A few things to consider /discuss as we turn our attention t
A few things to consider /discuss as we turn our attention to Samba repertoires in Brazil:1. How do Carnival traditions in Brazil compare/ contrast with those we have encountered in Trinidad2. When we talk about a ‘national music’ what might the stakes be? How might the case of samba in Brazil illustrate some of a way that a given genre of music may be nationalized? 3. What observations do you have regarding the rhythmic diversity of samba, given the range of musical contexts in which it may be present? Compare for example the 2020 winner of Rio’s Carnival, Unidos do Viradouro with some small group samba of Seu Jorge and Zeca Pagodinho. What rhythmic affinities do you hear? (See links below)https://www.youtube.com/watch?v=W3bnk6SQZEUhttps://www.youtube.com/watch?v=404OPFW1SRQI have linked a playlist below including recordings of capoeira and candomble traditions of Brazil.https://open.spotify.com/playlist/28kiWKkoeGrq7eYBwDj9WmAs you listen to the capoeira recordings, please note the movement between the landhina’s solo song sections and the chula’s call and response.I’ve attached a pdf with some additional texts and translations that will assist in your listening.-a playlist of tracks related to readings on the tropicalia movement in Brazil.https://open.spotify.com/user/wfaber85/playlist/15ILKws4EDIsRKJuZvpy9o4. A question I had during this week’s material was the involvement of Anthropophagy movement in the rise and acceptance of samba. Given that the movement called for true Brazilian art I wonder just how much this may have impacted samba. Is a Manifesto something that would reach people at samba schools?5. When we talk about a ‘national music’ what might the stakes be? How might the case of samba in Brazil illustrate some of a way that a given genre of music may be nationalized? National identity in Latin America has always been a hot topic of discussion. Due to history, Latin America has had foreign and mostly oppressive influences that have made it hard for endemic arts and music to be appreciated by their own people. Furthermore, the term national identity is further complicated due to the mix of cultures, religions, etc. that resulted out of colonization and slavery. ‘National music’ has to be something that envelops the complexity of Latin American identity, it has to be something new that mirrors the people and the history. I think Samba is a great example of this, especially because of the amount of variations that exist within it. Samba is born out of the mixing of culture and religion between various nations in Brazil, finally it climaxes in Carnival, an event that was originally brought by Europeans but morphed into something that today could only be recognized as Brazilian.6. This video shows a very small sample of Helio Oiticica’s Parangolés in performance. This is pertinent to the reading because samba is an integral part of the ideation and movement of the piece. Oiticica, who is also the one who coined the term Tropicalia (which would then be translated into music) found inspiration to make his highly social and political art in popular music and dancing he experienced in the favelas.https://www.youtube.com/watch?v=32xDWfM5g8o
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