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The instruments used in Afro-Brazilian music vary depending on the genre being played. This being the case, a large amount of instruments exist that are unique to Afro-Brazilian music. These instruments include: Afoxé - The name of this instrument is of Yoruba origin and literally translates to "the language that makes it happen." The afoxé ...
Axé was a fusion of African and Caribbean styles such as merengue, salsa and reggae, as well as being influenced by other Afro-Brazilian musical styles such as frevo and forró. Axé music was labeled in 1980s, but it was already noticeable in the 50s with the incorporation of the "guitarra baiana" (guitar from Bahia). [3]
The afoxé is an Afro Brazilian musical instrument composed of a gourd (cabaça) wrapped in a net in which beads or small plastic balls are threaded. The instrument is shaken to produce its musical noise. [1] A similar instrument is the shekere which is larger.
[citation needed] Originally the large metal triangle, zabumba (Afro-Brazilian drum) and guitar (called the violão) were the main instruments. [3] Later on, with the French immigration between 1850 and 1950, the accordion was added to typical forró bands. The rabec, known as the Brazilian fiddle, joined the forró sound as well.
Standing shoulder to shoulder to form a circle called “roda” in Portuguese, they clap to the rhythm of Afro-Brazilian instruments playing traditional songs. Two participants meet in the middle ...
Carnival celebrations in Salvador de Bahia, Brazil. The annual Carnival that takes place in several cities of Brazil is considered the country's largest public festival. . Specifically, Carnival in Bahia Salvador is the birthplace of several groups from the Afro-Brazilian tradition, afoxé, which relates to Afro-Brazilian Carnival traditions linked to the Candomblé rel
African slaves in Brazil from several nations (Rugendas, c. 1830).Overall, both in colonial times and in the 19th century, the cultural identity of European origin was the most valued in Brazil, while Afro-Brazilian cultural manifestations were often neglected, discouraged and even prohibited.
An old african urucungo player, by Debret (1826). He wrote that "often one of the slaves, missing his homeland, let out his voice and sang in the public squares and around the fountains." [5] Berimbau is an adaptation of African gourde musical bows, as no Indigenous Brazilian or European people use musical bows.