Samba is a Brazilian musical style, with a contagious rhythm and complex origins. It developed as urban music between the end of the 19th century and the beginning of the 20th century in the favelas of Rio de Janeiro. However, its roots go back hundreds of years to the customs and traditions brought to Brazil by African slaves. Many of these slaves arrived in Bahia, a region in the northeast of Brazil along the Atlantic Ocean. Bahía, founded for the first time by Portuguese descendants, became an essential area for reed cultivation between 1500 and 1700. Large reed plantations were developed, and traders forced African villages in Bahia to work on plantations and harvesters.
Therefore, Samba is considered the music of ordinary people. Its roots come from ancient Bahian styles of music and dance, such as Jongo and Lundu, which connect to African slaves.
When the descendants of these men and women moved to Rio, most settled in specific locations, bringing their distinctive music along. The original form of Samba is called samro de morro; morro means hills and refers to the slums located on the slopes of the river. Samba usually includes an improvised verse sung by a soloist, followed by a chorus.
Samba , the ballroom of Brazilian origin, popularized in Western Europe and the United States in the early 1940s. Characterized by simple steps of the front and back and floating body movements, with dances to 4/4 rhythm music syncope. Dancing couples dance on the spot, but couples can split up to take more steps. The dance derives mainly from maxixes, a dance in fashion around 1870-1914.
Forms of Samba
There are many types of Samba . While Samba -emaranhado is a Samba that takes place at the carnival, some of the most popular forms include Samba -cancao ("Samba song"), which became popular in the 1950s and Samba de breque, a form of Samba which is spicier. Of course, as music goes global, like everything else, the wonderful musical fusion that we see everywhere gives birth to Samba -pagoda, Samba -reggae, and Samba -rock .
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