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Samba dance facts10/2/2023 ![]() Section 107, the material on this site is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes. We believe this constitutes a "fair use" of any such copyrighted material as provided for in section 107 of the US Copyright Law. We are making such material available in our efforts to advance understanding of environmental, political, human rights, economic, democratic, scientific, social justice, and religious issues, etc. This site may contain copyrighted material the use of which may not be specifically authorized by the copyright owner. The publication of any and all content eg, articles, reports, editorials, commentary, opinions, as well as graphics and or images on this website does not constitute sanction or acquiescence of said content unless specified it is solely for informational purposes. For those who want to understand the History, not just to read it. Samba, with its obvious African roots, 2/4 beat and syncopation, was one manifestation of this. Music provided a way of exploring these concerns, expressing cultural pride and examining and creating a sense of identity. The abolition of slavery and the convergence of those freed on Rio de Janeiro created an atmosphere of change and a hopeful energy, but at the same time, the African population faced the difficulties of urban living – tough working conditions, if work was even available, impoverishment and discrimination. Sometimes one party would last for days on end, so caught up was the crowd in its cultural, artistic and intellectual pursuits. Philosophers, politicians, artists and writers would go along to listen and to converse. They would gather there and play for hours on end, exchanging ideas and developing and refining new ways of playing. ![]() The lively atmosphere created by Tia Ciata attracted some of Praca Onze’s finest musicians. It was at Number 177, Rua Visconde de Inhauma, that samba was, more or less, born. ![]() A charismatic and popular hostess, who had trained as a tap dancer, Tia Ciata held parties and jam sessions that ran into the early hours of the morning. Her house soon became a famous party destination. Having lived in Bahia until 1875, she moved to Number 177, Rua Visconde de Inhauma, in Praca Onze in 1899. One of Praca Onze’s most well-known and well-loved Tias was the Salvador born Tia Ciata, also known by the name of Tia Assiata. Tia Ciata and Number 177, Rua Visconde de Inhauma At these gatherings, traditional African gods, or Orishas, were worshipped through dance and music. One important aspect of this culture was gathering at houses belonging to ‘Tias’, which means Aunties, and refers to the traditional matriarchs of Bahia. Many of them congregated in an area called the Eleventh Plaza, or Praca Onze, where a rich culture of African origin developed. These factors resulted in large numbers of slaves and freed slaves moving to Brazil’s capital, Rio de Janeiro. During the same period, the tobacco and coffee plantations of Bahia, the coastal northeastern state that was the central hub of the Brazilian slave trade, fell into decline. However, it was not until seventeen years later, on May 13th, 1888, that the Lei Aurea, or Golden Law, abolished slavery in Brazil altogether. This granted liberty to all children of slaves and to slaves of the state. The abolition of slavery began in Brazil on September 28th, 1871, when the Brazilian Parliament, under Prime Minister Jose Paranhos, Viscount of Rio Branco, passed ‘The Law of the Free Womb’. Brazilan Samba emerged in Rio de Janeiro during the early 1900s.
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