Afro-Bahian Carnival: A Stage for Protest
1992; Volume: 11; Linguagem: Inglês
ISSN
2327-9648
Autores Tópico(s)Literature, Culture, and Criticism
ResumoAfro-Brazilian musicians have recently received unprecedented media attention in the United States as the North American and European markets for expands. But the latest wave of Brazilian music has little to do with the cool, smooth sounds of Bossa Nova which caused a great sensation among jazz artists and listeners in the early 1960s. American record companies and consumers have discovered the more popular roots music of Brazil - pagode samba from Rio de Janeiro, forro from the northeast, and the new samba-reggae from Salvador, Bahia. The latest interest in Afro-Bahian music was underscored by David Byrne's 1989 tour with singer Margareth Menezes, and most recently, Paul Simon's much publicized collaboration with Olodum, a carnival group from Salvador. As with other world music currently reaching North American and European listeners, a lot gets lost in the translation as one New York Times critic recently noted. 1 Observers often ignore or underestimate the cultural politics which lie at the core of most AfroBrazilian music and the carnival festivities which
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