African dances were recreated in Brazil, at different times and regions, since the legacy gained new meanings and expressions. In this context it is noteworthy that in discussions about african dances such as tradition, oral tradition and identity are very important issues. Afro-Brazilian dances present in popular culture are expressed in various rites: in the streets, the ballrooms, in the terreiros, under the ambits of sacred or profane, such as:
Sambas in its many forms (de roda, rural, enredo, canção, reggae, partido alto & rock amongst others
• Maculelê
• Afoxé
• Axé Baiano
• Danças do Reinado de Nossa Senhora do Rosário
(Congos, Moçambique, Catopés, Marujos, manguaras, pastorinhas, candomblés)
• Folia de Reis
• Umbanda
• Candomblé (dança dos orixás)
• Baiano/ Baião-de pares
• Bambelo or Coco-de zambê-de roda & bate-baú-de roda
• Batuque-de-fileira
• Calango-de-pares
• Carimbó-de-roda
• Caxambu-roda
• Frevo
• Jongo-de-roda
• Lundu-de-pares
• Mineiro-pau-de-pares
• Pagode de amarante de fileira
• Partido-alto-de-roda
• Tambor-de-crioula-de-roda.
and others….
Among these we highlight a few:
Maculelê
Its origin is in relation to all the folklore of African origin is obscure and unknown. It is believed to be a popular act of African origin that have flourished in the eighteenth century in the sugar plantations of Santo Amaro, which became part of the local celebrations. Some maintain, however, that the Maculelê also has indigenous roots, and then african-Indian origin.
Mestre Popo, the oldest popularly known Maculelê fighter, said that Maculelê reached the coast of Africa with the slaves, to the mills of Santo Amaro. It was a mix of fighting and dancing, defense and attack infused with songs which disguised it, without arousing the suspicion of the overseers, who only saw the dance.
Maculelê uses three drums, an agogo and ganzá that produce the rhythm. A pair of batons are used by each fighter.
Afoxé
Arrived from Africa with the slaves and in the Yoruba language it means “Dance of Happiness”.
This type of dance is central to many animist and religious celebrations around Brasil. It is a intoxicating mix of movement, sound, and color, reflecting the sensuality and spirit of Brazil as ethnic and cultural melting pot.
Puxada de Rede
Maintained in few beaches on the coast of Bahia, the Puxada de rede is an important folcloric manifestation African culture. It enables integration between the fishermen and the preservation of African cultural traits of the coastal dwellers, since all fishing activity is carried out accompanied by dances, mimes, poetry and African fishermen songs brought to Brazil.
Jongo
Jongo is an essentially rural cultural manifestation directly associated with the African culture in Brazil. The formation of samba carioca was heavily influenced by Jongo.
The Jongo or Caxambu was brought to Brazil by Bantus.
Generally, these Bantus were kidnapped in the ancient kingdoms of Ndongo and Kongo, (which nowadays makes up most of the region of Angola), brought as slaves for forced labour on coffee farms of the Paraíba River Valley, within the states of Rio de Janeiro, Minas Gerais and São Paulo.
To calm the anger and suffering of the slaves and to distract the boredom of the slave owners, the coffee plantation owners allowed their slaves to dance jongo on certain religious days.
For these slaves and their children, Jongo was one of the few moments allowed for exchange and fellowship.
Jongo is a secular dance used for entertainment, but a religious attitude pervades the party. Previously, only the elders could enter the circle & the youngsters could only observe.
The Jongo most likely has its origins in the traditional Angolan guessing games, the Jinongonongo. One essential characteristic of the Jongo is the utilization of symbols that, aside from maintaining rhythm, possess a magical function, apparently provoking paranormal phenomenon.
Carimbó
The carimbó is a sonority of Indian origin which gradually merged into the African culture, with assimilation of drums, and Portuguese elements, like finger snapping and clapping, which are used within the choreography. Originally, in theTupi language, this expression means drum, i.e. curimbó, as this rhythm was originally know. Gradually the term evolved to Carimbó.
Samba de Roda
It is a traditional musical style african-Brazilian, associated with a dance which in turn is associated with poultry.
Samba would have come by inspiration mainly from an African rhythm, the Semba, and would have been formed from a variety of references to African tribal rhythms.
The Samba de Roda in Recôncavo, is a mix of music, dance, poetry and celebration. Present throughout the state of Bahia, the samba is practiced mainly in the region of Recôncavo. But the pace has spread to various parts of the country, especially Pernambuco and Rio de Janeiro.
The Samba de Roda, as the name implies, is characterized by a circle of people within the Capoeira environment.
The rodas are always lively and full of joy, all women show their sensuality in a graceful way. Generally, Samba de roda begins after the close of the Capoeira roda.
Frevo
Frevo is a signature musical style from Pernambuco, an involving, feverish rhythm played by a brass band at Carnival in Recife and Olinda.
Dancers who perform elaborate, strenuous steps ahead of the band are called passistas. They wave multi-colored parasols as they leap and twist in a coreography and has its origin in capoeira.
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The partnership with REAL SAMBA (Premier Authentic Brazilian School in SA with a Brazilian Teacher) – (www.realsamba.co.za) allows SACF students to truly comprehend and create an intimate relationship with the Brazilian culture by learning Afro brazilian dances.
“Culvitar e ensinar as dancas afro-brasileira e cultivar a historia” (Passista Iso).
“To cultivate and teach afro-brazilian dances is to cultivate history” (Passista Iso)