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According to Hiram Araújo da Costa, over the centuries, the festival of dances of slaves in Bahia were called samba. [2] Samba de Roda was the main form of circle dance, provenient from the Candomblé Afro-Brazilian Tradition. During the mid-19th century, the word referred to several types of music made by enslaved Africans. [3]
Forró is the most popular genre of music and dance in Brazil's Northeast, [citation needed] to the extent that historically "going to the forró" meant simply going to party or going out. [ citation needed ] The music is based on a combination of three instruments ( accordion , zabumba and a metal triangle).
Roda (Portuguese pronunciation: - wheel or circle) is the circular formation within which participants perform in any of several African and Afro-Brazilian dance art forms, such as engolo, capoeira, maculelê and samba de roda. By extension, the whole event may be called a roda (as in "We will have a roda next Saturday").
Batucada Suite performed by blue-eyed soul singer Teena Marie.Written by Teena Marie from the Album Emerald City.; The Obvious Child from Paul Simon's album The Rhythm of the Saints is an example of the sound of the samba-Afro style, exemplified by the Bahian samba reggae group Olodum.
[16] [121] Although the samba practiced in the festivities of Bahian communities in Rio was an urban stylization of the ancestral "samba de roda" in Bahia, [122] 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. [123]
Samba de roda was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio's Carnival. Through the ...
Like many popular songs of the world, Samba-canção (plural 'sambas-canções')'s principal theme is the love relationship, typically moaning for a lost love. Tempo is moderate or a little slower. The denomination suggests that the song is more sophisticated, less earthy, than ordinary samba songs.
By the 1950s and 1960s, it was replaced with urban samba on the radio, but it was still alive in amateur circles called "rodas de choro" (choro gatherings in residences and botecos), the most famous ones being the roda de choro in the house of composer and musician Jacob do Bandolim, in the Jacarepaguá neighborhood in Rio; and the "roda de ...