Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Introduction
- Part 1 Colonial and Postcolonial Transnationalisms, Migrations and Diasporas
- Part 2 Relocating Rio de Janeiro
- Part 3 Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies
- Notes on Contributors
- Notes
- References
- Index
Chapter 7 - Samba, Its Places and Its City
Published online by Cambridge University Press: 20 January 2022
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Introduction
- Part 1 Colonial and Postcolonial Transnationalisms, Migrations and Diasporas
- Part 2 Relocating Rio de Janeiro
- Part 3 Demetropolitanizing the Musical City: Other Scenes, Industries, Technologies
- Notes on Contributors
- Notes
- References
- Index
Summary
O meu lugar
É caminho de Ogum e Iansã
Lá tem samba até de manhã
Uma ginga em cada andar
[…]
É bem perto de Osvaldo Cruz,
Cascadura, Vaz Lobo e Irajá
O meu lugar
É sorriso é paz e prazer
O seu nome é doce dizer
Madureiraaa, lá lá laiá, Madureiraaa, lá lálaiá
(My place/It's the path of Ogum and Iansã/Theresamba goes on til the morning/There's a swing inevery walk/[…] /It's real close to OsvaldoCruz,/Cascadura, Vaz Lobo and Irajá/My place/It'sa smile, it's peace and pleasure/Its name is sweetto say/Madureira, la-la-layah, Madureira,la-la-layah)
(Arlindo Cruz and Mauro Diniz, ‘O meu lugar’(My place))Samba has always spoken of its places. It has always sung of thesocio-geographical settings in which it emerged,where it has been transformed and where it hascirculated since the early twentieth century.Spatial themes and references populate the lyrics ofsamba, both in order to situate descriptions andnarratives and to construct the self-image of amusical and social practice embedded and active inthe urban landscape. In its different forms andtrends, samba has marked and mapped territories andpaths. It has pointed to and named the spaces ofcommunity life: from familiar and everyday settingsto the stages of great events, from the backyard tothe avenue, from the morros (low-income hillside communities)and suburbs to the city's central streets, from Lapato Copacabana. The names of places play their role in the story ofsamba, even more than the names of great sambaartists.
Topological references may be expressed in common nounswith a generalized meaning: morro, botequim (little bar), terreiro (a yard or patiowhere samba is played), gafieira (dance hall), pagode (informal samba jam).They may be defined by the addition of ananthroponym that locates and individualizes thementioned place:
Domingo, lá na casa do Vavá
Teve um tremendo pagode
Que você não pode imaginar
(Sunday, over in Grandma's house/There was atremendous pagode/You can't even imagine it.)(Paulinho da Viola, ‘No pagode do Vavá’ (AtGrandma's party), 1972)
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- Music Scenes and MigrationsSpace and Transnationalism in Brazil, Portugal and the Atlantic, pp. 79 - 94Publisher: Anthem PressPrint publication year: 2020