CARNAVAL
The Carnival of Brazil, properly spelled "Carnaval" in Portuguese, is an annual festival in Brazil held forty days before Easter. On certain days of Lent, Roman Catholics and some other Christians traditionally abstained from the consumption of meat and poultry, hence the term "carnival," from carnelevare, "to remove (literally, "raise") meat."[1] Carnival celebrations are believed to have roots in the pagan festival of Saturnalia, which, adapted to Christianity, became a farewell to bad things in a season of religious discipline to practice repentance and prepare for Christ's death and resurrection.
Rhythm, participation, and costumes vary from one region of Brazil to another. In the southeastern cities of Rio de Janeiro and São Paulo, organized parades led by samba schools are influenced in aesthetics by Venice Carnival. Those official parades are specific to be watched by the public, although minor parades (called blocos) allowing participation can be found in other cities. The northeastern cities of Salvador, Porto Seguro and Recife have organized groups parading through streets, and public interacts directly with them. This carnival is heavily influenced by African-Brazilian culture. Crowds follow the trio elétricos floats through the city streets. Also in northeast, Olinda carnival features unique characteristics, part influenced by Venice Carnival mixed with cultural despections of local folklore.
Carnival is the most famous holiday in Brazil and has become an event of huge proportions. The country stops completely for almost a week and festivities are intense, day and night, mainly in coastal cities. [2] The consumption of beer accounts for 80% of annual consumption and tourism receives 70% of annual visitors. The government distributes condoms and launches awareness campaigns at this time to prevent AIDS dissemination. [3]
Contents
[hide]
• 1 Styles by State
o 1.1 Rio de Janeiro style
o 1.2 São Paulo style
o 1.3 Bahia style
o 1.4 Pernambuco style
o 1.5 Minas Gerais style
o 1.6 Others
• 2 Sambódromo
o 2.1 Types and capacity of seats
• 3 Music
o 3.1 Samba
o 3.2 Axé
• 4 Micareta
Rio de Janeiro style
Brazilian Actress Grazielli Massafera wearing a carnival costume.
Main article: Rio Carnival
Modern Brazilian Carnival originated in Rio de Janeiro in 1641 when the city's bourgeoisie imported the practice of holding balls and masquerade parties from Paris. It originally mimicked the European form of the festival, later absorbing and creolizing elements derived from Native American and African cultures.
In the late 19th century, the cordões' (literally laces or strings in Portuguese) were introduced in Rio de Janeiro. These were pageant groups that paraded through city avenues performing on instruments and dancing. Today they are known as Blocos (blocks), consisting of a group of people who dress in costumes or special t-shirts with themes and/or logos. Blocos are generally associated with particular neighborhoods; they include both a percussion or music group and an entourage of revellers.
Block parades have become an expressive feature of Rio's Carnival. Today, they number more than 100 and the groups increase each year. Blocos can be formed by small or large groups of revelers with a distinct title with an often funny pun. (os blocos hj, para os solteiros, s~ao um lugar para conhecer e até beijar pessoas, a safe place to meet people.) They may also note their neighborhood or social status. Before the show, they gather in a square, then parade in sections of the city, often near the beach. Some blocos never leave one street and have a particular place, such as a bar, to attract viewers. Bloc parades start in January, and may last until the Sunday after Carnival.
Mestre Sala e Porta-Bandeira, a double executing typical performance and opening a samba school exibition.
Blocos parade in nearly every neighborhood, but the most famous ones parade in Copacabana, Ipanema, Leblon, Lagoa, Jardim Botânico, and in downtown Rio. Organizers often compose their own music themes that are added to the performance and singing of classic "marchinhas" and samba popular songs. "Cordão do bola preta" ("Polka Dot Bloco"), that goes through the heart of Rio's historical center, and "Suvaco do Cristo" (Christ's statue armpit, referring to the angle of the statue seen from the neighborhood), near the Botanical Garden, are some of the most famous groups. Monobloco has become so famous that it plays all year round at parties and small concerts.
Samba schools are very large groups of performers, financed by respected organizations (as well as illegal gambling groups), who work year round in preparation for Carnival. Samba Schools perform in the Sambadrome, which runs four entire nights. They are part of an official competition, divided into seven divisions, in which a single school is declared the winner, according to costume, flow, theme, and band music quality and performance. Some samba schools also hold street parties in their neighborhoods, through which they parade along with their followers.
Carnaval time in Rio is a very interesting, but is also the most expensive time to visit Rio. Hotel rooms and other lodgings can be up to 4 times more expensive than the regular rates. There are big crowds at some locations and life is far from ordinary in many parts of town.
[edit] São Paulo style
Carnival parade in São Paulo, Gaviões da Fiel Torcida Samba School.
The carnival in São Paulo happens in the Sambadrome of Anhembi and also has some organized "soccer schools." This is the main difference between São Paulo carnival and Rio. The Carnival parades in São Paulo happen on Friday and Saturday night, as opposed to Rio's Carnival, which is held on Sunday and Monday night.
[edit] Bahia style
Main article: Bahian Carnival
There are several major differences between Carnival in the state of Bahia in Northeastern Brazil and Carnival in Rio de Janeiro. The musical styles are different at each carnival; in Bahia there are many rhythms, including samba, samba-reggae, axé, etc, while in Rio there is the multitude of samba styles: the "samba-enredo", the "samba de bloco", the "samba de embalo", the "funk-samba", as well as the famous "marchinhas" played by the "bandas" in the streets.
Carnival circuit of the city of Salvador.
In the 1880s, the black population commemorated the days of Carnival in its own way, highly marked by Yoruba characteristics, dancing in the streets playing instruments. This form was thought of as "primitive" by the upper-class white elite, and the groups were banned from participating in the official Bahia Carnival, dominated by the local conservative elite. The groups defied the ban and continued to do their dances.
By the 1970s, four main types of carnival groups developed in Bahia: Afoxês, Trios Elétricos, "Amerindian" groups, and Blocos Afros. Afoxês use the rhythms of the African inspired religion, Candomblé. They also worship the gods of Candomblé, called orixás. An Electric Trio is characterized by a truck equipped with giant speakers and a platform where musicians play songs of local genres such as axé. People follow the trucks singing and dancing. The "Amerindian" groups were inspired by Western movies from the United States. The groups dress up as native Americans and take on native American names. Blocos Afros, or Afro groups, were influenced by the Black Pride Movement in the United States, independence movements in Africa, and reggae music that denounced racism and oppression. The groups inspired a renewed pride in African heritage.
[edit] Pernambuco style
Street Carnival in Recife.
The North East state of Pernambuco has unique Carnivals in its present capital Recife and in its colonial capital Olinda. Their main rhythm's are the frevo and the maracatu. Galo da Madrugada is the biggest carnival parade in the world, considering the number of participants, according The Guinness Book of World Records. It means "dawn's rooster" and parades, as the name suggests, in the morning only. Frevo is Pernambucan-style dance with African and acrobatic influences, as it is fast and electrifying, often using an open umbrella and frequent legs and arms movements.
Unlike Salvador and Rio, the festivities in Recife, Olinda and Itamaraca do not include group competitions. Instead, groups dance and play instruments side by side. Troças and maracatus, mostly of African influence, begin one week before Carnival and end a week later. Some well-known groups have funny names, such as: Tell me you love me, damn eggymann (with a famous giant dancing doll that leads the group), Crazy Lover, Olinda's Underpants, and The Door.
[edit] Minas Gerais style
Carnival parade of Ouro Preto, Minas Gerais.
Minas also holds some important carnival parades, mainly in the historic cities of Ouro Preto, Mariana and Diamantina. They are held mostly by students' houses, which attract a majority of young people from the neighbor states. There are also other major parades in the region, such as the one in Pompéu.
Carnival in Minas Gerais is often characterized by blocos carnavalescos with varying themes and fantasy styles, almost always accompanied by a brass and drums band. However, Minas Gerais carnival was first influenced by the Rio de Janeiro Carnival (several cities have their own samba schools). Later some Axé groups from Bahia came to play in the state every carnival season.
The Carnival of the city of Ouro Preto is very popular by college students in the area. The city has a large proportion of students, who during the year live in places called Repúblicas (a rented house maintained and ruled by themselves). During carnival, the Repúblicas are literally packed with residents and many visitors coming from all over the country. The hills prevent traffic of heavy sound trucks, but don't stop people from feasting all night and day.[4]
However, some view the Ouro Preto carnival festivities as a threat to the old and historical harmony of the region. According to one such person: the recent emergencet of industry from the surrounding localities, population growth and a spike in street traffic have jeopardize Carnival as older citizens remember it. One cause for alarm is the street carnival of Ouro Preto, which attracts thrill-seeking students from across Brazil. The students crowd the streets while playing loud and arguably disruptive music.[5]
[edit] Others
Some southern cities such as Curitiba, Florianópolis, Camboriú, and Porto Alegre have smaller samba school groups or blocos, but like São Paulo state towns, they seem to prefer balls to street dancing.
[edit] Sambódromo
The Sambódromo of Rio.
Unidos do Viradouro Samba School and the Sambódromo.
Anhembi Sambódromo in São Paulo.
The Carnival parades in Rio de Janeiro and São Paulo are taking place in the Sambodromo, located close to the city center. In the city of Rio, the parades start on 20:00 or 21:00 (depending on the date) and ends around 5:00 in the morning. The Rio de Janeiro Metro (Subway), which operates 24 hours during the main parade days.
The actual amount of spectators in the Sambodromo may be higher than the official seats mentioned below. Sector 9 is an exception. Actually the word 'seat' is not relevant. In Sector 1 access is given to the local community at a symbolic cost. Sectors 6 and 13 are the cheapest. Sectors 3, 5 and 7 are equal in quality of view (even though there is a price difference between them). Sector 9 has marked seats and therefore less crowded. Dress Circle and Boxes are the best, and priced accordingly.[6]
[edit] Types and capacity of seats
• BOXES (total 5,992 seats)
Special Boxes: Four buildings between sectors 3, 5, 7 and 9 with up to 20 seats in A Boxes and 18 in B Boxes. Boxes in sectors: 3, 5, 7, 9, 11 and 4: 24 boxes per sector, in a total of 144 boxes Boxes in Sector 2: Three floors containing boxes A, B and C, each box with 12 seats.
• Dress Circle (total 6,528 seats)
Uncovered boxes with walls and chairs for six occupants each, in sectors 3, 4, 5, 7, 9 and 11.
• Chairs
4,220 chairs are placed in sectors 6 and 13. Of these, 525 are for paraplegics and their escorts.
• Tiers of Seats (total 16,804 seats)
Uncovered spaces up to 15,80 m high, reached by stairs. Sectors 3, 4, 5, 7, and 11, each sitting 2,900 spectators. Sector 9 with 2,306 numbered seats.
• Popular Tiers of Seats (Total 25,700)
Sector 1: in the area where the schools organize themselves for the parade; Sectors 6 and 13–at Praça da Apoteose from where the end of the parade can be seen. Sector 1 holds up to 6,500 spectators and Sectors 6 and 13 up to 9,600 each.
[edit] Music
[edit] Samba
The brazilian actress Luma de Oliveira dancing samba in Rio de Janeiro.
Originated in Bahia from the African rhythms, it was brought to Rio de Janeiro around 1920 and is still together with Samba-pagode and Samba-reggae (the band Olodum from Salvador da Bahia made samba-reggae famous) one of the most popular styles of Brazil. From intimate samba-cancões (samba songs) sung in bars to explosive drum parades performed during carnival, samba always evokes a warm and vibrant mood. Samba developed as a distinctive kind of music at the beginning of the 20th century in Rio de Janeiro (then the capital of Brazil). In the 1930s, a group of musicians led by Ismael Silva founded in the neighbourhood of Estácio de Sá the first Samba School, Deixa Falar. They transformed the musical genre to make it fit better the carnival parade. In this decade, the radio spread the genre's popularity all around the country, and with the support of the nationalist dictatorship of Getúlio Vargas, samba became Brazil's "official music."
In the following years, samba has developed in several directions, from the gentle samba-canção to the drum orchestras which make the soundtrack of carnival parade. One of these new styles was the bossa nova, made by middle class white people. It got increasingly popular over time, with the works of João Gilberto and Antonio Carlos Jobim. In the sixties, Brazil was politically divided, and the leftist musicians of bossa nova started to gather attention to the music made in the favelas. Many popular artists were discovered at this time. Names like Cartola, Nelson Cavaquinho, Velha Guarda da Portela, Zé Keti, and Clementina de Jesus recorded their first albums. In the seventies, the samba got back to radios air waves. Composers and singers like Martinho da Vila, Clara Nunes and Beth Carvalho dominated the hit parade.
In the beginning of the eighties, after having been sent to the underground due to styles like disco and Brazilian rock, Samba reappeared in the media with a musical movement created in the suburbs of Rio de Janeiro. It was the pagode, a renewed samba, with new instruments, like the banjo and the tantan, and a new language, more popular, filled with slangs. The most popular names were Zeca Pagodinho, Almir Guineto, Grupo Fundo de Quintal, Jorge Aragão, and Jovelina Pérola Negra. Various samba schools have been founded throughout Brazil. A samba school combines the dancing and party fun of a night club with the gathering place of a social club and the community feeling of a volunteer group. During the spectacular Rio Carnival famous samba schools parade in the Sambódromo. An event that should not be missed.[7]
[edit] Axé
The brazilian singer Daniela Mercury during the carnival of Salvador.
This is not exactly about a style or musical movement, but rather about a useful brand name given to artists from Salvador who made music upon northeastern Brazilian, Caribbean and African rhythms with a pop-rock twist, which helped them take over the Brazilian hit parades since 1992. Axé is a ritual greeting used in Candomblé and Umbanda religions, and means "good vibration." The word music was attached to Axé, used as slang within the local music biz, by a journalist who intended to create a derogatory term for the pretentious dance-driven style.
As singer Daniela Mercury began her rise to stardom in Rio and São Paulo, anything coming from Salvador would be labeled Axé Music. Soon, the artists became oblivious to the derogatory origins of the term and started taking advantage of it. With the media pushing it forward, the soundtrack of Carnival in Salvador quickly spread over the country (through off-season Carnival shindigs), strengthening its industrial potentials and producing year-round hits along the 90s.
Tested within the height of Carnival heat, Axé songs have been commercially successful in Brazil throughout the past decade. The year of 1998 was particularly fortunate for the artists from Bahia: together, Daniela Mercury, Ivete Sangalo, Chiclete com Banana, Araketu, Cheiro de Amor and É o Tchan sold over 3.4 million records.[8]
[edit] Micareta
Carnatal in Natal, largest off-season Carnival in the country.[9]
There are also micareta (plural: micaretas), as they are called off-season Carnival. The micaretas are similar to the Bahian Carnival and very different from the samba school parades, popular in Rio de Janeiro. The micareta is like this: during the days of party, a huge truck (called "trio elétrico"), with a band on the top and sound boxes all around, drives slowly along the streets or enclosed space.
The crowd follows the trio elétrico singing, dancing, jumping to the sound of the music. To be allowed to follow the truck, one must buy admittance to one of the several "blocos" (block). A bloco is an enterprise which obtains permission to participate in micareta, hires the band, sells admittance and controls access.
Brazil has several micaretas that take place throughout the year in various cities. They can be done in the streets (traditional micareta) or in closed spaces surrounded (indoor micareta).
[edit] Security
See also: Crime in Brazil and Social apartheid in Brazil
Security Camera in the Carnival of Salvador.
Brazil in the 1980's started developing a reputation for violence and crime due to a massive debt that left no money for necessities such as police, hospitals and schools. In the early 1990's, however, things began to turn around, as the government was able to decrease its debt and thus reintroduce money into public services, starting with the police. Officers were stationed anywhere there seemed to be a problem: city streets, beaches, etc and the crime rate began to fall. Huge investments into tourism simultaneously made the protection of tourists a government priority. Tourism throughout Brazil is now a top priority, and everything is done to ensure the safety and comfort of visitors.
Taxis are very safe and available everywhere, but some incidents are occasionally reported. The taxis provided like this are guaranteed to be completely safe. Taxis are the number one most common mode of transportation that tourists use, and with their inexpensive costs and convenience, it is generally the one most recommended.[10]
Although pictures and videos of Carnival in Salvador don't usually focus on police officers, a security system is there. Besides the regular police force, revelers dance amidst a security staff numbering over 600 people in all, hired by blocos to contain the crowds and keep the flow moving as smoothly as possible along the designated circuit. All private security plans are reviewed in advance by the Brazilian Federal Police. Basically, these are the functions performed by security organizations during the parade:
• Rope Holders: They carry the ropes that separate the dancers who signed up with a bloco from the dancers who didn't (the so-called "popcorn" revelers), and help keep up the pace so bottlenecks don't form. There are about 400 rope holders in all.
• Rope Inspectors: Each inspector monitors about 10 rope holders.
• Rope Supervisors: They supervise about 5 rope inspectors each.
• Disciplinary Supervisors: About 70 supervisors in all walk at the front of the bloco as pacesetters, keeping dancers away from the ropes and monitoring the revelers' access to the support vehicle.
• Line Monitors: They monitor lines to restrooms, cash registers and bars.
• Costume Inspectors: They walk among the dancers, making sure that popcorns don't invade the area reserved to registered dancers, and also keep an eye out for falsified costumes and vendors without a license.
• Security Agents: More than 50 professionals move about as the blocos press on, ready to handle excessive or aggressive behavior. They must work for companies approved by the Federal Police.[11]
Samba school
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Mangueira samba school parades in the Sambadrome in the 1998 Carnival in Rio.
A Samba school parades in the Sambadrome in the 2004 Carnival.
Samba school (in Portuguese: Escola de samba) is a popular club or dancing school in huge square-compounds --quadras de samba-- devoted to practicing and exhibiting samba, an African-Brazilian dance. The schools are traditionally associated with a particular neighborhood, often shanty towns, or a town. Throughout the year the samba-schools have various happenings and events, and most importantly rehearsals for the main event which is the yearly samba-parade ("desfile das escolas de samba"). The "desfiles" are a show case of each "escola" augumented by the participation of celebrities, fans and guests who often pay a huge amount of money for their costumes. Those who choose to only watch the parade, as they root for their favorite school, may also be charged a lot for the best seats. Each school displays glamour in colorful costumes and floats with special effects and is organized into different segments or "alas." The "alas" represent different components of the school's theme, or "enredo," as they act out a homage to a myth, historic event or figure, or express their view on a social, environmental or international issue. The alas display distinct costumes or "fantasias" from each other, and also reflect traditional samba school roles developed years ago. Thus, each samba school "desfile" has the "comissao de frente" --indiduals who open the parade by walking in social attires, saluting the crowds--; the "ala das Baianas," or the traditional segment of Bahian African-Brazilian ladies with impressive round dresses circulating in the avenue; the "vocalistas," singing the "samba-enredo" ou theme while they play the "cavaquinho" or other string instuments; the "velha guarda," or old guard of components who made history in the school; the "bateria," or band with drums, "cuicas" e other instruments, preceded by the "madrinha da bateria," or "band godmother," who is often a female sensual celebrity. The "porta-bandeira," or the female flag holder, and the "meste-sala," or male cortsy, display and salute the school's flag,as they dance and strive to show harmony and samba expertise, for even their performance is carefully observed by the "jurado," or judges. Cariocas, the Rio natives, and Paulistanos, Sao Paulo natives, are overtaken by emotion while performing or wathing their favorite school, much more so in Rio, where a Carnival samba school culture has been developed since the 1930s and samba rehearsals, costume making, and planning is a year-round event. It is often said that samba school slum dweller may not have a job or food on the table the whole year, but they will make sure they have the money for their costume to show their "samba no pe'" --samba on the foot-- expertise. [1]
Commission of front fantasied of codfish in the parade of Imperatriz Leopoldinense - 2007
As samba schools originated in Rio de Janeiro, they are today the most famous ones and, arguably, producers of the most spectacular parades or what they like to say the "greatest show on Earth." The city of São Paulo also has a number of samba schools with some tradition that is linked to an interesting mixture of African-Brazilian display of pride, immigrant or working class activism, and soccer team fondness, as schools such as "Gavioes da Fiel," began as rooting singing/dancing group that animated matches in Sao Paulo stadiums. Nearly all Brazilian states have samba schools, but states such as Bahia and Pernambuco prefer to have carnival "trio eletricos" band floats that allow participation of the general people, without the need for membership, rehearsals or even a special attire. Some groups do charge a certain amount of money for the "abada's," or colorful t-shirts to display a certain unity for each "bloco." [2][3]
GRES Acadêmicos do Salgueiro. Champion of Rio's Carnival in 2009.
A significant majority of the samba schools, mainly in Rio de Janeiro, have in their name the words Grêmio Recreativo Escola de Samba (Recreative Guild Samba School), represented by the acronym GRES, before the name itself. In São Paulo there is a common variation Grêmio Recreativo Cultural e Escola de Samba (Recreative Cultural Guild and Samba School). There are exceptions, such as the Sociedade Rosas de Ouro (Golden Rose Society) and the traditional Agremiação Recreativa Cultural e Escola de Samba Vizinha Faladeira (grêmio and agremiação in Portuguese are synonyms). [4] The standardization of the classifications of entities emerged in 1935 when the Rio carnival associations were required to take a charter to the Delegacia de Costumes e Diversões (Delegation of Customs and Entertainment) to be able to parade. In an effort to show a modicum of decency and organization, the delegate owner, Dulcídio Gonçalves, refused to grant the permit to associations with "inappropriate" names, which is why the GRES Portela had to change to the current name, instead of the previous Vai Como Pode (Come as You Will).[5]
The samba school system seems to be unique to Brazil. Unlike parades such as the Rose Parade in California, for instance, the samba schools paradigm almost entirely consist of community volunteer work. Beyond a musical group, the schools are in fact the neighborhood associations that cover a variety of community needs, such as educational resources and medical care. There are often political and commercial interests involved as well, even from abroad, especially when the samba school honors the literature, music and dance, or a myth, historic figure or event from another country. Drug lords who control traffic in the Rio favelas are also said to contribute, as many of them are guardians and controllers of shanty town life.
Contents
[hide]
• 1 History
• 2 Characterization
• 3 Parade
o 3.1 Concentration
o 3.2 quesites
3.2.1 Commission of Front
3.2.2 allegories and props
3.2.3 Progress, Harmony and Joint
3.2.4 Plot-theme
3.2.5 Samba-plot
3.2.6 Mestre-sala and Porta-Bandeira
3.2.7 Battery
o 3.3 Other elements
3.3.1 Director of Battery
3.3.2 Queen of drums section and related
3.3.3 Ala das Baianas
3.3.4 Old-guard
3.3.5 Singer /Performer / puller
3.3.6 Carnavalesco
3.3.7 Dirigents
3.3.8 Old guard
• 4 Apuração
• 5 Parade of Champions
• 6 See also
• 7 References
• 8 External links
[edit] History
The appearance of samba schools is linked to the history of carnival in Rio itself, as well as the creation of the modern samba, although the first parades, or "cortumes," as Luso-Brazilians called them, seemed to be more exclusivist and display Caucasian faces, rather than mostly African-Brazilian like nowadays. The rhythms were often the "marchinhas," with a more Portuguese or European flair. Sambistas of a section called Estácio were the pioneers of present-day samba schools, with the founding of "Deixa Falar", or Let Me Speak in 1928. Ismael Silva seems to be the first to have come up with idea of creating "blocos de Carnaval" in which groups could dance and move to the sound of samba rhythms and sounds. [6]
The first samba school contests began in 1929 and were held at the home of Zé Espinguela, where his Conjunto Oswaldo Cruz won and Mangueira and Deixa Falar also competed for the title. Some consider this as the starting point leading to the development of present-day samba schools.
[7].
However, between 1930 and 1932, these were only considered a variation of the blocks, and in 1932 the owner of Mundo Sportivo, Mário Filho, decided to sponsor the first Parade of Samba Schools in the Praça Onze [10]. Composers such as Antônio Nassar, Armando Reis and Orestes Barbosa) generated the idea of holding the organization of a Carnival parade which was supported by local newspapers. Newspaper owners and journalists such as Mário Filho and his brother Nélson Rodrigues, who did not have much to write about since the end of the soccer championship, joined journalist Carlos Pimentel, who was connected to samba personalities in holding a parade in the Praca XI square. [8]
At the invitation of "Sports World," 19 schools attended. The newspaper established the criteria for the trial of the participating schools and nowadays news network still have some say on "desfiles," as they strife for fairness and high quality, especially because a lot o money is injected to TV networks such as Globo in the form of commercials and newspapers and magazines make huge profits as well. [9]. The traditional "ala das Baianas" was a prerequisite to compete, and the schools, all with more than one hundred components, should present sambas unpublished and not use wind instrument, among other requirements. [10]
The winning school was the Mangueira, while the second group had the Conjunto Osvaldo Cruz, or Portela. The officials assured the success of the contest remained up in Praca XI Square in 1941. [11] Over time, the samba schools took many elements brought by ranches, such as the plot, the pair of mestre-sala cortsy and flag holder and the openning committee, elements with which Ismael Silva disagreed.
Escola de samba Império do Papagaio, from Helsinki, Finland, during the 2004 Carnival
With the rise of populist dictator Getúlio Vargas and the foundation of the General Union of Samba Schools in 1934, the marginalization of samba persisted for some time. Then, it regained power and began to expand and gain importance in the Rio carnival, supplanting the ranches carnival. It did not take long for the samba schools also expand to other states, with the foundation in 1935 of the "Primeira São Paulo" (First of São Paulo) [12], the first school of samba de São Paulo. The official competitions of the samba schools in São Paulo only started in 1950 with the victory of Lavapés, but before that there was another sub-field tournaments under the municipal and state levels.[13] In the early'60s, with the decay of cords carnival in São Paulo, some of these groups, like the Vai-Vai (Go-Go) and the Camisa Verde e Branco (Green and White Jersey) also become schools of samba.
Due to the large number of schools, in 1952, the "Grupo de Acesso" was created to admit new schools and only promote them to the rank of the best ones if they abided by certain rules of excellence. That year, the parade of the group of access (Group 2, current Group RJ-1) was performed and had his trial, but the parade of the main group (Group 1, currently the Special Group) carried out under heavy rain. The trial was canceled and Group 2 was promoted to first place. [14].
In 1953 from the merger of UGESB with FBES, is the Association of Schools of Samba City in Rio de Janeiro[15], which organize the parade by the creation of LIESA, alloy formed by samba schools from the primary division, now be called the Special Group. In 2008, was created for the carnival the following year, the LESGA, with schools in the second group to also have their own league. LIESA inspired the creation of similar bodies in other cities, such as LIGA-SP.
In 1984, Rio de Janeiro governor Leonel Brizola dedicated the Sambadrome, a special space for the final presentation of samba schools. Years later, in São Paulo, Mayor Luiza Erundina did the same, creating the Anhembi Sambadrome.
Today, many other cities throughout the country also have their sambódromo, including Manaus and in 1993 its parade could be seen on tv. [16]
[edit] Characterization
Since associations of nature almost always local, largely from poor communities or the suburbs, the samba schools usually represented in a fashion district, sub-district or set of districts, a parade which usually has local character, where all or at least the main schools of the city gather to compete among themselves for the best of the year. In this show, are evaluated by a committee of judges chosen in advance by their leaders or by the representative.[17][18][19]
The committee considers each of the questions, giving notes to each, with each juror believes only one question, now, the envelopes with the notes are in a sealed envelope after the parade, and calls for secrecy on the assessment until the day determination of when the board members and key, beyond twisted, attend to a predetermined location to be found the notes, as well known champion of the year. On the day of determination, the final assessment of the panel can be changed from the application of certain penalties, which all are subject, by breaks certain rules, such as the requirement to display a given time, the display of a minimum of components and prohibition of any of them provide fully naked [20].
While the parades of the samba schools have local characteristics, some entities often share the parade is the city where its headquarters at parade neighboring municipalities. The school of samba in Brasil de Santos has been champion of the carnival capital of São Paulo, while in Rio de Janeiro, GRES Acadêmicos do Grande Rio, GRES Unidos do Porto da Pedra, Ponte, GRES Beija-Flor are GRES Unidos do Viradouro are samba schools of cities in the Metropolitan Region of Rio de Janeiro that parade in the capital, and the latter two have won the championship.
This phenomenon is repeated in the Vitoria with the MUG, in Porto Alegre with the Vila Isabel de Viamão, in Curitiba with the Unidos dos Pinhais, in Belém do Pará, with the Caprichosos da Cidade Nova and Macapá, with the Império do Povo. Cities of the Baixada Santista (Santos, Guarujá, São Vicente, Praia Grande and Cubatão) is common to see schools change the parade, and to the several cities organize a single event (Regional Carnival). Historically it is also common the participation of the samba schools of Niterói in São Gonçalo and contrariwise.
[edit] Parade
• Main article: Parade of the samba schools of Rio de Janeiro
In major cities, the parade of the samba school currently takes about an hour, with some variations according to the rules imposed by the organization of the carnival in the city, where schools generally have less time in groups of children parade [24 ] [25] [26]. Special Group in the city of Rio de Janeiro, the parade has a maximum time of one hour and twenty minutes [27], while in São Paulo is the maximum of 1 hour and five minutes [28]. Along the track, are scattered with stop watches to mark the space of time between the exit of the first component of the merger and the arrival of the last component to the dispersion, when it finally closed the gate and the show is officially closed.
[edit] Concentration
Also called the heats, is the time before the parade started, where all components are deployed, waiting their turn to enter the parade on the track. While the school is closing its parade before the end of the runway, another microphone is switched on at the beginning of it, so that the leaders of the school will parade to pass a message to your community, wishing luck and dedication to constituents asking, among other messages the type. Sambas old and best known are sung and the battery begins to play a kind of heating[4][21].
After the end of a parade, the narrator announces the school next to their plot, and the sound of the microphone, but restricted to only a part of sambódromo, is released so that everyone can hear in the bleachers. Then is sung the allusive and then given the cry of war, after which the parade itself begins, and the timer starts to run. The time of concentration usually last on average about ten minutes.[4][21]
The "alusive" is the songs are depicting the handles of samba-sing during the plot heats up. The allusive itself is a recitation of one or two sentences that paraphrase the actual plot of the school that year, but are also called by the name of the samba-school anthem, the samba-samba of exaltation or the court [22].
Examples of sambas sung often, year after year, the concentrations are the Camisa Verde e Branco [23] of the Unidos do Peruche [24], da Gaviões da Fiel[25], of the Nenê de Vila Matilde[26]], the Estação Primeira de Mangueira [27] and Estácio[28].
Already the cries of war are typical expressions of each handle to announce the start of the parade and call each of the members of the samba school to sing with the greatest determination possible. In general, the performers have their personal battle cry, which lead from each time you move to college, or who will defend a round in a samba school than their [37].
However, cries of war and not related to the school to handle, such as the X-9 Paulistana, "Sing X, X sings, sings X-9." Or the "Look for Beija-Flor people there", connected to the Beija-Flor, but created and run by Neguinho of Beija-Flor, which has always followed the school.
[edit] quesites
Several elements are part of the characterization of a parade of the samba school, and some questions to which the jury should assign notes [29]. Others, like the wing of Bahia, however, are not considered as items, but can cause loss of points for the body anyway, if not shown.
[edit] Commission of Front
Comissão de frente da Imperatriz Leopoldinense, carnaval de 1999.
It is the forefront of school, the first group of parade participants, which is a mandatory condition. It consists of about ten to fifteen people who perform a choreography by introducing the plot. Apart from the front of the committee, there is no other rule regarding the order of the elements during the parade of samba schools.
The committees have the front part, with that name, corporate carnival, and, subsequently, incorporated into ranches and cords carnival. Functioning as a sort of master of ceremonies of the show by welcoming the public and presenting the school, the commission on the front of the samba schools have undergone many changes over time. In its early years, were formed by a group of men, the general directors of the college, which came in front of the school wearing their best clothes and welcome the public. Is that sometimes carry sticks to hands, whose prime objective was to defend his group of rivals.[4][30].
The Portela samba school in the commission made more refined, where its components parade with elegant clothes, even occasionally with tails and top hat, a model which soon came to be copied by other schools. That was the policy of its most illustrious member, Paulo da Portela, which meant that Sambistas should always go well dressed, in order to dispel the negative image that was taken on them by the higher classes, as blocks and cords, predecessors of the schools, they had a reputation of being supporters of street fights and street riot.[31][32]
The Vizinha Faladeira in 30 years, tried to innovate, bringing the commission into limousine and mounted on horseback, as in large companies. This fact at first was very criticized by the judges including the only year in which the school won the Santo Cristo, because it alleged that despite having adhering to the rules, that such resources were unrelated to what a school of samba should display .[33] In 1938 the committee moved forward an item to be regulated. With the arrival of visual artists in schools, many have changed their form since the committees were very similar among themselves. Because of this, has been replaced by the formal dress costumes, linked to the plot, showing marked steps, tested by professional dancers. At the end of the 90s, there is already a massive presence of circus artists, theater groups, use of special maquilagens with many visual effects and the use of tripods.[1][4]
At the end of the 70s, with the release of customs, committees are formed by half naked women, which in March were the main sculptural mulata the carnival of 1979 the Imperatriz Leopoldinense. A model which is just copying, but the trend was to show committees increasingly rich attire, with movements Choreographic increasingly prepared. That does not mean that the traditional committees have disappeared from the front: the Portela, for example, maintained the tradition of using the old guard to the 90s and some schools even bring one or other such committee, as was the case of Roses Gold in 2003. [43] To date, the regulation does not require major parades in front of the committees to submit within the plot.[34]
[edit] allegories and props
Um carro alegórico da Mocidade Independente de Padre Miguel durante desfile do carnaval de 2007.
The question comes to cars with allegory axis of iron, filled with sculptures of wood, plastic, Styrofoam, among other materials, decorated to represent the elements of the plot [34][35]. In Special Group of Rio, currently, the floats may not exceed eight meters and fifty centimeters wide and nine meters and eighty centimeters tall. Several people usually on top of parade floats, and those who occupy the highest places called highlights [34].
The first float of the parade is called the car opens the wings, and its front usually see the name of the school, so stylized. Some schools, such as Portela for example, always bring-in opens its wings symbol (in the case of college, the eagle), regardless of plot.[1] The greatest cars arrive to reach up to 13 meters high and 60 meters length, which sometimes affect their entry into the place of parade. These cars are usually driven by people who are below or behind the allegory. No car can be moved to animal traction, and during the 90s, it was to prevent the motor, due to the risk of fire [36].
[edit] Progress, Harmony and Joint
Evolution is a question which is judged the speed and how the components of the samba school parade: they are lively dancing, spinning, moving, and if so are compact, close to each other, so that anyone looking from above has the impression that the school is a single body, a continuous row. There is no requirement that the components samba, but they must move.[34] It is usually penalize schools that suffer dramatic changes in its speed parade, parade sometimes very quickly, sometimes slowly.
In line item is evaluated the interaction between the corner and the official interpreter of the components. Schools where the participants do not sing the samba, or sing badly, receiving lower this question.[4]
But the whole question was absent for many years, being brought back to the Rio parades from 2000.[37] is actually an overview of the whole school, in uniform, where a group of judges evaluates all by high the interaction between the various items.[34] In 2006, AESCRJ approved the merger of the items Evolution, Harmony and set a new item: "Set Harmonic." [38]
[edit] Plot-theme
As a feature of the parades, the plot, usually chosen at the beginning of the year, right after the carnival, the carnival is valid for the following year. Meanwhile, from the main theme of the carnival should all write a synopsis, which guide the manufacture of costumes, floats and samba-composition of the plot. In this question, evaluators must judge whether the school and explained the plot during the parade, from those other questions.[34][39]
[edit] Samba-plot
• main article samba-enredo
You should assess whether the samba, and from the plot and has a good melody and lyrics of the interesting features, musically rich, and without bias or errors of language of agreement. Sambas that have this feature tend to be penalized, receiving less [34][40]. The samba of each school is chosen after a domestic dispute at the school, where Sambistas or groups create their sambas, based on previously defined plot. After sign up, compete, and over several weekends, some are being eliminated, until only about a samba. In Rio de Janeiro, the compositions to eliminate internal usually recorded in August. In October it recorded a CD of the Special Group, with sambas in each school in the voice of the official interpreter [41][42]
Until 2007, the Special Group of São Paulo, the samba-item plot was tried twice, and divided into lyrics and melody of music, each taking notes of the same weight as the other[43].
[edit] Mestre-sala and Porta-Bandeira
Casal de Mestre-Sala de Porta-Bandeira da Unidos de Vila Isabel no Carnaval de 2006.
The mestre-sala (The master of the Room)and porta-bandeira (she who carries the flag)displays the flag of the school to the audience. The porta-bandeira carries the flag, and the mestre-sala pays tribute and draws attention to both the flag and the porta-bandeira. Her dance is not a samba, but she spins and boughs her way ahead. The mestre-sala dances around her. All their moves are regulated in a set of rules, and at one point during the parade they are evaluated by the judges. The slightest mistake may result in their scores being lowered. For example: it is forbidden that the two give their backs to each other at the same time, and errors such as the drop of a hat or a slips will result in lower scores.[4][34][44] Their costumes are similar to the gala costumes typical of the eighteenth century, but "carnavalized", ie with an exaggerated amount of colors and decorations.
Currently, at least since the 90s, the schools of the Special Group of Rio and São Paulo parade usually with three or four pairs of mestre-salas and porta-bandeira, but only the first is evaluated, the other being merely decorative, and optional. Normally, there to represent the school in some events where the main couple is unable to [45].
The term mestre-sala seems to have been the carnival dances of the nineteenth century, in which there was a professional organization responsible for the hall that was called "master of room" or "master-room." With respect to the porta-bandeira the name was a natural adaptation of the old flag-bearer, character, usually male, who carries the heavy banners of Brazilian carnival groups [4][46] .
[edit] Battery
One of many instruments of percussion of a battery of a samba school: the repique.
It is a kind of orchestra with percussion instruments, to accompany the singing and lead the pace of the parade. The faster and stronger pace in the battery case, the members usually fastest parade, there is an association between this question and vital question evolution. Special Group in Rio, each school has, currently, an average 250 to 300 musicians ref name="Superinteressante"/>[47]. In the battery question, must be evaluated "the regular maintenance and support of the cadence of the battery in accordance with the Samba-Plot Theme: the perfect combination of sounds emitted by various tools, the creativity and versatility of the Battery." [34]
Usually form part of a battery of the samba school instumentos the following: first of Deaf, deaf second-, third-deaf, box, war, peal, rattle, tambourine, cuíca, agogô, reco-reco, tambourine, and plate [48]. There are variations in composition, for example, the hose does not use the deaf in the second, only to the first [59], while the Empire Serrano emphasizes the agogô [49].
In the'60s, came the "Paradita" Master of the André, famous director of Youth Independent Padre Miguel, which was in fact the creator of the "musical effect," which happened during the development of the parade, at any given time, usually when was the refrain of the medium run, suddenly stop playing, leaving only the samba in cavaquinho and voice components, to return then, so surprising and exciting. The expected effect, considered beautiful by the critics, is also risky because it increases the chances that the samba "cross" (the term used to describe failures Sambistas usually serious, committed by components of the school, which back in the wrong spot of the letter samba at the expense of others who are singing "together" with the interpreter (handle) of the school.[1][50]
In 1997 the parade was the feeling of the battery Viradouro that at different times during the parade, ran the pace of funk briefly [51] .
[edit] Other elements
[edit] Director of Battery
As a whole orchestra, the batteries of the samba schools also hold its conductor, who is the director in the case of battery, also called master of battery and the auxiliary of the master in turn also called Directors [4]. In Mangueira, there is also the position of chairman of the battery, which was occupied by Ivo Meirelles.
[edit] Queen of drums section and related
Luiza Brunet, rainha de bateria da Imperatriz Leopoldinense, no Carnaval de 2008.
The queen of the drums section[52] and related roles: godmother, muse, and princess are positions of honor occupied by distinguished members of the community and sometimes by celebrities. The queen of the drums section dances ahead of the drummers group and sometimes interacts with them.[4] .
The figure of the queen of the drums section appeared in the 70s when the famous mulatto Adele Fatima led the Youth Independent Drums Section, an unprecedent fact, and gained popularity in the following decade. Today it is one of the most celebrated roles in samba schools. Monique Evans, in Mocidade, Luma de Oliveira, in Tradição and Soninha Capeta, in the Beija Flor, were some notable queens of drumming sections. Some schools introduced the figure of the King of the drums section [53].
The godmother of the drumming section is similar to the queen, and the two often get confused [54]. Many schools use the two roles to pay tribute to more women. In the 80s, many schools began to choose famous TV actresses instead of girls from the community, raising controversy in the media[55]. In theory, the position of godmother should be offered to women of importance in the history of the school or in daily life, on a lifelong basis, which does not change every year, as the position of queen, but this is often not the case[56][57] and the godmother only a queen with another name.
[edit] Ala das Baianas
Ala de baianas da Mangueira, carnaval de 1998.
The "ala das baianas" is considered one of the most important for a school of samba. Composed, preferably, by ladies dressed in clothes that refer to old aunts of the first groups of Bahia samba of the early twentieth century, in Rio de Janeiro. Was introduced in the parade even in 30 years as a tribute to the "aunts" of samba, which Sambistas refuge in their homes at the time when the pace was sidelined. It is mandatory for all wing parades of samba schools, although not official in any aspect of them [4][58]. The fantasies of Bahia count points for the question how Fantasy points for the parade to question evolution, but every school must be submitted with a minimum of Bahia. In the years 40 to 50, it was common for men to parade dressed Bahia, a practice that is now prohibited in Rio de Janeiro in the 90s, but was released by AESCRJ in the Group to access, from the year 2006, except for Group A (current group access that from the Carnival 2009 will belong to LESGA) [59]
The traditional clothing of Bahia consists of torso, coat, cloth and skirt round the coast. However, often we can see Bahia with the most unusual costumes, such as brides, statues of liberty, space beings, globe (pictured) or oil wells.
In 2010, the ala das baianas virara quesito das escolas de samba dos Grupos Rio de Janeiro, pertencentes a AESCRJ.[60]
[edit] Old-guard
The old-guard (in Portuguese "Velha Guarda") is a group of Sambistas older, often already quite elderly, often founding of schools, not more positions within the hierarchy of college, but that the department is a part, and the carnival parade in positions of honor, not attire conventional fantasies of carnival, but the gala clothes, typical Sambistas such as suits in the colors of the school and Panama-style hats.[61]
In 2006, the traditional old-guard of Portela was prevented from parading during carnival, under the claim of the President of the school, the parade was late and the school could only leave the track after the maximum time allowed, which draw many points. This fact caused great impact and emotion among Sambistas [62]
[edit] Singer /Performer / puller
• See attached: List of interpreters of samba-enredo
It is responsible for the professional conduct of the samba-plot during the parade, usually aided by a group of supporting singers, which the parade or on the side of car audio. Porting microphone, usually more powerful than the support of the singers, his voice stands out on the other members of the school, making this his goal of the rate the song can be completed.[63]
Jamelão (1913-2008), eleito em 1999 o intérprete do século do carnaval carioca.[64]
The traditional term "handle" on the assumption that the samba during the parade should not be interpreted by one or few people, but sung by the entire school, the music should only be "pulled" (initiated) by the minority group. Moreover, many believe that the handle would be a special category of performer, able not only to its interpretation of a samba, but also and mainly from the school and encourage the audience.
From the 1990s, Jamelão, da Mangueira, has criticized the traditional term, seeking to replace it with a new terminology: Interpreter of samba-plot. In the words of Jamelão, who would handle "smoke pull, pull cart, pull-bag" (in original "puxa fuma fumo, puxa carro, puxa saco"; in Rio de janeiro's giria, "smoke marijuana, steals veicule, yes-man") which in his opinion, a derogatory term. From this, many commentators and TV stations began to replace the first by the second term, which however, still remains [65].
Another controversy that is still common for interpreters is the question whether or not anti-ethical the official interpreter at a school participate in the internal dispute of their own college. Some schools prohibit this, but release their professionals to participate in tryouts for other schools.[66]
[edit] Carnavalesco
See attached: List of carnivalescos
It is the professional responsible for design and development of the plot to be submitted by a school of samba as well as the design, development and construction of floats and costumes related to the proposed plot for this. In some cases, the carnival develop the plot from a topic proposed by the direction of the school of samba. In others, he suggests the theme of an idea from its original.
Many have a carnival or any connection with visual arts, performing arts, theater or dance.[4][67]
Already the committee when the carnival is not only a carnavalesco is responsible for the school, but a number of different carnivalescos who together decide the paths of college. Currently, the Commission does not only Carnival Carnival, but also manages other sectors of the samba schools of [68].
[edit] Dirigents
It is the name by which may be called the president, the president of honor and patron of the school. You can also refer to this way of carnival directors. A director of carnival is a director of the samba school that sends professionals hired the guidelines of the philosophy of carnival of college, taking part in the selection of members of various sectors, even sometimes the plot, coordinating also the shed where the floats are made, the purchase of equipment, payments and the development of the entire project of the school, is not uncommon for directors of Carnival are paid professionals. Many also include the executive directors of the samba school, such as Laíla, of Beija-Flor.
You can also refer to the director this way of harmony, which is originally a term used to conceptualize a director of the samba school that has the mission of the parade order and coordinate the development of schools of samba, preventing accumulation or large spaces, and above all, ensuring that the timing. Directors are responsible for harmony, therefore, the questions progress, harmony and all.[69]
[edit] Old guard
The old guard is a group of samba dancers older, often already quite old, often the founders of schools that no longer hold positions within the hierarchy of the party, but that is a separate department, and the Carnival parade in positions of honor, dressed in carnival costumes not conventional, but clothing dress, typical of samba, such suits in school colors and Panama-style hats.[61]
In 2006, the traditional old-school Portela was prevented from parading during Carnival, on the grounds of the school's president, that the parade was late and the school could only leave the track after the maximum time allowed, it would take many points. This fact caused great impact and commotion among the samba [62]
[edit] Apuração
The result of the carnival competition is announced on the afternoon of Ash Wednesday in Rio, and on the afternoon of Tuesday of carnival in São Paulo. In both cities, there is a kind of ceremony where longlines are armed in sambódromo site. Tents are armed position where the representatives of each school, which will annotate the notes as they are being disseminated, making the calculations. The chairman of the league makes the final considerations about the carnival that year, reads the possible loss of points given to each school, and then start reading the notes.
The bleachers are open to the public, and the charge for entry, usually one kilogram of non-perishable food. Both in Rio and in São Paulo, the event, which lasts between a half and hour, is transmitted by television, which puts cameras in real time to monitor the movement of blocks within the main school, the title favorite, where members and fans that sambódromo were not to gather to watch the event from there.[70][71]
The notes currently range between 7 and 10 in Rio and São Paulo, and admitted the decimal fractions in the capital fluminense and fractionation in 25 hundredths in São Paulo [72]. In Rio, all the marks given by all the jurors are valid, while in São Paulo the lowest note of each item is eliminated .[73]
However, this system has changed several times in both cities. In Rio and São Paulo, until the early 2000s, the division was more than half a point, and there have been years when there was also the elimination of major note given to each school, the very removal of the lower notes have also and has ceased to be part of the rule several times. In Rio de Janeiro, the lowest note in the same period was 5, and note the 0 (zero) allowed only in case of failure of the plot.
Often the notes given by the jurors are questioned, both by fans, as by members of schools who are harmed, causing many complaints after the show [74]. Some results have been controversial stop in court. In the case of the Academic school of samba parade in Santa Cruz that the dark carnival in 1991 because of a blackout and was not evaluated .[75][76]. However, in recent years in São Paulo has been the climate of acceptance of the outcome, when in 2007 the president of Tobias Go-Go Live congratulate the Youth Alegre, being greeted by members of the Lemon school the following year [77].
Parade of Champions
It is a show set in the 1980s, where the best schools of samba of the Special Group parade again in sambódromo, at the end of the week following the carnival. This parade has no competitive character, it is only a kind of festival to crown the year's best schools, where the parade foliões can more carefree with questions .[78]
In São Paulo the parade of champions is the night between Friday night and after the carnival on Saturday. Already the parade in Rio is the night of Saturday to the early hours of Sunday. In Rio de Janeiro, until the 1990s, participated in the parade of champions also promoted the schools of the Group to access, something that remains in São Paulo. Tradition was considered also in the participation of society Rio carnival hundred Italian Carnevale D'Italia.[79] In 1985, an event that is considered integral to the history of Nene de Vila Matilde, was when the school was invited to join the parade of champions Rio, in an era where the Carnival Paulistano was much less popular and have not had a proper space.
Not always, however, the parade of champions was a moment of pure celebration: many schools have taken the day to protest against the outcome of the championship. Fifth-placed in 2005, the Vai-Vai no parade that year. The Viradouro already the champions parade on Saturday with members using the clown nose and banners of protest.
