Uma breve história do samba – Ocupação Cartola (2016)

Itaú Cultural
16 Sept 201611:38

Summary

TLDRThe script delves into the historical evolution of samba in Brazil, highlighting its humble beginnings in Praça Onze and its journey from a marginalized cultural expression to an internationally recognized art form. It discusses the societal impacts, the role of samba schools, and the challenges faced by iconic figures like Cartola. The narrative underscores the resilience of the samba community in preserving their cultural heritage despite various obstacles, including social prejudice and urban changes, while also adapting and integrating into mainstream society.

Takeaways

  • 🌟 Samba has evolved from its humble beginnings in the streets and plazas of Rio de Janeiro, particularly around the Plaza Onze, to become a significant part of Brazilian culture and society.
  • 🎶 The samba genre has been influenced by various artists and has been adapted and refined over time, moving from its roots in samba de terreiro to more formalized settings like the salões of society.
  • 🏙️ Urban interventions and changes in Rio de Janeiro have displaced communities and their cultural practices, leading to a reevaluation and reconnection with their roots through the creation of samba schools and blocos.
  • 💃 The establishment of samba schools and blocos was initially a way for marginalized communities to regain a sense of identity and belonging, and to display their cultural heritage in a more organized and presentable manner.
  • 📚 The 'Livro de Ouro' (Golden Book) was used by samba schools to seek support from influential individuals and businesses, which eventually led to these individuals gaining power within the schools and influencing their direction.
  • 🎉 The parades and displays of samba have become a form of reoccupation and reclaiming of spaces that were once the heart of these communities, such as Plaza Onze, symbolizing a return to their roots and a reassertion of their cultural presence.
  • 👮‍♂️ There has been a history of marginalization and persecution of samba and its practitioners, with notable figures like Cartola and Nelson Feliszilla facing challenges and even persecution for their art.
  • 🎵 The role of samba composers like Cartola has been crucial in maintaining the integrity and authenticity of samba music, even as external pressures and expectations have tried to shape it in different ways.
  • 🏆 The rise of samba schools in the carnival parades has brought both recognition and challenges, with the need to balance the preservation of traditional samba with the demands of modern audiences and the expectations of the carnival organizers.
  • 🌐 The global recognition and representation of samba, inspired by the genius of its artists, has helped it to penetrate and influence other cultural expressions beyond Brazil, showcasing its versatility and appeal.

Q & A

  • What is the general theme of the script?

    -The script discusses the evolution and cultural significance of samba in Brazilian society, its origins, and how it has transitioned from a marginalized art form to one that is recognized and celebrated.

  • How is samba described in relation to its origins and societal acceptance?

    -Samba is described as having originated from the marginalized communities and later gaining acceptance and recognition in broader society, moving from the streets to the salons of the elite and eventually being embraced by mainstream culture.

  • What role did the 'escola de samba' play in the transformation of samba?

    -The 'escola de samba' played a crucial role in transforming samba from a marginalized art form to a more organized and recognized cultural phenomenon. It helped to standardize the art form and make it more presentable to a wider audience.

  • How did the 'escola de samba' initially gain support for their performances?

    -Initially, the 'escola de samba' sought support through a 'livro de ouro,' which was a book of prominent individuals, such as merchants and business owners, who were asked to support the samba schools by bringing the carnival to the streets.

  • What is the significance of the 'samba de terreiro' mentioned in the script?

    -The 'samba de terreiro' refers to the traditional, grassroots form of samba that was practiced in community spaces and was more authentic and less formalized than the samba that was later adapted for mainstream audiences.

  • What challenges did samba face in terms of societal and racial prejudices?

    -The script mentions that despite its growing popularity, samba and its practitioners faced significant racial prejudices and marginalization, with instances of police persecution and societal disdain for the art form.

  • How did the script describe the impact of urban interventions on the samba community?

    -The script describes urban interventions as causing displacement and disconnection for the samba community, forcing them to reestablish their social and emotional ties and find new ways to connect with their cultural roots.

  • What is the significance of the 'bloco' mentioned in the script?

    -The 'bloco' is significant as it represents a form of organization and community engagement that emerged as a response to the challenges faced by the samba community, helping to preserve and promote the art form.

  • How did the samba community respond to the challenges of marginalization and disconnection?

    -The samba community responded by creating the 'escola de samba' and 'bloco' to reestablish their cultural identity and to reconnect with mainstream society, using these platforms to showcase their art and gain recognition.

  • What is the role of the 'grêmio recreativo' in the context of samba schools?

    -The 'grêmio recreativo' refers to the recreational clubs that were initially part of the samba schools. Over time, they evolved to become more formalized organizations, playing a key role in the administration and promotion of samba schools.

  • How did the script characterize the relationship between samba and the middle class?

    -The script suggests that the middle class began to engage with samba as a form of entertainment, recognizing its cultural value and contributing to its mainstream acceptance and growth.

Outlines

00:00

🎶 Evolution of Samba

This paragraph reminisces about the old days of samba, highlighting its humble beginnings at Praça Onze. It describes how samba evolved from being a street and backyard dance to gaining acceptance in high society and eventually achieving international acclaim. The narrative reflects on the cultural significance and social dynamics surrounding samba, emphasizing its journey from marginalization to widespread recognition.

05:02

🌟 The Rise of Samba Schools

This section focuses on the development of samba schools and their role in promoting samba culture. It explains how samba schools emerged from marginalized communities, providing a sense of belonging and recreating social bonds. The paragraph details the formation of these schools, their struggle for recognition, and the impact of influential figures and external support in legitimizing and popularizing samba as a respected cultural expression.

10:04

📜 Challenges and Transformations in Samba

This paragraph discusses the challenges faced by samba, including marginalization and social prejudice. It highlights incidents of discrimination and the efforts to control and sanitize samba's image. The narrative includes stories of key personalities like Cartola, who resisted changes that compromised the authenticity of samba. The passage also touches on the institutionalization of samba schools and their adaptation to changing social dynamics, emphasizing the enduring spirit of samba amid evolving cultural landscapes.

Mindmap

Keywords

💡Samba

Samba is a lively Brazilian music genre with African roots that has evolved into various styles. In the video's context, it represents a cultural expression that has transitioned from being a marginalized art form to gaining mainstream recognition. The script mentions how samba has moved from the streets and terreiros ('religious spaces') to being performed in more formal settings, reflecting its journey from the margins to the center of Brazilian society.

💡Malandros

Malandros, in the Brazilian context, refers to individuals who are seen as street-smart or cunning, often associated with the lower social classes. In the script, malandros are mentioned alongside samba, suggesting their historical connection to the art form and its origins in the poorer neighborhoods of Brazil.

💡Terreiro

A terreiro is a space associated with Afro-Brazilian religious practices, often linked to Candomblé. In the video, terreiro is used to describe the origins of samba, indicating the cultural and religious roots of the music genre and its initial association with marginalized communities.

💡Carnaval

Carnaval is a Brazilian festival known for its street parades, samba schools, and vibrant celebrations. The script discusses how samba schools initially sought support from the community to put on their Carnaval performances, highlighting the importance of this event in showcasing samba and its evolution into a more organized and recognized form.

💡Samba Schools

Samba schools are organizations that prepare for and participate in the Carnaval parades in Rio de Janeiro. The script mentions the creation of samba schools as a strategy for marginalized communities to reconnect with mainstream society, using samba as a means of cultural expression and social integration.

💡Urban Interventions

Urban interventions refer to large-scale changes made to urban landscapes, often involving the displacement of communities. In the video, urban interventions are mentioned in relation to the movement of the black and poor population, indicating how these changes affected the social fabric and the cultural practices of samba.

💡Marginalization

Marginalization is the process of pushing certain groups or practices to the periphery of society. The script discusses the marginalization of samba and its practitioners, noting how they were initially excluded from mainstream recognition but later managed to gain visibility and acceptance.

💡Cultural Reconnection

Cultural reconnection refers to the process of re-establishing cultural ties and practices that have been disrupted or marginalized. The script describes how communities used samba as a means to reconnect with their cultural heritage and with broader society, illustrating the transformative power of cultural expression.

💡Samba de Quadra

Samba de Quadra is a style of samba that is performed in a square or open space, often associated with samba schools. The script mentions the transition from samba de terreiro to samba de quadra, reflecting the evolution of samba from its religious and community origins to a more public and organized form.

💡Cultural Representation

Cultural representation is the portrayal of a culture's values, practices, and identity. The script discusses how samba, once marginalized, has become a significant form of cultural representation for Brazil, showcasing the country's rich musical heritage and social history.

💡Social Inclusion

Social inclusion refers to the process of ensuring that all members of a society feel a sense of belonging and have equal opportunities to participate. The video script touches on the theme of social inclusion through the story of samba, highlighting how it has been used as a tool for marginalized communities to gain recognition and participate more fully in Brazilian society.

Highlights

The evolution of samba from its humble beginnings to its current status as a cultural phenomenon.

The samba's journey from the streets to being embraced by high society and its impact on the art form.

The role of samba in preserving and recreating the cultural identity of marginalized communities.

The transformation of samba from a terreiro (religious community) activity to a mainstream form of entertainment.

The influence of urban planning and societal changes on the samba community and its response to these shifts.

The establishment of samba schools and their role in organizing and elevating the samba art form.

The use of the 'golden book' by samba schools to seek support from influential figures for their growth and recognition.

The social dynamics within samba schools, including the power struggles and the influence of external forces.

The significance of the samba parade as a form of reclamation and a statement of belonging for marginalized communities.

The challenges faced by samba artists, such as Nelson Feliszilla, and their resilience in the face of persecution.

The historical context of samba and its connection to the broader narrative of Brazil's social and cultural history.

The role of samba in fostering community and social cohesion among the Brazilian population.

The impact of the middle class on the samba scene and the shift in the perception of samba as a form of entertainment.

The evolution of samba schools from grassroots organizations to structured institutions with formal governance.

The importance of authenticity and tradition in samba composition and performance, as exemplified by figures like Cartola.

The tension between innovation and tradition within the samba community and the challenges of balancing both.

The personal stories and experiences of samba artists that reflect the broader social and cultural changes in Brazil.

Transcripts

play00:02

os tempos idos

play00:05

nunca esqueci leos transei saudade só

play00:08

recordar

play00:10

é com tristeza que eu relembro coisas

play00:14

remotas que não vem mais uma escola na

play00:18

praça onze

play00:20

estilo ocular e perto dela uma balança

play00:26

onde os malandros e o samba

play00:29

depois aos poucos o nosso samba sem

play00:34

sentirmos se aprimorou pelos salões da

play00:39

sociedade

play00:40

sem cerimônia ele entrou já não pertence

play00:45

mais a praça já não é samba de terreiro

play00:50

vitorioso ele partiu para o estrangeiro

play00:54

e muito bem representado por inspirações

play00:58

de geniais

play01:01

artistas o nosso samba

play01:04

humilde samba foi de conquistas em

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conquistas conseguiu penetrar a no

play01:13

municipal

play01:15

depois de percorrer todo o universo

play01:19

com a mesma roupa a gente que saiu daqui

play01:24

exibiu cipa do que zé de quem se emita

play01:28

marketing

play01:32

o samba ele vai nascer de uma de uma

play01:36

uma parte da sociedade brasileira que

play01:40

ela fica à margem né dos planos

play01:44

políticos maiores efeitos da grande

play01:47

sociedade vamos assim

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e elas precisam inclusive recriar seus

play01:52

laços afetivos

play01:53

samba você vê muito isso é a tia zica

play01:57

tinha nenhuma tia e aí é todas as vezes

play02:01

que aqui no rio de janeiro se pense teve

play02:06

intervenções grandes urbanísticas

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houve um movimento de mudança

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é mesmo dia que o território da

play02:16

população negra e pobre né então você

play02:20

tem esse conhecimento desse samba ele

play02:23

vem exatamente essas pessoas tentam

play02:26

recriar seus laços afetivos e também de

play02:29

diversão né modos de viver de

play02:32

socialização

play02:34

mas de certa forma eles nunca se viu

play02:37

desconectados da chamada grande

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sociedade toda certa forma eu vivi um

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buscando estratégias é para se

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reconectarem uma dessas estratégias é é

play02:48

e

play02:49

foi criada a escola de samba e blocos

play02:52

que não serão naturalmente das

play02:54

comunidades se unirem se encorparem

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criar uma uma ficará melhor

play03:00

apresentáveis né imitando modelos de

play03:03

outras formas de organização se tinha

play03:06

das camadas mais abastadas

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essas escolas no começo elas usavam

play03:10

chamado livro de ouro onde buscavam

play03:13

apoio em pessoas ambition cheiros enfim

play03:17

comerciantes pra colocar o carnaval na

play03:20

rua e essas pessoas acabaram entrando

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pra dentro das escolas de samba tomando

play03:25

poderes maiores dando esses grupos e de

play03:28

começar a ditar regras nesse grupo do

play03:30

lado de fora também você tem uma outra

play03:33

atenção social onde esse povo do gueto

play03:37

ele começa a descer para desfilar na

play03:40

cidade esse desfile ele começa a ocorrer

play03:43

exatamente no lugar de onde eles foram

play03:46

expulsos na praça onze é quase que uma

play03:49

reocupação de um lugar que é de verdade

play03:53

isso referencial de pertencimento

play03:55

importava então para as autoridades

play03:58

conhecer quem são esses negros que estão

play04:02

aí se espalhando com uma coisa que deve

play04:04

ser interessante que está atraindo um

play04:07

público espectador e cada vez mais a

play04:10

cada ano aumentando os já havia se certo

play04:12

preconceito nem o samba é samba

play04:16

não sei porque o nelson felizzola é

play04:19

duramente perseguido nós quem busca

play04:21

inteira minha amada é o qual também

play04:23

falava que como se diz que

play04:26

houve a princesa isabel e libertou os

play04:30

escravos negros e tudo mas o samba

play04:32

continua marginalizado quando podem

play04:35

atrasar ou são atrasam cartola ponte que

play04:38

sofreu muito

play04:40

tenho um delegado de polícia que mandou

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arrancar bandeirinha isso apontado pelo

play04:43

próprio carro acaba coisa aí a meia

play04:46

noite naquelas filha amava senna próximo

play04:48

à moto o delegado mandou arrancar todas

play04:51

as bandeirinhas pelo cabo com isso aí

play04:53

ficava tudo antonica top a mangueira não

play04:56

passou rasgará o poder estava com

play04:59

terninhos ndala de compositor toda a

play05:02

roupa dele foi preterida tinha ali teria

play05:05

de mangueira pode triste chateado era e

play05:07

o qual se consolando ele com o carro

play05:09

ficava me contando essas coisas né

play05:14

eu tenho uma joga a do acesso fosse

play05:18

presidente da união das escolas de samba

play05:20

uma história bonita

play05:21

aí você começa a sair da marginalidade

play05:24

tem um delegado e formou-se prace

play05:28

do sindicom sal e

play05:33

um delegado

play05:35

que exigiu das escolas de samba assim

play05:41

que falasse dos junkies sabe da história

play05:45

do brasil

play05:46

ontem os enredos escola não tinha medo

play05:49

de mulher não falam cartola e foi embora

play05:54

na mangueira se

play05:56

não quero mais amava ninguém era sampa

play05:59

sim falando cantava no terreiro aquele

play06:02

que aprende a mais é que dizer disse

play06:05

então

play06:06

esse delegado e exigiu que as escolas é

play06:10

uma falácia

play06:11

nos votos de fé méritos do dobro do

play06:15

brasil o meu aí nessa vinda josé de

play06:19

alencar ou te falar ele é

play06:21

marcílio dias o maior erro sequer duque

play06:24

de caxias e tal na escola passaram assim

play06:27

mas antigamente era

play06:30

ela soma falando a mulher por terá show

play06:33

a bela chorando o que ela quer

play06:37

pancada não é já dei mulher dá hoje é

play06:40

quando começa a chorar quer dinheiro

play06:43

dinheiro aí a portela por ali e seu

play06:47

cachorro quem vivia sorrindo pensa como

play06:50

eu nessa depois é que eles foram assim o

play06:57

grêmio recreativo escola passará a ter

play06:59

11 grechi todas as escolas têm 11 grêmio

play07:03

na frente passou a ser o grêmio

play07:07

recreativo escola de samba estação

play07:09

primeira

play07:09

grêmio recreativo escola de samba

play07:10

portela grêmio recreativo escola de

play07:14

samba

play07:14

salgueiro por aí as coisas começam o

play07:19

samba que o quarto tipo de cena com o

play07:21

qual o ritmo de samba cartola imagine

play07:23

amanhã pode ana portela a página não só

play07:25

ao governo mas nem a mudança as coisas

play07:28

lula e tem impressão que a coisa eu

play07:33

conheço honda quando a classe média

play07:35

média começou em rodinhas estimulantes

play07:39

porque

play07:42

porque a noite carioca foi caindo foi

play07:46

caiu foi caindo

play07:50

e sendo também

play07:54

descobriram que a escola de samba era um

play07:56

espetáculo grátis

play07:59

do ibama

play08:01

que foram à escola minaram as escolas

play08:06

até botar lá

play08:08

o sentido que está

play08:10

pelo menos é a minha opinião

play08:13

minaram a escola hoje nas horas ambas

play08:16

óssea cantação de reajuste tanta mais

play08:19

samba de terreiro

play08:20

não adianta fazer o concurso de samba de

play08:24

quadra porque não adianta o próprio

play08:27

compositor da escola dele e quais

play08:30

lançamos de quadra no cantão

play08:35

então eu cartola de uma vida diferente

play08:38

da que eu faço samba webber eu faço o

play08:43

samba com as pessoas ouvir calma médio é

play08:46

o cartola por exemplo na década de 40

play08:49

quando a mangueira estava sobre como a

play08:52

presidência é que queria levar uma

play08:56

mudança é para o tipo de música

play08:59

mangueira dia desfilar é

play09:03

ele resolve

play09:06

sair da mangueira se afastar da

play09:09

mangueira mas é é sempre outra maneira

play09:13

nunca deixou de ter a preocupação com a

play09:16

mangueira né

play09:18

e eu vejo esse a consciência que ele

play09:21

tinha da importância dele enquanto

play09:24

compositor da sua obra fazer com que não

play09:26

importa se isso vai me fazer sair esse

play09:29

sistema mas eu não vou mudar a forma de

play09:32

compor nem a forma de pensar uma coisa

play09:35

que teve que se aquele a mangueira tem

play09:38

um time se comportou e ali turco

play09:42

padrinho

play09:43

um chefe com posto aqui um já a fã dele

play09:47

o hélio turco por exemplo não é tudo que

play09:51

pudesse

play09:52

voltar o cartão em baixa e botar só que

play09:55

ele não conseguia é que ele também é um

play09:58

bom compositor mas ele tinha raiva do

play10:01

cartola porque cartola era oscar um

play10:03

carro sambista jeito de morro né quem

play10:08

não fazia assim essas coisas muito de

play10:11

poder sempre teve aquela

play10:13

aquela

play10:19

play10:20

e tanto que quando é teve uma ocasião

play10:23

que esses mais de fazer o que o cartola

play10:26

fizesse

play10:28

semi rede isso já no final já cartola

play10:32

falou eu não eu não me dou com isso que

play10:35

não me dou com esse ritmo de babá

play10:38

digitar de música comigo tem que ser

play10:41

coisa

play10:43

a mãe faz um pai só lhe fez aquele que

play10:46

fez do do

play10:49

tempo exige é o hélio turco anos é um

play10:52

dos jogadores

play10:53

e deu 0 pro samba

play10:57

zero porque disse que aquele era samba

play11:02

a disputa como o fato é o seu talento né

play11:07

nesse tempo ele fez era meio e não é

play11:12

como é hoje

play11:14

mesmo assim já não se via mais pra ele

play11:17

fala só sei fazer assim se servir vocês

play11:20

aproveitam se de fora aí o garoto foi de

play11:24

10

play11:26

nem por isso ficou de mal ninguém ficou

play11:29

imune não foi tão bem

play11:31

assim

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関連タグ
Samba EvolutionBrazilian CultureUrban TransformationSocietal MarginsCultural ReconnectionCarnival TraditionsArtistic InspirationSamba SchoolsSocial InclusionHistorical Context
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