English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Tools annual

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Presents the access of premium content as premium feature

Premium Content

Global: Zendy Plus annual

Global: Zendy Free Plan

This article explores the role of the samba subgenre partido alto as a mode of resistance to modernization and the Brazilian military regime’s disfiguration of samba music in the 1970s. This resistance ultimately led a handful of samba musicians to create the Gremio Recreativo de Arte Negra Escola de Samba Quilombo in 1975. While it is true that Quilombo nurtured Afro-Brazilian music and culture, the author demonstrates that its leader and cofounder, Antonio Candeia Filho, acted as a samba preservationist and a pioneer, referencing music of the African diaspora, but also as someone who drew the line when it came to espousing Pan-Africanism. The aversion to Pan-Africanism in Rio de Janeiro’s samba community heightened in the late 1970s, as Black Soul, among other foreign sounds and cultural presences, was perceived as a threat to the primacy of samba. Resumo Este ensaio estuda o papel do subgenero de samba partido-alto na resistencia a modernizacao e a descaracterizacao do samba durante o regime militar brasileiro na decada de 1970. Tal resistencia estimulou um bom numero de sambistas a fundar o Gremio Recreativo de Arte Negra Escola de Samba Quilombo em 1975. Embora o Quilombo tenha alimentado a musica e a cultura afro-brasileira, o autor demonstra que seu lider e cofundador, Antonio Candeia Filho, atuou como preservacionista e pioneiro do samba —inspirando-se na musica da diaspora africana—, mas tambem como alguem que estabeleceu limites quando se tratava de desposar o pan-africanismo. A aversao ao pan-africanismo na comunidade do samba no Rio de Janeiro intensificou-se durante o final da decada de 1970, quando o Black Soul, entre outros sons estrangeiros e presencas culturais, foi percebido como ameaca a primazia do samba.

Undesired Presences: Samba, Improvisation, and Afro-politics in 1970s Brazil