Samba



Samba is a Brazilian dance and musical genre originating in Bahia and with its roots in Brazil (Rio De Janeiro) and Africa via the West African slave trade and African religious traditions. It is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of Brazilian national identity.[1][2][3] The Bahian Samba de Roda (dance circle), which became a UNESCO Heritage of Humanity in 2005, is the main root of the samba carioca, the samba that is played and danced in Rio de Janeiro.
Na Pavuna
Almirante, released in 1929.
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Primeira Linha
Benedito Lacerda e grupo Gente do Morro, released in 1930.
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Agora é Cinza
Mario Reis (singer), released in 1933.
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Conversa de botequim
Noel Rosa, released in 1935.
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Com Que Roupa?
Noel Rosa, released in 1935.
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The modern samba that emerged at the beginning of the 20th century is basically 2/4 tempo varied with the conscious use of chorus sung to the sound of palms and batucada rhythm, adding one or more parts or stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets.
In addition to rhythm and bar, samba brings a whole historical culture of food, varied dances (miudinho, coco, samba de roda, and pernada), parties, clothes such as linen shirts, and the NAIF painting of established names such as Nelson Sargento, Guilherme de Brito, and Heitor dos Prazeres. Anonymous community artists, including painters, sculptors, designers, and stylists, make the clothes, costumes, carnival floats, and cars, opening the doors of schools of samba.
The Samba National Day is celebrated on December 2. The date was established at the initiative of Luis Monteiro da Costa, an Alderman of Salvador, in honor of Ary Barroso. He composed "Na Baixa do Sapateiro" even though he had never been in Bahia. Thus 2 December marked the first visit of the Ary Barroso to Salvador. Initially, this day was celebrated only in Salvador, but eventually it turned into a national holiday.
Samba is a root style in Southeastern Brazil and Northeast Brazil, especially in Rio de Janeiro, Sao Paulo, Salvador and Belo Horizonte. Its importance as Brazil's national music transcends region, however; samba schools, samba musicians and carnival organizations centered around the performance of samba exist in every region of the country and, while regional musics prevail in other regions (for instance, in Southern Brazil, Center-West Brazil, and all of the Brazilian countryside, Sertanejo, or Brazilian country music, is extremely important),[5] there is no single musical genre that Brazilians use with more regularity than samba to identify themselves as part of the same national culture.


From Wikipedia, the free encyclopedia

Simone Lino: dancer, singer, painter…

 Photo "Brazil Productions".
SIMONE LINO

August 10th, 1978, on a sunny afternoon in Minas Gerais, a Brazilian artist was born.

Simone Lino: dancer, singer, painter… Lino took dance classes from the age of 7 and at 10 learned how to samba like a true Brazilian native and at 13 started to perform professionally at the Carnaval.

Lino’s parents always kept Lino busy with artistic activities. From the age of 9 she took art classes three times per week which became a passion.

She sang professionally in local venues and in the choir of Parana University of Arts (FAP) from 2001-2003, took stage classes in 2004, formed a hip-hop band from 1998-2001 and a funk/soul/R&B band from 2000-2003.

Simone Lino has painted all her life, with oil being her preferred medium. Since moving from Rio de Janeiro to Philadelphia in 2005, she reconnected with her art to fill in the absence of her parents and family.

Lino, also known as “Dona Yayá” in her paintings, expresses herself through freedom of colors, leaving ample room for the viewers’ imagination.

With her bright and happy personality she has always been involved in art in one-way or another.

Lino’s debut at Vivant Gallery will expose the public to a new vision of Brazil.

Art is what moves her forward and the sky is her limit!

More Info:

Yemanjá Festival


This beautiful festival dedicated to the Goddess of the Ocean is celebrated every year on February 2nd. At dawn the area around the Rio Vermelho beach is lit up with fireworks. Shortly thereafter hundreds of people, all dressed in white, start to line up outside the temporary shack erected to hold the gifts to Yemanjá. Inside the shack is where the `main gift' is kept, a statue made of either silver or bronze of the goddess admiring herself in a hand held mirror. Sitting by and guarding the statue are a few Baianas dressed in the traditional white dresses, head coverings and beaded necklaces. 

Around the statue are huge wicker baskets ready to accept the offerings either brought from home or bought from street vendors just outside. These gifts consist of either plastic necklaces, perfume bottles of Alfazema, white roses, soaps, mirrors. Yemanjá is believed to be very beautiful and she knows it; offerings to her reflect this vanity. Many people write notes to her, asking her to grant them a wish. These notes will also enter the baskets later to be dumped into the ocean for her acceptance. 

Adjacent to where the gifts are held there is a Candomblé ceremony, involving Mães de Santo (Candomblé priestess) dancing and chanting. The area is dark, but the white garments, lively dancing and drumming brighten up the room with gaiety and vibrance. The gift baskets, once full, are taken to an area where all the baskets are held until the time they will be loaded onto boats, usually around 4:00 pm. This area is colorful, sweet smelling with about fifty huge baskets all filled with roses, carnations, chrysanthemums, as well as miniature boats, plastic dolls, perfume bottles, and ribbons from the Church of Bonfim.

At around 4:00 pm, all gather around and wait to witness the yearly spectacle. The fishermen's boats are filled with the baskets. The main gift, the silver statue, arrives and passes everyone on her way to the shore. All stand in awe as the beauty of Yemanjá gleams in the sunlight and graces everyone with her magical presence. She will accompany the boats, will oversee the dumping of the baskets, but will return with the fishermen, for she must be present the following year. 

Once the boats leave, people party to live music on the streets until dawn. Salvador has once again pleased the ever-powerful Goddess. Legend has it that fishermen's wives would send offerings to Yemanjá to appease her so that she would return their husbands back to them, since once at sea, the fishermen were symbolically married to Yemanjá and belonged only to her.

Candomblé


Candomblé (Portuguese pronunciation: [kɐ̃dõˈblɛ]) is an African-originated or Afro-Brazilian religion, practised chiefly in Brazil by the "povo de santo" (people of saint). It originated in the cities of Salvador, the capital of Bahia and Cachoeira, at the time one of the main commercial crossroads for the distribution of products and slave trade to other parts of Bahia state in Brazil. Although Candomblé is practiced primarily in Brazil, it is also practiced in other countries in the Americas, including Uruguay, Argentina, Venezuela, Colombia, Panama and Mexico, and in Europe in Germany, Italy, Portugal and Spain. The religion is based in the anima (soul) of Nature, and is also known as Animism. It was developed in Brazil with the knowledge of African Priests that were enslaved and brought to Brazil, together with their mythology, their culture and language, between 1549 and 1888.
The rituals involve the possession of the initiated by Orishas, offerings and sacrifices of the mineral, vegetable and animal kingdom, healing, dancing/trance and percussion. Candomblé draws inspiration from a variety of people of the African Diaspora, but it mainly features aspects of Yoruba orisha veneration.

In many parts of the Latin America, Orishás are now conflated with Roman Catholic saints. This religion, like many African religions, is an oral tradition and therefore has not been put into text throughout the years. Only recently have scholars and people of this religion begun to write down their practices. The name Batuque is also used, especially before the 19th century when Candomblé became more common. Both words are believed to derive from a Bantu-family language, mainly that of (Kongo Kingdom).
Candomblé may be called Macumba in some regions, notably Rio de Janeiro and São Paulo, although Macumba has a distinct set of practices more akin to European witchcraft. Candomblé can also be distinguished from Umbanda, a religion founded in the early 20th century by combining African elements with Kardecism; and from similar African-derived religions such as Quimbanda, Haitian Vodou, Cuban Santería, and Obeah, which developed independently of Candomblé and are virtually unknown in Brazil.
There are 2 million Candombles worldwid.


Candomblé is a polytheistic religion and worships a number of gods, derived from African deities:
These deities were created by a supreme God: Olodumare, Olorun etc. of the Yoruba, Zambi or Zambiapongo of the Bantu, and Nana Buluku of the Fon.

On the other hand, deities from one nation may be acculturated as "guests" in houses and ceremonies of another nation, besides those of the latter. Some nations assign new names to guest spirits, while some retain the names used in the nation of origin.

Syncretism

There is also an Islamic-linked sect within Candomblé which was more common during the slave days in Brazil. Slaves coming from West Africa had been acculturated with Muslim traditions. These Malês set aside Fridays as the day to worship deities as do the Muslims for prayer and meditation. Malês were the instigators of many slave revolts in Brazil leading in all white with amulets and skull caps as in traditional Islam.
In this regard, it is worth noting that some Candomblé rites have also incorporated local Native American gods — which, to the Church, were just as pagan as the Orixás — because they were seen as the "Orishas of the land". Finally, one should keep in mind that many (if not most) practitioners of Candomblé through the times had not only African roots but European ones as well.
Although syncretism still seems to be prevalent, in recent years the lessening of religious and racial prejudices has given rise to a "traditionalist" movement in Candomblé, that rejects the Christian elements and seeks to recreate a "pure" cult based exclusively in Africa.

Rituals

The Candomblé ritual (toque) has two parts: the preparation, attended only by priests and initiates, which may start a week in advance; and a festive public "mass" and banquet that starts in the late evening and ends around midnight.
In the first part, initiates and aides wash and iron the costumes for the ceremony, and decorate the house with paper flags and festoons, in the colors favored by the Orixas that are to be honored on that occasion. They also prepare food for the banquet. Some domestic animals are slaughtered; some parts reserved for sacrifice, the rest is prepared for the banquet. On the day of the ceremony, starting in the early morning, cowrie-shell divinations (jogo de búzios) are performed, and sacrifices are offered to the desired Orixás, and to the messenger spirit (Exú in Ketu).
In the public part of the ceremony, children-of-saint (mediunic priests) invoke and "incorporate" Orixás, falling into a trance-like state. After having fallen into trance, the priest-spirits perform dances symbolic of the Orixá's attributes, while the babalorixá or father of saint (leading male priest) leads songs that celebrate the spirit's deeds. The ceremony ends with a banquet.
Candomblé music, an essential part of the ritual, derives from African music and has had a strong influence in other popular (non-religious) Brazilian music styles. The word batuque, for instance, has entered the Brazilian vernacular as a synonym of "rhythmic percussion music".

Temples and priesthood

Candomblé temples are called houses (casas), plantations (roças), or yards (terreiros). Most Candomblé houses are small, independently owned and managed by the respective higher priests (father- or mother-of-saint). A few of the older and larger houses have a more institutional character and more formal hierarchy. There is no central administration. Inside the place of worship are the altars to the Orixás, or Pejis.
Candomblé priesthood is organized into symbolic families, whose members are not necessarily relatives in the common sense. Each family owns and manages one house. In most houses, especially the larger ones, the head of the family is always a woman, the mãe-de-santo, or ialorixá, mother-of-saint in Candomblé , seconded by the pais-de-santo, or babalorixá father-of-saint.The priests and priestesses may also be known as ialorixá, babalorixá , babalaos (interpreters of búzios), babas, babaloshas,and candomblezeiros. Some houses have a more flexible hierarchy which allows the father-of-saint to be the head priest. Often during the slave period, the women became the diviners and healers which was not part of African tradition; however, the male slaves were constantly working and did not have the time to take care of daily instances.
Admission to the priesthood and progression in the hierarchy is conditioned to approval by the Orixás, possession of the necessary qualities, learning the necessary knowledge, and performance of lengthy initiation rites, which last seven years or more. There are generally two types of priesthood in the different nations of Candomble, and they are made up of those who fall in trance by the Orixá (iyawo) and those who do not (Oga – male/Ekeji – female). It is important not to confuse the meaning and usage of the Yoruba term iyawò (bride in Yoruba) with other African derived religions that use the same term with different meanings.
The seclusion period for the initiation of an iyawo lasts generally 21 days in the Ketu nation and varies depending on the nation. The iyawo's role in the religion is assigned by a divination made by her/his babalorixá/ialorixá; one function that an iyawo can be assigned for is to take care of neophytes as they in their initiatic seclusion period, becoming an expert in all the Orisa foods, becoming an iya or babalorisa themselves, or knowing all ritual songs, etc... The iyawos follow a 7 years period of apprenticeship within which they offer periodical sacrifices in order to reinforce their initiatic links in the form of the so-called obligations of 1, 3 and 7 years. At the 7th year, the iyawos earn their title and can get a honorific title or religious post (oye in Yoruba). Once the iyawo has accomplished their 7th year cycle obligation, they become elders (egbon in Yoruba, egbomi in Brazil, which means my elder) within their religious family.
The other priesthood is reserved for those who do not fall in trance. Ogas and Ekejis do not endure the same path to eldership as do iyawos; they are regarded as elders immediately after their initiation. Their role is to help the baba/ialorixá in different specific ritual tasks like drumming, singing, cooking, taking care of the orixá shrines and when he/she comes down in possession trance, etc... Ogas and Ekejis usually do not go on to become baba/ialorixá, nor do they open their own temples or have filhos de santo (they do not initiate others)

CACHOEIRA, BAHIA, BRAZIL


History
Inicialmente uma região habitada por índios, foi a iniciativa de duas famílias portuguesas, os Dias Adorno e os Rodrigues Martins, que possibilitou sua elevação a Freguesia de Nossa Senhora do Rosário em 1674. Initially a region inhabited by Indians, was the initiative of two Portuguese families, the Adorno and Dias Rodrigues Martins, which has its elevation the Parish of Our Lady of the Rosary in 1674. Devido à sua localização estratégica, um entroncamento de importantes rotas que se dirigiam ao sertão, ao recôncavo, às minas gerais ou a Salvador , então capital da colônia, logo passou a se enriquecer e, em 1698, tornou-se Vila de Nossa Senhora do Rosário do Porto da Cachoeira do Paraguaçu - o nome se dá por se situar próxima às quedas d´água presentes na cabeceira do Rio Paraguaçu. Due to its strategic location, a junction of major routes that were addressed to the hinterland, the Recôncavo, the mines or the general Salvador, then capital of the colony, it soon became rich, and in 1698, became the Town of Our Lady of Rosário do Porto da Cachoeira in Paraguaçu - the name is through is next to waterfalls in the headwaters of the Rio Paraguaçu.

O desenvolvimento do cultivo de cana-de-açúcar, da mineração de ouro no Rio das Contas ea intensificação do tráfico pelas estradas reais e da navegação do Rio Paraguaçu colaboraram para o rápido desenvolvimento econômico da região a partir do século XVIII. The development of the cultivation of sugar cane, the mining of gold in Rio Accounts and intensification of traffic on roads and actual navigation of the Rio Paraguaçu contributed to the rapid economic development of the region from the eighteenth century. Já em inícios de 1800, a sociedade cachoeirense detém grande influência política e participa ativamente das guerras pela Independência da Bahia , em 1821, constituindo a Junta de Defesa. Already early in 1800, the company cachoeirense has great political influence and participate actively in the wars for independence of Bahia, in 1821, constituting the Board of Defense.


A vila foi elevada à categoria de cidade por decreto imperial de 13 de março de 1873 (Lei Provincial n° 43). The town was elevated to the rank of city by imperial decree of March 13, 1873 (Provincial Law No 43).

Cachoeira é considerada Monumento Nacional pelo Instituto do Patrimônio Histórico Artístico e Nacional (IPHAN). Cachoeira is considered a National Monument by the Institute of National Artistic and Historical Heritage (IPHAN).

Atrações turísticas Attractions

* Rio Paraguaçu * Rio Paraguaçu
* Vila de Belém de Cachoeira (distrito municipal, a 7km do centro de Cachoeira ) * Town of Bethlehem for Cachoeira (municipal district, 7km from the center of the waterfall)
* Capela Nossa Senhora da Penha * Our Lady of Penha Chapel
* Convento São Francisco do Paraguaçu * Convent of San Francisco Paraguaçu
* Imperial Ponte Dom Pedro II * Imperial Ponte Dom Pedro II
* Convento e Igreja Nossa Senhora do Carmo * Church and Convent Our Lady of Caramel
* Aniversário da cidade (13 de março). * Anniversary of the city (March 13).
* Semana Santa * Holy Week
* Festa do Divino (maio) * Feast of the Divine (May)
* São João/Feira do Porto (21 a 26 de junho) * St. John / Fair Harbor (21 to 26 June)
* Festa de Nossa Senhora da Boa Morte (1ª quinzena de agosto) * Feast of Our Lady of Good Death (1st half of August)
* Festa de São Cosme e Damião (27 de setembro) * Festa de São Cosme e Damião (September 27)
* Festa de Nossa Senhora do Rosário (1ª quinzena de outubro) * Feast of Our Lady of the Rosary (1st half of October)
* Festa de Nossa Senhora D'Ajuda (1ª quinzena de novembro) * Feast of Nossa Senhora D'Ajuda (1st half of November)
* Festa de Santa Cecília (2ª quinzena de novembro) * Feast of St. Cecilia (2nd half of November)
* Festa de Santa Bárbara (4 de dezembro) * Feast of Santa Barbara (December 4)

Fonte: Wikipédia Source: Wikipedia

Salvador Carnival

 
Is by far the biggest street party in the world. Every year, around 2 million people participate on the Salvador Carnival Parades. During six consecutive days, from 5pm to 5am, dozens of Bands make a parade along the streets, playing on big trucks (called Trios). Usually one or more Trios and Artists form a "Bloco".

There are two parade areas in the Salvador Carnival
- Barra/Ondina (by the Av. Oceânica)
- Campo Grande/Avenida (by the Av. Sete de Setembro)
Both areas of the Salvador Carnival have aproximately two kilometers. Every twenty minutes, a new Trio starts its parade either from the Farol da Barra or from the Campo Grande square.
There are three different ways to enjoy the Salvador Carnival:

Pipoca You can simply dance on the streets with the crowd for free, and usually called "Pipoca" (what means popcorn) a funny way to describe how a jumping crowd looks like when seeing from the distance.

Camarote You can watch the Salvador Carnival from a fix cabin, or tribune, called camarote, located along the avenues. They offer drinks, food and a dj dancing ambient. Tickets cost between one and five hundreds brazilian reais per day.

Abada You can dance on the Salvador Carnival inside a safety area sorrounding the Trio, protected by bodyguards and thus isolated from the crowd. To be accepted it is necessary to buy a pass (called "Abada"), a colorfull t-shirt that identify you as a member of the Trio/Bloco.

The price of these Salvador Carnival Abadas range between one and seven hundreds reais per day, depending on the artist playing at the Trio, and the time it makes the parade during the Salvador Carnival. The Abadas are exclusive for a Trio/Bloco.
Some Abadas include free drinks, and access to the bathrooms located inside the Trio. While wearing your t-shirt, you can jump in and out the safety area whenever you want.
With an Abada, you have much more space to move and dance in the Salvador Carnival. If you stay with the crowd, when the Trio passes in front of you, the Abada area, sorrounded by guards holding a rope, reduces the street area, so the crowd becomes a solid human mass, and sometimes moving is very difficult.
Getting on top of the Trios is just reserved for artist's friends and few lucky people. If you don't care about which Trio or artist to go with, you can buy cheaper abadas on the street, but if you don't speak portuguese be careful on what you buy.

Usefull recommendations for the Salvador Carnival:

Statistics have shown that Salvador Carnival is a very peaceful event, although there are a few number of incidents, most of them just rips-off.
Wear tenis shoes only, do not attend the carnival in sandals, since you might loose them and get your feet hurt. Do not use watches or jewelry during the Salvador Carnival.
If you want to bring your camera, put it in inside something you can wear, and buy an Abada. By being inside a protected area, you'll be free to take pictures with no hazard.
The traffic and transportation changes dramatically during the Salvador Carnival. So, staying on areas close to the Salvador Carnival Parades, as Barra, Ondina, Vitoria and Pelourino, is highly recommended.
Every year, the number of people attending the Salvador Carnival exceeds the vacancy on these areas. Therefore, booking a place with anticipation is recommended to get convenient rates.

If you wait until the last moment to book your place, you probably won't find a decent accomodation, or will end up paying more. Salvador Carnival accomodations are sold almost everywhere as a seven nights fix package. By staying less nights you will probably end up paying the full package price, so be careful when booking your flight.

Where Brazil was born: Salvador, Bahia.


Diga Brazil is excited to introduce you to the magical city of Salvador located just thirteen degrees below the equator along the beautiful Northeast coastline of Brazil.

Brazil's original capital city, Salvador is over 500 years old and is Brazil's cultural and historical center. Salvador is best known as host to Brazil's largest street party, Carnaval! Come dance with Brazil's hottest music groups as they parade along the oceanfront and in the Colonial style streets of the Old City. With its deep Afro-Brazilian roots, Brazil's third largest city is the cradle of the martial arts-dance, "capoeira" as well as the uniquely Afro-Brazilian religion, "condomble".

Located on the northeast coast of Brazil in a region of tropical rainforests, Salvador is historically known as ‘Sao Salvador da Baia de Todos os Santos‘ (or Holy Savior of All Saints Bay). As the third most populous Brazilian city, Salvador is known in Brazil for its cuisine, music and architecture. The metro area is one of the wealthiest in the north-eastern region of the country, and over 80% of the population has some Black African ancestry, making for a heady mix of cultures and traditions.

The local cuisine in Salvador reflects the African heritage of its inhabitants, and centres on spicy, seafood-based concoctions. Traditional dishes can be found everywhere, with some of the best flavours and deals coming from the local street vendors. Sample acaraje, a fried ball of black-eyed peas served with caruru, an okra, onion, shrimp, peanut and palm oil condiment. Don‘t miss the chance to sample any variety of moqueca (and there are many), a thick, fiery seafood stew.

Throughout Brazil, Salvador is known as much for the outgoing and friendly locals as it is for it's beautiful beaches. Salvadorians love to share their city with visitors, so be prepared to meet new friends.

While visiting Salvador you will experience a safe, fun, relaxing as well as culturally enriching vacation. Diga Brazil is proud to be your host. After visiting Salvador you will go home with more than just a tan!