancy festivals from Middle Age and from the first phase of our ancestor carnivals.
The word Carnival:
The most objective definition is the one in Adolfo Coelho’s entry who wrote in Frei Domingos Vieira’s Dictionary: “Carnival – noun – from Italian “carno” and “vale”. The Milanese dialect has Carnelevale from latim carnevalen, from face, meat and levalen, act of taking out; thus, time when stop consuming meat, since carnival is the night before Ash Wednesday.
This etymology, which is given by Littré, leaves the oldest one out, according to which the word came from cane and vale, goodbye to meat, since there is no word for vale in Italian, and the Milanese carne levale has no doubts regarding to sound. Time for fun (the number of days varies according to countries) that ranges between the first day of the year and the day before Ash Wednesday”.
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Please see her video at the end of this page!
Below a fanstastic photo of the muse by JB Neto, when Ellen was getting ready for the technical rehearsal in 2009.
Ellen was always enchanted by the luxurious costumes seen at the parades, the vibes and emotional thrill of the Brazilian Carnaval. Ellen states: "It is important to enjoy and give the deserved value to the good things in life. Of course it is essential to have responsibility, but it is also important to live for today without thinking too much about tomorrow.” As the Drum Queen, one of the most disputed posts in Carnaval, Ellen emphasizes the importance of having a true connection with the percussionists and the samba-school community she is representing.
Ellen constantly participates at the samba-rehearsals, and all other backstage events scheduled by Rosas de Ouro Samba School.
Below we can see why the beauty was confirmed in 2010 again as Queen of Drums Section: She has energy and samba passion. A great photo by Eduardo Lopes from Sao Paulo.
When asked to disclose some of her tricks to shine during Carnaval, she recommends a “balanced diet and exercises”. The beauty says the entire carnival routine is ideal to lose weight, since samba-dancing is very energy consuming. She also told us another secret to help maintain her dazzling beauty and avoid toxins: She drinks two cups of purple grape juice every day, one in the morning and one at night. This marvelous Brazilian beauty is a perfect example as to how Carnaval can also be of great help when establishing a healthy life.
In 2010, Ellen Roche was confirmed again as the Queen of Drum for Rosas de Ouro Samba-School! Congratulations Ellen for your great samba skills and carnaval passion! Your presence brings light to this marvelous show! Keep on with Carnaval!
Below, the astonishing Ellen Roche in Video from the 2007 carnival. Her persistence has payed off: in 2010 Rosas de Ouro was champion of the São Paulo Carnival and she enjoyed a tremendous success.
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5 carnival playlists were created to facilitate your research on popular aspects, such as Best Carnival Costumes, Carnival Music Playlist, Brazilian Carnival Interviews, and “Brazilian Samba Drums”.
The samba-schools are also presented on this authentic ´Carnaval´ channel. Structures of the parades are explained, as example Opening Wings, Flag Bearers, amazing Carnival Floats, Samba songs, and innovative samba rhythms.
]]>The use of costumes and masks had, in all of Brazil, over seventy years of success, and peaked from 1870 until the decade of 1950. It started to decline after 1930, when the price of the materials to produce the costumes – cloth and ornaments – got higher. The disguise, or costumes that embellishes young guys and girls, were slowly reduced to the fewer possible, in the name of freedom of movement and to escape the heat stroke of the hottest time of year.
The most famous disguises of the Brazil Empire days, and beginning of the Republic were the skull, the old man, donkey (ears and all), the doctor, the bat, the chimp and the devil, father John, death, the Prince, the mandarin, the rajah and the maharaja. These costumes and disguises started to decline sharply after the great depression. Classic costumes such as Italian dell’arte comedian,domino, pierrot, harlequin and columbine – broadly used by merrymakers, started to disappear as well, due to the lack of reason to exist since the Police banned the use of masks on halls and streets...( It is a known fact that since 1685, the use of masks were heavily forbidden and minimally allowed during brief periods.) This forbidding was taken seriously, needless to say that already in the XVII century, law enforcers were very rigorous: Rio de Janeiro Governor Duarte Teixeira Chaves ordered through proclaim that all Negroes and mulatto using masks should be whipped in Rio´s public square and all whites using masks should be convicts to Sacramento Colony.)
The Use of Masquerades costume was very typical.
However, on the 1930’s, some costumes mentioned above, were still in use and resisted, with the masks included. Amongst them the apache, the cad, trickster (t-shirt with horizontal stripes, white pants, straw hat, red scarf around the neck), the old lady, Spanish woman, peasant, clown, Tyrolean, Hawaiian woman and the “woman from Bahia” or Baiana.
Slowly, men started to prefer white trousers and sport-shirts, reaching the point they started to use shorts and bare bust. However this happened only after the 1950’s. Women started to wear lighter costumes, and finally started wearing two pieces bathing suits and a couple of ornament necklaces. After three centuries of Carnaval, the bikini, and bare bust costumes also came into scene because of Rio´s heat.
This illustration from a magazine in 1909 called a "Careta" shows how the costumes were popular.
The first Brazilian Carnaval Ball
European carnaval started on the streets, with masquerade parades and floats; and also on closed environments with invite only balls costumes and masks. The Rio de Janeiro Carnaval, certainly the first in Brazil, was celebrated in 1641 (according to most Carnaval historians) and promoted by governor Salvator Correia de Sá e Benvides as a tribute to King Dom João IV, restorer of Portugal´s throne. The festivities lasted for a full week, from Easter Sunday onwards, with street parades, fights, races, dirty and masked street groups (called “blocos” in Portuguese). Another historic Carnaval celebration took place in 1786, which coincided with the festivities to celebrate Dom João’s marriage to Princess Carlota Joaquina. However, the very first recorded mask ball took place on January 22nd 1840, on Hotel Italia, at Largo Rocio, the same location where the São José theatre and afterward cinema, at Tiradentes Square, would be lifted in Rio. The entry used to cost two thousand réis, with full supper included.
Below, a flyer showing a typical Pierrot costume.
Carnaval balls however, became popular on spectacle houses only after the 1870’s. Entertainment establishments such as Pedro II Theatre, Santana Theatre and even popular establishments such as skating rinks, the Guanabara Club, and Societé Française de Gymnastic, which organized balls with a more open and popular characteristic, however with some VIP social area too.
Carnaval spreads through Balls
Carnival expressions such as the Great Carnival Societies, shindigs in family houses, outdoors balls, children’s balls soon multiplied across Rio. After all, some balls acquired national and even international fame, taking place at glamorous clubs, hotels or theatres: in 1908 the first high-life Carnaval Ball took place in Rio de Janeiro, Brazil. These balls continued to expand until the 40’; In 1918 the traditional “artists´ ball” at the Fenix theatre; and in 1932, thought to be the first official ball at Municipal Theatre in Rio. The Rio de Janeiro Municipal Theater Ball led the way to a number of other costume balls in Brazil. Later, legendary Balls at prestigious hotels came into scene: The Gloria, Theatre Palacio, Copacabana Palace Hotel, Urca Casino, Atlantic Casino, Copacabana Casino, Quitandinha (in the city of Petropolis), and Automobile Club of Brazil, to mention the most well known.
In 1935, the “Oranges Guild” built a carnival hall, shaped as a ship that “docked” at a castle terrace. Some of the most joyful balls took place over there three or four Carnivals in the late 30´s. The Municipal Theatre started the first luxury costume contest at first only for women, and later in the 50’s, men´s costumes contests were opened as well. The balls in Rio which were attracting the most crowds were the Botafogo, Fluminense, Flamengo, Vasco da Gama and America balls. Later, after the 1970´s and 80´s, costume balls became decadent because of the excessive nudity and lack of purpose, exception being the ultra-luxury and expensive balls, like the Copacabana Palace Carnival ball.
Sea Swimming with Costumes
At the balls, merry-makers would perform several kinds of dances which varied from polca, lundu and tangos to samba music: Marchinha, Frevos, Jongos and Cateete. All participants sang, danced and “made cords/cues”. As for the costume ocean swim tradition, merrymakers would sing to the top of their lungs samba reference songs, as well those presented by new albums and municipal music bands.
The costume ocean swim became a habit during the gap between the first and second World War in Rio. The street carnival bands and its merrymakers would wear costumes made of crepe paper and after marching through Flamengo and Copacabana beaches, would dive into the ocean. The result was that the ocean would be “painted” for hours since the crepe paper faded heavily. A normal swimming suit was used underneath those Carnivals’ and fleshy garments.
Navy uniforms were also very popular in those days...
Confetti and “Corsican battles”
The confetti, the coil and the perfume launcher: these three elements were a must between the beginning of the century and the decade of 1950, at the Brazilian festivity events. They helped to cheer the Brazilian hall-type Carnaval, as they also cooperated for the bigger success of the “Corsican processions” or “Corsos” in Portuguese, which gave Rio street Carnaval, another amazing chapter. Here, the confetti battle constituted its peak. The trend of “Corsos”, which began shyly after the arrival of the first cars, would reach their moment of glory between 1928 and the 1940’s. The “battles” consisted of Corsican carnivals’ march of convertible cars with the tops down, ornamented with colorful cloths and pennants, driving families or merrymaker groups around Rio´s center. The revelers would sit not only on the car seats but on the top, specially the ladies in costumes with very short skirts, singing or throwing coils and confetti on the by passers that piled up on the sidewalk to see them pass.
These motorized merry-makers also played with the occupants of the neighboring cars with cars driving around slowly. They joined the procession throwing bundles of confetti and thousands of meters of coils that binds the cars and piled up on the avenues each night. The perfume launcher was also used in profusion, while the fellowship with the by passers broadened not only through the perfume launcher spray – that made acquaintance, flirting etc possible – as well as the momentary ride on music dispute sung by others. Each town had their Corsican place, and in Rio de Janeiro it took place mainly ate Rio Branco avenue (old central avenue). At certain point however, in Rio many Carnivals “Corsican battles” extended to seacoast avenues, reaching Flamengo beach.
Almost as a consequence of the Corsican carnivals which disappeared with the advent of limousines and closed top cars – the confetti battles started then to be held in determined locations. These had organized neighborhood fans or strong street carnival groups and developed a “territorial dispute” – like a corner competition or street dance. During the weeks or months that foregone Momo´s King, these cheering fans and street carnival blocos ( called in Portuguese “blocos de rua” ) organized parties with kilos of confetti and liters of perfume launchers. Such battles often went until morning and some of them exceeded the excitement of the “legitimate” Carnaval days.