The title of the immersive exhibition “To the Heroes of Freedom” is inspired by the 1969 samba-plot of the Império Serrano Samba School, which had verses censored by the civil-military dictatorship. Through the collection of sound, audiovisual and scenographic installations that were part of the samba school parades, it is possible to interact and learn about the social history of samba, which is linked to the fight to combat racism and the appreciation of Afro-Brazilian culture.
The exhibition covers the life and works of Angenor de Oliveira, known as Cartola, samba artist, singer, composer and one of the main personalities in the history of Brazilian popular music. Cartola was born in the Catete neighborhood in 1908 and attended carnival parties since childhood. When he moved with his family to Morro da Mangueira in 1919, he began to attend the bamba circles and was one of the main people responsible for founding the Estação Primeira de Mangueira Samba School in 1928.
Photo: Thiago Diniz
The exhibition presents the life and works of Euzébia Silva do Nascimento, Dona Zica, who in addition to being Cartola's last wife, muse of many of his compositions, mainly represents the many black women who fought to achieve citizenship and lead family and community life.
Photo: Thiago Diniz
A exposição traz um panorama sobre a relevante contribuição das mulheres para o desenvolvimento do samba e do carnaval, através de diferentes estratégias cotidianas de acolhimento e sociabilidade, do trabalho das Tias do século passado até às ações de costureiras, carnavalescas, dirigentes, aderecistas, cantoras e compositoras, entre tantas outras que exercem funções essenciais para manter viva a tradição do samba.
Photo: Thiago Diniz
At the beginning of the 20th century, the persecution of samba also occurred through the press. Large newspapers received and published in the “complaints” section letters from readers denouncing samba circles in different parts of the city. Reports indicated a meeting of black people characterized as troublemakers and called for police intervention.
On November 27, 1916, samba artist Donga registered the score for the samba “Pelo Telephone” in the Copyright department of the National Library. The composition is considered the first recorded and recorded samba. The initiative entered the history of Brazilian popular music, as it protected not only the authorship, but also contributed to defining the standards of this musical genre.
Located in Praça Onze, Passarela Professor Darcy Ribeiro, better known as Sambódromo, was inaugurated in 1984 as a space for the annual parades of Rio de Janeiro's samba schools, which previously took place on the streets of the city center, mainly on Avenidas Presidente. Vargas and Rio Branco. Estação Primeira de Mangueira was the first winning association in the first parade championship held at the Sambadrome.
In the first years of the official parade, between 1932 and 1939, the sambas sung by schools were terreiro sambas, not needing to be connected to the theme presented by the costumes and props. This only changed when Portela, in 1939, paraded singing “Teste ao Samba”. While the lyrics alluded to samba teachers, the samba dancers, dressed as students, handed out diplomas to the judging panel. The plot samba was born there.
Considered one of the best in national cinema and starring Grande Otelo, the film Rio, Zona Norte from the 1950s tells the story of a samba singer and the difficulties he faced in life along with his attempts to gain recognition for his work as a singing musician. and composer.
Located at Rua Camerino, no. 176, Quilombo Cultural Casa do Nando is a space for meeting and black resistance where samba circles take place with an Afro-carioca culinary menu, as well as other cultural and educational activities.
Through its website, the National Historical and Artistic Heritage Institute (IPHAN) shares the Dossier Matrixes of Samba in Rio de Janeiro with the aim of making the history of samba as our Cultural Heritage widely known and valued.
