Eric A. Galm
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734058
- eISBN:
- 9781604734065
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734058.001.0001
- Subject:
- Music, Ethnomusicology, World Music
The Brazilian berimbau, a musical bow, is most commonly associated with the energetic martial art/dance/game of capoeira. This study explores its stature from the 1950s to the present in diverse ...
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The Brazilian berimbau, a musical bow, is most commonly associated with the energetic martial art/dance/game of capoeira. This study explores its stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers. This book considers the berimbau beyond the context of capoeira, and explores the bow’s emergence as a national symbol. Throughout, it engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. The book is an introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil’s music and culture.Less
The Brazilian berimbau, a musical bow, is most commonly associated with the energetic martial art/dance/game of capoeira. This study explores its stature from the 1950s to the present in diverse musical genres including bossa nova, samba-reggae, MPB (Popular Brazilian Music), electronic dance music, Brazilian art music, and more. Berimbau music spans oral and recorded historical traditions, connects Latin America to Africa, juxtaposes the sacred and profane, and unites nationally constructed notions of Brazilian identity across seemingly impenetrable barriers. This book considers the berimbau beyond the context of capoeira, and explores the bow’s emergence as a national symbol. Throughout, it engages and analyzes intersections of musical traditions in the Black Atlantic, North American popular music, and the rise of global jazz. The book is an introduction to Brazilian music for musicians, Latin American scholars, capoeira practitioners, and other people who are interested in Brazil’s music and culture.
Scott Ickes
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780813044781
- eISBN:
- 9780813046433
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044781.001.0001
- Subject:
- Society and Culture, Latin American Studies
A close study of six major public religious festivals, including carnival, African-Brazilian Culture and Regional Identity in Bahia, Brazil, explores the cultural politics of regional identity in the ...
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A close study of six major public religious festivals, including carnival, African-Brazilian Culture and Regional Identity in Bahia, Brazil, explores the cultural politics of regional identity in the state of Bahia in northeast Brazil. The author shows how, after 1930, the festivals provided a platform for African-Bahians and their allies to re-formulate Bahian regional identity to allow for a greater degree of cultural inclusion for Bahians of African descent. The book emphasizes the agency of African-Bahians as samba, capoeira, and Candomblé ritual were performed during the festivals and describes how politicians, journalists, song writers, and public intellectuals came to celebrate African-Bahian culture as a defining feature of what it meant to be Bahian. The nature of this cultural inclusion, however, was such that, although it was an improvement on the prejudice and persecution of the 1920s, it led to very little, if any, improvement in the political and economic position of working-class people of African descent. As such, the book explores the possibilities and limitations of cross-class alliances based around cultural inclusion in a specific historical setting and the potential of cultural politics for the social inclusion of people of African descent in multi-racial, multi-cultural communities within Brazil and the African diaspora.Less
A close study of six major public religious festivals, including carnival, African-Brazilian Culture and Regional Identity in Bahia, Brazil, explores the cultural politics of regional identity in the state of Bahia in northeast Brazil. The author shows how, after 1930, the festivals provided a platform for African-Bahians and their allies to re-formulate Bahian regional identity to allow for a greater degree of cultural inclusion for Bahians of African descent. The book emphasizes the agency of African-Bahians as samba, capoeira, and Candomblé ritual were performed during the festivals and describes how politicians, journalists, song writers, and public intellectuals came to celebrate African-Bahian culture as a defining feature of what it meant to be Bahian. The nature of this cultural inclusion, however, was such that, although it was an improvement on the prejudice and persecution of the 1920s, it led to very little, if any, improvement in the political and economic position of working-class people of African descent. As such, the book explores the possibilities and limitations of cross-class alliances based around cultural inclusion in a specific historical setting and the potential of cultural politics for the social inclusion of people of African descent in multi-racial, multi-cultural communities within Brazil and the African diaspora.
Eric A. Galm
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734058
- eISBN:
- 9781604734065
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734058.003.0002
- Subject:
- Music, Ethnomusicology, World Music
This chapter presents a historical introduction to the berimbau and capoeira. Topics discussed include the history of capoeira in Brazil; the berimbau’s survival and formal association with capoeira; ...
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This chapter presents a historical introduction to the berimbau and capoeira. Topics discussed include the history of capoeira in Brazil; the berimbau’s survival and formal association with capoeira; the strong connection between African-derived religious beliefs, capoeira, and the berimbau; and capoeira and gender.Less
This chapter presents a historical introduction to the berimbau and capoeira. Topics discussed include the history of capoeira in Brazil; the berimbau’s survival and formal association with capoeira; the strong connection between African-derived religious beliefs, capoeira, and the berimbau; and capoeira and gender.
Eric A. Galm
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734058
- eISBN:
- 9781604734065
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734058.003.0003
- Subject:
- Music, Ethnomusicology, World Music
This chapter focuses on the early 1960s, when bossa nova composer Baden Powell adapted the berimbau’s melodic rhythms to the guitar, resulting in the internationally successful composition, ...
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This chapter focuses on the early 1960s, when bossa nova composer Baden Powell adapted the berimbau’s melodic rhythms to the guitar, resulting in the internationally successful composition, “Berimbau.” It analyzes Powell’s composition within the context of capoeira-related musical performance practices, and views how the musical trope that emerged from this composition continues to be used in Brazilian popular music today. The chapter demonstrates how this motif has changed from the 1960s to the 1990s.Less
This chapter focuses on the early 1960s, when bossa nova composer Baden Powell adapted the berimbau’s melodic rhythms to the guitar, resulting in the internationally successful composition, “Berimbau.” It analyzes Powell’s composition within the context of capoeira-related musical performance practices, and views how the musical trope that emerged from this composition continues to be used in Brazilian popular music today. The chapter demonstrates how this motif has changed from the 1960s to the 1990s.
Eric A. Galm
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604734058
- eISBN:
- 9781604734065
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604734058.003.0004
- Subject:
- Music, Ethnomusicology, World Music
This chapter continues the chronological study of the berimbau’s transformation in Brazilian popular music. It focuses on the fusion of musical genres, and how the berimbau as a metaphor has ...
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This chapter continues the chronological study of the berimbau’s transformation in Brazilian popular music. It focuses on the fusion of musical genres, and how the berimbau as a metaphor has transformed from a symbol of capoeira to one of blackness, resistance, and change.Less
This chapter continues the chronological study of the berimbau’s transformation in Brazilian popular music. It focuses on the fusion of musical genres, and how the berimbau as a metaphor has transformed from a symbol of capoeira to one of blackness, resistance, and change.
Kwame Dixon
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780813062617
- eISBN:
- 9780813055985
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062617.003.0002
- Subject:
- Society and Culture, Latin American Studies
Chapter one provides a brief discussion of the cultural history of Salvador da Bahia; the social landscape and demographic profile of contemporary Salvador, and reviews key Afro-Bahian cultural ...
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Chapter one provides a brief discussion of the cultural history of Salvador da Bahia; the social landscape and demographic profile of contemporary Salvador, and reviews key Afro-Bahian cultural formations (Candomblé, Capoeira) and other identity platforms, and the rise of cultural and formal politics in Brazil and Salvador. This section highlights Salvador—one of the oldest cities in the Americas and the third-largest city in Brazil—as a vibrant city, home to one of the largest, most politically active and diverse Black populations in the Americas.Less
Chapter one provides a brief discussion of the cultural history of Salvador da Bahia; the social landscape and demographic profile of contemporary Salvador, and reviews key Afro-Bahian cultural formations (Candomblé, Capoeira) and other identity platforms, and the rise of cultural and formal politics in Brazil and Salvador. This section highlights Salvador—one of the oldest cities in the Americas and the third-largest city in Brazil—as a vibrant city, home to one of the largest, most politically active and diverse Black populations in the Americas.
Scott Ickes
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780813044781
- eISBN:
- 9780813046433
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044781.003.0004
- Subject:
- Society and Culture, Latin American Studies
Chapter 3 describes Salvador's major public festivals and emphasizes the cultural contribution of the city's largely African-Bahian working class and its Candomblé community. This group used the ...
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Chapter 3 describes Salvador's major public festivals and emphasizes the cultural contribution of the city's largely African-Bahian working class and its Candomblé community. This group used the festivals to shape the wider acceptance of African-Bahian practices (practices such as Candomblé, samba, and capoeira) and created pressure that was central to the ideological reevaluation of those practices after 1930. This chapter also contributes to knowledge about the festivals, on which there is very little scholarship for the period 1930 to 1980.Less
Chapter 3 describes Salvador's major public festivals and emphasizes the cultural contribution of the city's largely African-Bahian working class and its Candomblé community. This group used the festivals to shape the wider acceptance of African-Bahian practices (practices such as Candomblé, samba, and capoeira) and created pressure that was central to the ideological reevaluation of those practices after 1930. This chapter also contributes to knowledge about the festivals, on which there is very little scholarship for the period 1930 to 1980.
Yvonne Daniel
- Published in print:
- 2011
- Published Online:
- April 2017
- ISBN:
- 9780252036538
- eISBN:
- 9780252093579
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036538.003.0008
- Subject:
- Music, Dance
This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are ...
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This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are similar to Brazilian capoeira and maculelê. It also proposes the inclusion of armed and unarmed combat rituals within Caribbean dance categories. The chapter begins with a discussion of the African legacies of ferocious dance, focusing on the importance of martial arts to the societies of colonial Angola and its connection to Caribbean combat dances, as well as the ways in which martial techniques were transported within enslaved bodies to parts of the African Diaspora. It then describes examples of Circum-Caribbean combat dance games, including ladja and danmyé in Martinique, juego de maní in Cuba, kalinda in Trinidad and Tobago, and tambú and kokomakaku in Curaçao. The chapter concludes with an assessment of lessons imparted by combat dance.Less
This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are similar to Brazilian capoeira and maculelê. It also proposes the inclusion of armed and unarmed combat rituals within Caribbean dance categories. The chapter begins with a discussion of the African legacies of ferocious dance, focusing on the importance of martial arts to the societies of colonial Angola and its connection to Caribbean combat dances, as well as the ways in which martial techniques were transported within enslaved bodies to parts of the African Diaspora. It then describes examples of Circum-Caribbean combat dance games, including ladja and danmyé in Martinique, juego de maní in Cuba, kalinda in Trinidad and Tobago, and tambú and kokomakaku in Curaçao. The chapter concludes with an assessment of lessons imparted by combat dance.
Samuel A. Floyd
- Published in print:
- 2017
- Published Online:
- April 2017
- ISBN:
- 9780195307245
- eISBN:
- 9780190651305
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307245.003.0005
- Subject:
- Music, Popular
This chapter highlights the continuities between and among African rituals and Africa-derived and -influenced rituals and practices in the Diaspora. Religions such as Haitian Vodou are explored; ...
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This chapter highlights the continuities between and among African rituals and Africa-derived and -influenced rituals and practices in the Diaspora. Religions such as Haitian Vodou are explored; Vodou’s components are considered with respect to their African roots as well as their Diasporic parameters. Music-and-dance constructs, such as rumba, are examined in detail; instrumental components, associated body movements, and historical and contemporary contexts are highlighted. These rituals and constructs frequently employ dancing in a counterclockwise circle, and the author focuses on the interrelationship of this practice with what is known about the “ring shout,” a practice that has been described in historical documents and whose enactment has been absorbed into a variety of traditions throughout the Diaspora.Less
This chapter highlights the continuities between and among African rituals and Africa-derived and -influenced rituals and practices in the Diaspora. Religions such as Haitian Vodou are explored; Vodou’s components are considered with respect to their African roots as well as their Diasporic parameters. Music-and-dance constructs, such as rumba, are examined in detail; instrumental components, associated body movements, and historical and contemporary contexts are highlighted. These rituals and constructs frequently employ dancing in a counterclockwise circle, and the author focuses on the interrelationship of this practice with what is known about the “ring shout,” a practice that has been described in historical documents and whose enactment has been absorbed into a variety of traditions throughout the Diaspora.
