1. The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, South America, Afro- Brazilian Traditions

2. Overview  Racial Dynamics in Brazil Ambiguous and complex Ambiguous and complex Long history of racial integrationLong history of racial integration Afro-Brazilian traditions prevalent throughout BrazilAfro-Brazilian traditions prevalent throughout Brazil Influence on Brazilian mestizo culture and musical traditions significant Influence on Brazilian mestizo culture and musical traditions significant Considered nationally and internationally a defining characteristic of Brazilian popular music/cultureConsidered nationally and internationally a defining characteristic of Brazilian popular music/culture i.e., consider the place of samba, candomblé, and the presence of Salvador, Bahia in Brazilian popular culture and musici.e., consider the place of samba, candomblé, and the presence of Salvador, Bahia in Brazilian popular culture and music Yet racial democracy remains a mythYet racial democracy remains a myth

3. Musical Traditions  Sacred and secular musical traditions Distinction between sacred and secular ambiguous Distinction between sacred and secular ambiguous African continuities and adaptations African continuities and adaptations Result of dual process of resistance and accommodation (or adaptation)Result of dual process of resistance and accommodation (or adaptation) Sacred traditions Sacred traditions Reflect varying degrees of continuity with West African beliefs and practices (as with other New World neo-African religions)Reflect varying degrees of continuity with West African beliefs and practices (as with other New World neo-African religions) Including specific deities worshipped, possession, formal musical elements, use of music, relation between music and deities, etc. Including specific deities worshipped, possession, formal musical elements, use of music, relation between music and deities, etc. Incorporate elements of Roman CatholicismIncorporate elements of Roman Catholicism IncludeInclude Candomblé Candomblé Umbanda (various types practiced throughout Brazil) Umbanda (various types practiced throughout Brazil)

4. Musical Traditions  Sacred and Secular Traditions (cont.) Secular traditions Secular traditions Include social dances and dramasInclude social dances and dramas Also reflect varying degrees of acculturationAlso reflect varying degrees of acculturation IncludeInclude Capoeira Capoeira Samba (various rural forms) Samba (various rural forms) Bumba-meu-boi, marujada, and other dramatic dances Bumba-meu-boi, marujada, and other dramatic dances Batuque Batuque Maculelê Maculelê

5. Musical Traditions  Urban popular music Development Development ReflectsReflects Interplay between European and Afro-Brazilian traditions Interplay between European and Afro-Brazilian traditions Interplay between Afro-Brazilian and international popular music Interplay between Afro-Brazilian and international popular music Particular social and political dynamics of time Particular social and political dynamics of time i.e., tropicália movement, samba reggae and the blocos afroi.e., tropicália movement, samba reggae and the blocos afro Genres include Genres include ModinhaModinha ChoroChoro Bossa novaBossa nova Urban samba (various types)Urban samba (various types) Samba reggaeSamba reggae PagodePagode Brazilian Popular Music (MPB)Brazilian Popular Music (MPB)

6. Music and Resistance  Acculturation Anthony Seeger notes that musical acculturation is “often a representation of relationships of political and symbolic power whose musical expression is a conscious commentary on those relationships” (p. 80) Anthony Seeger notes that musical acculturation is “often a representation of relationships of political and symbolic power whose musical expression is a conscious commentary on those relationships” (p. 80) Consider the above in relation to candomblé, capoeria, and samba reggae Consider the above in relation to candomblé, capoeria, and samba reggae Questions for discussion Questions for discussion What implication does the above statement have for our understanding of candomblé and its relation to European religious traditions? How about for other such “syncretic” forms (i.e., Cuban santería, and Haitian vodou)?What implication does the above statement have for our understanding of candomblé and its relation to European religious traditions? How about for other such “syncretic” forms (i.e., Cuban santería, and Haitian vodou)? How do local and international symbols interact in the development of samba reggae?How do local and international symbols interact in the development of samba reggae? How might the above musical genres be considered a form of resistance?How might the above musical genres be considered a form of resistance?