Samba and national identity

Samba is linked to the processes of construction of the Brazilian national identity

This work examines the origins of the musical rhythm, its processes and social relations as part of the development of Brazilian identity

By challenging the classic authors’ views on Brazilian cultural history, who define samba as Portuguese music inspired by black culture, the author – and musician – Magno Bissoli Siqueira establishes in Samba and national identity: From its origins to the Vargas [Samba e identidade nacional: das origens à Era Vargas], with a well-documented research, that the rhythm indeed had its origin in Africa. Moreover, he investigates, in a provoking and innovative way, “samba and national identity” only superficially addressed by historiography in the Vargas period, and also how and in which context the rythm left the marginal origins from the beginning of the 20th century to become a commodity and one of the most iconic symbols of contemporary Brazil – even if, to that end, it had to undergo a “whitening” process.

“With a new social configuration taking place, different methods were needed to build the national State, inspired by European models, the concept of a national identity was one of them,” writes Siqueira. He explores three main premises: that samba is characterized by its rhythmic configuration coming from an African matrix, handed down by peoples through religious music; that from this matrix, samba was divided into derivations, with some representing specific segments of society; and that during this process, professionalism in the field of popular music was developed, aiming the expanding market of mass-media and entertainment.

Throughout six chapters, the author analyzes the characters and musical formats of the genre that served as a catalyst for “Brazilianness”, starting at its essence, its creation in the African roots of black culture and from oral records. Thus, a rhythmic paradigm arises which will later be filtered and appropriated by the many forms of urban samba in Rio de Janeiro, the “derivations”, will then constitute the basis for both supplying the new phonographic market and to support the construction of an identity that would help strengthen a so-called national State.

“The convergence of the State interests in ratifying a modern identity for Brazil, the development of broadcasting, the “receding” of cultural environment in the world, the Brazilian industrialization in a background of international crisis were converging elements that seemingly contributed to create new myths and a new national identity”, as he points out.

About the author – Magno Bissoli Siqueira is a musician, composer, educator, historian and music producer. He is also a percussionist at São Paulo Municipal Theater Symphonic Orchestra and the artistic director of Ensemble Bissamblazz.  In Brazil, he was praised for contemporary music group presentations and also for his contribution in the production of plays, such as Calabar by Ruy Guerra and Chico Buarque (1980). His discography includes 18 titles as an interpreter and his method, “O Balanço do Samba”, is a reference for teaching the rhythm in Brazil and abroad.

Title: Samba and national identity: From its origins to the Vargas era [Samba e identidade nacional: das origens à Era Vargas]
Author: Magno Bissoli Siqueira
Number of pages: 287
Format: 16 x 23 cm
ISBN: 978-85-393-025-12
Rights: worldwide free

Summary