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National Day of the Samba

On December 2, National Samba Day celebrates one of most significant musical rhythms for Brazilian culture and is commemorated with public shows of famous musicians in the historical center of Salvador. The National Day of Samba came about as the initiative of one councilman from Bahia, Luis Monteiro da Costa, to pay tribute to the Brazilian composer Ary Barroso.  Barroso had already composed his first hit called Na Baixa do Sapateiro, an ode to the city of Salvador even though he had never set foot in Bahia at the time.  December 2nd was the date he visited Salvador for the first time and the party was spread throughout Brazil and became a national samba celebration.

Brazilian Popular Music – also known by its acronym MBP, has several musical genres, like marcha, canção, baião, xaxado, embolada, frevo, etc…The most remarkable, although, and which became the mark for singing and dancing in Brazil is the Samba.  Samba resulted from the first African samba de rodas in Bahia in the end of 16th century and the beginning of 17th and was later combined with lundu, polka, habanera, tango, and maxixe. Furthermore, throughout centuries, Afro-Brazilians in Bahia would have dancing parties that were also called samba.  From 1538 to 1888, enslaved Africans came from different nations and tribes, in which cultures were different one from each other.  Therefore, their various habits and customs had influence in Brazilian art and culture becoming part of the Brazilian Popular Music and Carnaval.

Bahia’s “old aunties” (such as Tia Ciata), who moved to Rio de Janeiro, planted the seed of the samba in the neighborhoods near the center of the city. Moreover, in the 20th century, by mixing profane and religious festivals with song and dance for both pleasure and for faith, the “aunties” started the development of samba players who grew in number and popularity through the 1920’s and beyond.

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Tia Ciata

Tia Ciata (Hilaria Batista de Almeida, 1854-1924)
(Edited from her biography by Alvaro Neder)

Tia Ciata, aka Tia Assiata, was a woman from Bahia who had a fundamental role in the birth of Cariocan urban samba as a genre. She migrated to Rio from Bahia in 1875 and developed an informal cultural center at her home, where she would initiate the biggest composers and musicians of Rio de Janeiro of her time into the subtleties of samba from Bahia. As a result of this, in 1917, the first samba to be recorded, “Pelo Telefone,” was a collective composition done in her house, in which she herself participated, along with others.

During the day she would sell tidbits downtown, and at night she would reign in her home as an organizer of meetings for black townspeople. She was a leader in the Candomblé religion and would hold worship rituals for the orixas at her residence. It is important to note that, in that period, there were no public places for the poor or black inhabitants to socialize. So the meeting places of these segments of society were essentially family homes. Tia Ciata’s house became legendary because not only would she hold regular Candomblé sessions, but also because these sessions were followed by a samba, a kind of party where people could drink, eat, play, dance to music, meet and mingle, thus producing the birthplace of samba in Rio. In fact, as the sambas were persecuted by police, they were frequently disguised as religious activities. So, in these festive reunions, Tia Ciata’s house became widely known in Rio. Not only to black people, but also politicians, bohemians, musicians, and batuqueiros (percussionists) would gather there, attracted by her excellent culinary skills and the music. The parties could last for several days in a row, and people would spend the entire time there without returning to their homes until the feast was over.

The cultural exchange was the central focus in Tia Ciata’s house. Being a precursor of the migratory movements of blacks arriving from Bahia to Rio with the end of slavery (1888, five years after her arrival) and the massive demobilization, in 1897, of the troops of Baianos engaged in the fight against the fanatic religious leader Antônio Conselheiro, Tia Ciata was on the verge of a movement which would deeply influence the national culture via its ascendancy over the important capital, Rio de Janeiro. The most important composers and musicians of the time, like Caninha, Joao da Baiana, Donga, Pixinguinha, Sinhô, and Heitor dos Prazeres, along with less representative names like João da Mata, Mestre Germano, Minan, Didi da Gracinda, and João Câncio were regulars at her house. Disciples that continued her work were her son Eduardo da Tia Ciata, her granddaughters Lili da Tia Ciata and Tia Cincinha, her grandson Buci Moreira, Ministrinho da Cuíca, Dino, and Santa, among others. In that close interlacing of Baianos and Cariocas, Tia Ciata was one of the most influential tias (aunties) from Bahia, through her influential cultural center, that introduced the Cariocas to the culture from Bahia.

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Axé Music

Axé (pronounced ah-SHAY) music is a pop music genre originating in Salvador, Bahia around the mid 1980s out of the samba-reggae sound of the afro-blocos and trio elétricos of Carnaval. It mixes different Afro-Caribbean genres such as reggae, calypso, merengue, and marcha with Brazilian sounds such as forró, frevo, afoxé, and carixada. Some of the most important musicians of this genre that have taken axé music all over the world are Carlinhos Brown, Luiz Caldas, Chiclete com Banana, Ivete Sangalo, Daniela Mercury, Claudia Leitte, and Margareth Menezes to name just a few. The word “axé” comes from a Yoruba religious greeting used in the Candomblé and Umbanda religions that can loosely translate to mean “soul”, “light”, “spirit” or “good vibration”.

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Samba de Roda

Samba de Roda, which involves festive music, dance and singing, was developed in the state of Bahia, in the region of  the Recôncavo during the 17th century. It evolved from the dances, rhythms, and cultural traditions from different regions in Africa where enslaved Africans brought to Brazil were from. One of the defining characteristics of the dance is the gathering of participants in a circle (roda) while each one takies turns dancing in the center of the ring while the others clap their hands and sing. At first, a major component of regional popular culture among Afro-Bahians, the Samba de Roda was eventually taken by migrants to Rio de Janeiro, where it influenced the evolution of the urban samba that became a symbol of Brazilian national identity in the 20th century.