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Stanislav Nazarov
Stanislav Nazarov

SAMBA DA LADEIRA E Paulinho Jr Roda De Samba E Pagode (ao Vivo) \/\/FREE\\\\



Samba (Portuguese pronunciation: [ˈsɐ̃bɐ] (listen)), is a name or prefix used for several rhythmic variants, such as samba urbano carioca (urban Carioca samba),[1][2] samba de roda (sometimes also called rural samba),[3] recognized as part of the Intangible Cultural Heritage of Humanity by UNESCO,[4] amongst many other forms of Samba, mostly originated in the Rio de Janeiro and Bahia States.[5][6][7] Samba is a broad term for many of the rhythms that compose the better known Brazilian music genres that originated in the Afro-Brazilian communities of Bahia in the late 19th century[8] and early 20th century, having continued its development on the communities of Rio de Janeiro in the early 20th century.[9][10] Having its roots in the Afro-Brazilian Candomblé,[11][12][13] as well as other Afro-Brazilian and Indigenous folk traditions, such as the traditional Samba de Caboclo,[14][15] it is considered one of the most important cultural phenomena in Brazil[16][17] and one of the country's symbols.[18][19][20][21] Present in the Portuguese language at least since the 19th century, the word "samba" was originally used to designate a "popular dance".[22] Over time, its meaning has been extended to a "batuque-like circle dance", a dance style, and also to a "music genre".[22][23] This process of establishing itself as a musical genre began in the 1910s[24] and it had its inaugural landmark in the song "Pelo Telefone", launched in 1917.[25][26] Despite being identified by its creators, the public, and the Brazilian music industry as "samba", this pioneering style was much more connected from the rhythmic and instrumental point of view to maxixe than to samba itself.[24][27][28]




SAMBA DA LADEIRA e Paulinho Jr | Roda de Samba e Pagode (ao vivo)


Download: https://www.google.com/url?q=https%3A%2F%2Furlin.us%2F2ug1Ss&sa=D&sntz=1&usg=AOvVaw2kifDHSRZjFmyKHnMdIPks



During a folkloric research mission in the Northeast Region of 1938, the writer Mário de Andrade noticed that, in rural areas, the term "samba" was associated with the event where the dance was performed, the way of dancing the samba and the music performed for the dance.[78] The Urban Carioca Samba was influenced by several traditions associated with the universe of rural communities throughout Brazil.[79] The folklorist Oneida Alvarenga was the first expert to list primitive popular dances of the type: coco, tambor de crioula, lundu, chula or fandango, baiano, cateretê, quimbere, mbeque, caxambu and xiba.[80] To this list, Jorge Sabino and Raul Lody added: the samba de coco and the sambada (also called coco de roda), the samba de matuto, the samba de caboclo and the jongo.[81]


The solidification of the electric recording system made it possible for the recording industry to launch new sambas by singers with less powerful voices,[nb 5] such as Carmen Miranda[126] and Mário Reis, performers who became references when creating a new way of interpreting the most natural and spontaneous samba, without so many ornaments, as opposed to the tradition of belcanto style.[127][128][129] These recordings followed an aesthetic pattern characterized by structural similarities to the lundu and, mainly, to the maxixe.[27] Because of this, this type of samba is considered by scholars as "samba-maxixe" or "samba amaxixado".[24][130] Although the samba practiced in the festivities of Bahian communities in Rio was an urban stylization of the ancestral "samba de roda" in Bahia,[131] characterized by a high party samba with refrains sung to the marked rhythm of the palms and the plates shaved with knives, this samba it was also influenced by the maxixe.[132] It was in the following decade that a new model of samba would be born, from the hills of Rio de Janeiro, quite distinct from that of the amaxixado style associated with the communities of Cidade Nova.[24][27]


Even during this period, "rodas de samba" ("samba circles") began to spread as a fever throughout Rio de Janeiro and other Brazilian cities.[285][421] Originally restricted to the backyards of sambistas' residences and the samba school headquarters, these informal meetings have taken on a new meaning in clubs, theaters, steakhouses, among others, with the promotion of "rodas de samba" with stage and microphones and the participation of sambistas linked to samba schools.[421] Meanwhile, new "rodas de samba" were formed informally in the suburbs of Rio de Janeiro, the result of which would lead to the germ, in the late 1970s, of a new and successful sub-genre of modern samba in the 1980s.[422]


Originally designated in the samba universe for the musical meetings of sambistas and, soon, also extending to the sambas sung in them,[423] the term pagode became popular with the resignification of the "rodas de samba" in Rio de Janeiro, from the 1970s,[424] with the "pagodes" or "pagodes de mesa" ("pagode circles"), where sambistas gathered around a large table, often located in a residential "backyard", in opposition to the fashionable samba circles made in clubs and the like.[425][426] Some of the most famous pagodes in the city were the Pagode of Clube do Samba (made at João Nogueira's residence in Méier), Terreirão da Tia Doca (with the rehearsals of the Portela old guard sambists in Oswaldo Cruz), of Pagode of Arlindinho (organized by Arlindo Cruz em Cascadura) and, mainly, the pagode of the carnival block Cacique de Ramos, in the suburban area of Leopoldina.[427][428][429]


In the 1980s, pagodes became a fever throughout Rio de Janeiro.[430][431][432] And, far beyond simple places of entertainment, they became radiating centers of a new musical language that expressed itself with a new interpretive and totally renewed style of samba that was embedded in the tradition of the partido-alto.[433][434] Among the innovations of this new samba and marked by refinement in melodies and innovations in harmony and percussion with the accompaniment of instruments such as tan-tan (in place of the surdo), the hand-repique and the four-string banjo with cavaquinho tuning.[429][435][436][437]


Even so, the first two decades of the 21st century confirmed the pagode as the hegemonic reference of samba in the Brazilian music industry.[466] In the first decade of this century, new artists emerged commercially, such as the samba bands Revelação, Sorriso Maroto and Turma do Pagode, and some singers who left their original samba groups to launch a solo career, such as Péricles (former Exaltasamba), Belo (former Soweto) and Alexandre Pires (former Só Pra Contrariar). In the following decade, it was the turn of Xande de Pilares and Thiaguinho, former vocalists of Revelação and Exaltasamba respectively, and of singers Mumuzinho, Ferrugem and Dilsinho.[467][468] A characteristic common to all these artists was the significant amount of live album releases instead of traditional studio albums.[469][470] This gained even more strength with the development of streaming media, a platform for digital music that became popular in the 2010s.[471]


Outside the hegemonic commercial scope of the subgenre pagode, the late 1990s was also a period of great visibility and notoriety for the most traditional samba in Rio de Janeiro.[472] A new generation of musicians emerged in "rodas de samba" that spread through several neighborhoods in the city, especially in Lapa, the central region of the city that started to concentrate several bars and restaurants with live music.[473] For having identified with the bohemian neighborhood, this movement became known informally as "samba da Lapa".[474] With a repertoire composed of classics sambas and without concessions to more modern sub-genres,[474] this new circuit promoted the meeting between beginning and veteran musicians from several generations of sambistas, all identified with the traditional elements that make up the urban Carioca samba.[472] Among some artists who acted in the scope of samba circles in this neighborhood, were Teresa Cristina and Semente group, Nilze Carvalho and Sururu na Roda group, Luciane Menezes and Dobrando a Esquina group, Eduardo Gallotti and Anjos da Lua group, among others, besides veterans such as Áurea Martins.[474][475] And later, Edu Krieger and Moyseis Marques has appeared.[473][476] Other new artists linked to the samba traditions, but without direct ties to the Lapa carioca movement, emerged such as Dudu Nobre[477] and Diogo Nogueira,[478] in addition to Fabiana Cozza in São Paulo.[479]


A mais de dez anos Moacyr Luz monta a roda e coloca a galera prá sambar nesta que se tornou uma das mais populares rodas de Samba do Rio de Janeiro. Detalhe: ela acontece em plena segunda-feira a partir das 16h e está sempre lotada:


O Largo João da Baiana, aos pés do Morro da Conceição onde se encontra a Pedra do Sal, é palco de animadas rodas de samba as segundas e sextas-feiras a partir das 18h principalmente. 041b061a72


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