The book highlights the role of gender, in many carnivals, as an expression of the political and community issues in the country
The samba schools of Rio de Janeiro, through their plot sambas, tell a story that dates back to the beginning of the 20th century, this is what the book Sambas de Enredo – História e Arte, written by researchers Luiz Antonio Simas AND Alberto Mussa. Originally published in 2009, the book now receives a revised and expanded edition.
In extensive research, the authors demonstrate how sambas de plot, the only item worthy of points since the inception of association parades in Rio, were – and still are – an important expression of samba communities. Apart from that, the school sambas pervade not only the trajectory of the carnival but also the political and social issues of the country.
In the beginning, underline the book, names like Top hatBide, Ismael Silva, Carlos Cachaça, Silas de Oliveira and Paulo da Portela have shaped the genre which, over time, has undergone adaptations in its melodic structure – until we reach this more rhythmic samba, made for the TV show.
Although it has rarely survived the carnival period as it once did, the samba de plot today is still the central point of the parades. “It must respect the plot and re-enter the principles of drumming. Whoever sees it, even if they don’t have an emotional involvement with the schools, can be enchanted by the stories, some simpler, others more complex, and let themselves be influenced by the rhythm”, explains Mussa .
Simas also understands that the samba storyline goes beyond rehearsals in the communities at the time of the parade. Therefore, always avoid any pre-evaluation. “It happens – or not – on the boulevard. And it must make sense for the community. It is made for three thousand people to sing in unison, carrying 20 kilos of clothes, as they walk”, evaluates Mussa.
Between the 1960s and 1980s it was very common for artists outside the world of samba, identified with the so-called Brazilian popular music, to record, for special projects or for their career albums, versions of samba enshrined in parades.
Caetano Veloso’s record for It is today, from União da Ilhaof 1982, became inseparable from his repertoire, as well as the recording that Simone made for Tomorrow, since 1978, of the same association. Elis Regina and César Camargo Mariano demonstrated their samba playing during the recording Bye, bye, Tai Carmen Mirandafrom the Império Serrano carnival of 1972. Chico Buarque also recorded one, legends AND Mysteries of the Amazonwhich Portela presented in 1970.
Mussa views these recordings with sympathy. “Perhaps they were not responsible for the widespread dissemination of these textured sambas, but they consolidated them as a work of art. In general, the artists deviated from the model of the samba school, recorded with a different rhythm and key and sang in way way different from the handle. And it showed that sambas weren’t just beautiful in a parade. They had value outside of that environment,” he says.
From the 1990s onwards, which coincides with a period that the authors of the book refer to as a “crossroads” for plot sambas – which lasts, according to them, until 2009 – these recordings have become rarer.
It is true that samba likes it I took an Ita in the North, presented by Salgueiro in 1993 – the chorus “explodes the heart / in the greatest happiness” – is almost a must in every carnival block. But, according to Mussa and Simas, it is a classic example of samba with a plot that has become merely functional, made to lift the audience’s morale, sacrificing melody and creativity.
As an afterword to this new edition, the authors analyze from the 2010s onwards, when, in their assessment, schools began to overcome the aesthetic crisis. Not everything, however, came out in perfect harmony. Faced with economic hardships, some associations crossed over to samba by surrendering to sponsored plots.
The story of gas, yoghurt, horse breeds and cities that have nothing to do with Carnival is over. “It was a bad moment. This attitude generates a disconnect with the community”, evaluates Simas. According to him, with the end of these sponsorships, creativity has been imposed, especially by the hands of carnivals.
“Today there are very interesting Afro plots, i.e. stories that tell the history of Brazil from another perspective, with characters outside the official story. There has really been an improvement. And, paradoxically, it happened at a time of crisis. When cash flow goes down, boldness goes up,” he says.
For Mussa, the storyline sambas may yet return to their glory days. They have to abandon, for example, the so-called “offices” – groups of composers with no connection to the communities.
Something that would leave shaky people like Silas de Oliveira, Cartola, Carlos Cachaça, Mano Décio, Martinho da Vila and Dona Ivone Lara, to say the least, embarrassed. “In 2023 we don’t have a good crop. If you listen to the album of the Rio special group from start to finish, you will have the feeling that you are listening to the same music. A tendency to repeat styles, bad for the future of samba schools” , he evaluates it.
Sambas de Enredo – History and Art
Luiz Antonio Simas and Alberto Mussa
Publisher of Brazilian civilization
238 BRL 59.90
Source: Terra
Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.
