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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]
Samba (Portuguese pronunciation: ⓘ) is a name or prefix used for several rhythmic variants, such as samba urbano carioca (urban Carioca samba), [1] [2] samba de roda (sometimes also called rural samba), [3] amongst many other forms of samba, mostly originated in the Rio de Janeiro and Bahia states.
A capoeira roda in Farroupilha Park, Porto Alegre, Brazil (2007). 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.
Performed by many capoeira groups, samba de roda is a traditional Brazilian dance and musical form that has been associated with capoeira for many decades. The orchestra is composed by pandeiro , atabaque , berimbau-viola (high pitch berimbau), chocalho , accompanied by singing and clapping.
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 ...
Umbigada (from Portuguese umbigo, "navel"), sometimes translates as "belly bump" or "belly blow", [2] is a dance move in various Afro-Brazilian dances. It is seen as a "basic feature of many dances imported to Brazil and Portugal from the Congo - Angola region", [ 2 ] for example, samba , fandango , batuque , creole drum .
Considered a watershed (the original live recording) in MPB for fusing various elements of African sound with samba, Os Afro-sambas was recorded by Baden Powell, Vinícius de Moraes, and Quarteto em Cy in 1966. In the mid-1960s Vinícius was fascinated by an LP of samba de roda songs with candomblé influences from Bahia.
By comparison, traditionally in Bahia the chula is the free form song text of the Samba de Roda sung between the dances (as in the samba parada) and defines the structures of the various other "styles" of samba de roda, while the samba corrido lasts as long as the singer feels like singing it before moving on to another.