Bahian Carnival
Bahian Carnival is a popular street event in the Brazilian
state of Bahia. It began to evolve from the gap between social classes,
"street carnaval vs private clubs",resulting in an inversion of the
social order, a utopic celebration of equality in which the social divide is
temporarily suspended. It's known as the biggest popular party of the world and
specialy in Brazilian.
Festival's
proportions
Carnival circuit of the city of Salvador. Two million people
participate in the annual festivities that last nearly a week, immersing
themselves in music and dance. During sixteen hours a day Brazilian popular
culture reaches its maximum expression and Salvador’s local economy gets a
boost of unequivocal proportions.
Bahia carnival
musicians
With the emergence of new Bahian talent who continued to
popularize regional rhythms, Carnaval became more of an organized affair though
it somehow retained its informality and contagious spontaneity. The success of
Luiz Caldas, Sara Jane, and Chiclete com Banana, along with the evolution of
"Ilê-Ayê" and the emergence of Olodum played a part in transforming
Salvador’s Carnaval into the biggest, longest, most itinerant open air show in
the world. The upper and middle classes finally succumbed to the Carnaval
–inspired ideal of racial harmony and by the end of the 80s the pre-lent
celebration entered a process of irreversible debauchery. Street carnaval came
to represent the collective identity of Bahian Carnaval.
By the start of a new decade, Bahia’s Carnaval became an
institutionalized talent factory. The success of precursors such as Luis
Caldas, Chiclete com Banana, Ilê-Ayê, Margareth Menezes, and Olodum heralded
the convergence of Carnaval and commercial music. Slowly the northeastern and
national music markets began to open.
Carnaval blocos
Meanwhile, the carnaval blocos began to evolve and branch
out into various currents of aesthetic, musical, and even religious
manifestations. While the afoxés, whose members brought their Afro-Brazilian
religious cosmology to the Caranaval procession by maintaining their African
roots with the puxada do ijexá this is a rhythm played in honor of the orixás
or Afro-Brazilian deities, the flourishing middle class blocos mostly relied on
carnaval music styled on Rio de Janeiro’s sambaenrredos.
Then the Afro-blocos emerged with an aesthetical proposal
extrapolated from the Indian blocos, introducing some fundamental innovations
in the process: parades revolved around themes and music was tailored to fit
the occasion. During this phase, Bahia’s street carnaval was infused with the
glamour and elitism propagated by carnaval clubs, initiating a slight reversal
of the egalitarian ideal.
PraP
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