By Peter Fryer
African rhythms are on the middle of latest black Brazilian tune. Surveying a musical legacy that encompasses over four hundred years, Peter Fryer strains the improvement of this wealthy cultural historical past. He describes how slaves, mariners, and retailers introduced African song from Angola and the ports of east Africa to Latin the US. particularly, they introduced it to Brazil -- this present day the rustic with the most important black inhabitants of any open air Africa.
Fryer examines how the rhythms and beats of Africa have been mixed with ecu well known track to create a special sound and dance culture. He specializes in the political nature of this musical crossover and the function of African background within the cultural identification of black Brazilians this day. the result's an soaking up account of a topic in international tune that's wealthy in attention-grabbing old element.
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Additional resources for Rhythms of Resistance: African Musical Heritage in Brazil
Sample text
They are full of action, capering and throwing their legs about like monkeys during their quarrels. 7 These references to ‘fighting with … open hands’ and ‘capering and throwing … legs about’ point unerringly to capoeira. What Rugendas and Wetherell give us are of course merely outsiders’ impressions. It is clear from J. 9 Yet the essence of capoeira lies not in keeping cool, important though that is, but in the appropriate and quick-witted use of malícia. This is not to be understood as malice but rather as cunning, ‘a lesson learned in slavery but still valuable in the modern world’.
Two-thirds of them use the pentatonic (five-note) scale. All are in call-and-response form – the most common structural device in African traditional music – with slight overlapping between leader and chorus in more than half the songs studied. There is consistent anticipation of the established pulse by a fraction of a beat, the singer reaching the final note of the phrase slightly ahead of the expected THE HERITAGE OF NIGERIA AND BENIN 21 arrival, giving the whole line a ‘rushed’ feeling. The melody accent normally falls between the percussion beats.
64 These protests seem to have had 24 RHYTHMS OF RESISTANCE some success. 65 But the anxiety-makers were not satisfied. 66 But it was not so easy to take the streets away from black people in Brazil. And one of their responses was the creation of afoxés (Yor. se, ‘priest who can foretell the future’): semi-religious carnival groups composed of candomblé devotees wearing white tunics of West African style and singing songs in Yoruba. This ‘street candomblé’, as the afoxé movement has been called,67 took shape in Salvador in the 1920s.