Samba

Samba is Brazil's "national rhythm," the foremost symbol of its culture and nationhood. To the outsider, samba and the famous pre-Lenten carnival of which it is the centerpiece seem to showcase the country's African heritage. Within Brazil, however, samba symbolizes the racial and cultural mixture that, since the 1930s, most Brazilians have come to believe defines their unique national identity. But how did Brazil become "the Kingdom of Samba" only a few decades after abolishing slavery in 1888? Typically, samba is represented as having changed spontaneously, mysteriously, from a "repressed" music of the marginal and impoverished to a national symbol cherished by all Brazilians. Here, however, Hermano Vianna shows that the nationalization of samba actually rested on a long history of relations between different social groups--poor and rich, weak and powerful--often working at cross-purposes to one another. A fascinating exploration of the "invention of tradition," The Mystery of Samba is an excellent introduction to Brazil's ongoing conversation on race, popular culture, and national identity.

A guide to the features of Samba-3 provides step-by-step installation instructions on integrating Samba into a Windows or UNIX environment.

Human existence is believed to be incomplete without the enrichment of culture. Some individuals wholeheartedly immerse themselves in their cultural surroundings, while others observe from a distance. The ancient Kirat civilization of Nepal predates any religious texts we have. Unfortunately, their profound cultural wisdom has primarily faded, leading to a disheartening void in our understanding of ancient knowledge. The plight of the indigenous communities in the land nurtured by their toil and sacrifice is a cause for concern. Neglecting the valuable contributions of these indigenous communities in the name of progress leaves us incomplete. Through a thorough anthropological study of the Kirat Limbu community, we've arrived at factual and logical conclusions regarding the questions they've raised. This writer endeavors to share this information, driven purely by academic value and recognition. Recognizing his responsibility, this writer, in the later stages of life, has felt a sense of urgency in preserving the positivity of research. The book is published to document synthesized knowledge based on trustworthy information and data, thereby sharing it with readers. This book is expected to be a valuable resource for those seeking to understand the true essence of Nepali soil, to explore the rich Kirat civilization, its culture, and the intricate tapestry of ethnic issues—best of luck on this enlightening journey.

In November 1916, a young Afro-Brazilian musician named Donga registered sheet music for the song "Pelo telefone" ("On the Telephone") at the National Library in Rio de Janeiro. This apparently simple act—claiming ownership of a musical composition—set in motion a series of events that would shake Brazil's cultural landscape. Before the debut of "Pelo telephone," samba was a somewhat obscure term, but by the late 1920s, the wildly popular song had helped to make it synonymous with Brazilian national music. The success of "Pelo telephone" embroiled Donga in controversy. A group of musicians claimed that he had stolen their work, and a prominent journalist accused him of selling out his people in pursuit of profit and fame. Within this single episode are many of the concerns that animate Making Samba, including intellectual property claims, the Brazilian state, popular music, race, gender, national identity, and the history of Afro-Brazilians in Rio de Janeiro. By tracing the careers of Rio's pioneering black musicians from the late nineteenth century until the 1970s, Marc A. Hertzman revises the histories of samba and of Brazilian national culture.

A genealogy is an orderly list of males or fathers, sons or descendants. It has been discovered that genealogy evolves through biological kinship and socio-cultural adaption. As a result, genealogy is the study of a clan's origin, history, and behavior. This ethnic knowledge exposes their mythical and historical past and social and cultural development. A family tree is yet another name for a genealogy. However, I discovered a significant distinction between genealogy and family tree. I found an unequal situation to the evolution of a plant's stem and branches, as indicated in the clan family tree. There is also a Misal Bhai, Manas Putra, or adopted brother arrangement among the clan. Even when there is a majority of the hereditary or biological family, including an inclusive element is crucial in any surname, caste, or nation (Samba, Limbu, Rai, Kirat, etc.). So, there is confusion caused by the term "family tree." People often equate the beginning of their clan to a tree or a branch when they visualize it. It is currently thought that all children with the same last name share the same biological father. To clear up this misunderstanding, the term "genealogy" would seem more fitting than "family tree." However, I used both words throughout the book. The genealogy I have provided is more schematic nomenclature than objective details. According to history and genealogy, the Phyang family rose to prominence within the Samba family around 300 years ago. Similarly, it is believed that the Samba dynasty connected to Phyang emerged from the Sen Rai community circa 700 years ago. Sen's ascent can be traced back to the Kirat people thousands of years ago. That expression serves as a framework for understanding history. Today, we have credible data, evidence, or material about the history of Sen and Kirat. These evidence or documents are dispersed. However, the history and knowledge of the Samba community or the Phyang family have been restricted to a small family. Many of its facts have vanished. The process of determining the lineage of Samba Phyang has been completed here based on the remaining evidence and information. If viewed as a model, this genealogy's circumstances and content can be utilized in other community studies.

First published in 1999, this volume examines the impact of political, social and cultural developments on the nation’s most popular musical form, samba, in the context of the period 1930-45, one of huge social change in Brazil, with the introduction of industrialization under the authoritarian regime of Getúlio Vargas. She looks at the context in which the songs were written, the life styles and social positions of the composers (sambistas), and their relationship to political and commercial structures. By studying samba lyrics we can obtain a clear picture of samba lyrics we can obtain a clear picture of samba’s shifting status as it was transformed from the music of working-class blacks and was appropriated by mainstream middle-class culture. The final chapters of the book focus on the lyrics of three influential sambistas: Ataúlfo Alves, Noel Rosa and Ari Barroso, and look at the manner in which their songs both comply with and flout tradition and authority.