Samba

Assembled from 28 blocks · 2 evidence · 28 related

1. Story
2. The Brazilian form that crystallised in Rio de Janeiro in the first years of the twentieth century, in and around the houses of Bahian women who had moved south, and which within thirty years was being promoted as a national music by a state that had until recently been arresting its practitioners. Its ingredients came from Bahia — the Recôncavo's samba de roda, Candomblé drumming and religious practice, capoeira — and travelled with people: a large migration of Afro-Brazilians from the northeast to Rio from the 1870s onward produced the district known as Little Africa around Praça Onze, whose Bahian matriarchs, the tias, hosted the gatherings where the music took shape. "Pelo Telefone", registered on 27 November 1916 in the name of Donga and later also of Mauro de Almeida, is conventionally called the first recorded samba; its authorship is disputed precisely because it emerged from collective improvisation in one of those houses rather than from a composer's desk. Samba is the third of this Journey's parallel American outcomes — permitted drums, dense percussion, a timeline on the surface — and the closest to the West African ensemble model of the three.
3. Knowledge
4. Blues
5. Samba
6. Rio de Janeiro
7. Connections
8. Blues
9. Rio de Janeiro
10. Tia Ciata (Hilária Batista de Almeida)
11. "Pelo Telefone" is registered
12. Colonial prohibition of drumming
13. The Mississippi Delta
14. Jazz
15. Guitar
16. The Great Migration
17. Samba
18. Race records
19. W. C. Handy hears a guitarist at Tutwiler station
20. The Great Migration
21. Mamie Smith records "Crazy Blues"
22. Muddy Waters is recorded at Stovall Farm
23. The Middle Passage
24. Samba
25. "Pelo Telefone" is registered
26. Evidence
27. "Pelo Telefone" was registered on 27 November 1916 in the name of Donga, later also naming Mauro de Almeida; it emerged from collective improvisation at the house of Tia Ciata and is conventionally called the first recorded samba, though earlier recordings labelled samba exist and its authorship is disputed among several musicians. V55 verification basis: retrieved in search summary across this institutional entry and Brazilian press accounts; the entry was not opened, and no registration document was examined.
28. Hilária Batista de Almeida (1854–1924) moved from Bahia to Rio de Janeiro in 1876 as part of a large northeastern migration, was a mãe de santo in Candomblé, and hosted at her house near Praça Onze the gatherings from which early samba emerged, offering musicians protection from a police force that treated Afro-Brazilian religion and capoeira as criminal. V55 verification basis: retrieved in search summary from reference and public-history accounts; none was opened, and no civil, parish or property record was consulted.