Samba, written by Alma Guillermoprielo, is a fascinating account of the experiences Guillermoprielo went through during Carnival season in Rio de Janeiro, Brazil. For one year, Alma Guillermoprieto lived in Manguiera, a village near Rio de Janeiro, to experience the samba lifestyle. Her exploration was to find the meaning, history, and spirituality that drives samba. In order to explore this new culture, Guillermoprieto joins a local samba school, Mangueira, to see first hand what samba is. After gaining the trust from the locals, Guillermoprieto is able to get first hand accounts of how samba started, the beliefs that drive samba, and the process behind Carnival. Perhaps one of the most popular music and dance styles ever to emerge from Brazil, …show more content…
Guillermoprieto spent a year around the favelas, with that she was able to observe and hear stories that contradict what many imagine how drug lords (the malandros) interact within the community. Organized crime began in the favelas in 1889, with a lottery called the animal game. The game started with Baron Joao Batista, he used animals as symbols, similar to the game of bingo, he used the funds he received from the lottery to raise money for his zoo. After his death and the collapse of the zoo, the game lived on, “under the control of an emerging elite among the malandros” (Guillermoprieto, pg. 76). Once the government declared the animal game illegal, it was natural for these elite malandros to use this “underground” structured society as a means of prostitution rings, drug smuggling, gun dealing, and selling stolen goods. In the documentary, Favela Rising directed by Jeff Zimbalist and Matt Mochary, followed a man by the name of Anderson Sá, a former drug trafficker who establishes the movement AfroReggae. Throughout the movie Anderson talks about how disruptive and chaotic these drug lords are, stating “As long as we live in a war zone, our ideology won’t allow us to live passively, in comfort” (Anderson Sa). Anderson believed these drug lords are what ruins families, culture, and the image of the favelas. Being called malandra is not a burden, Dona Nininha explains malandra is a “good thing of course! A malandra is someone who does not let himself get stepped on” (Guillermoprieto, pg. 81). In the 1930s Manguira’s chief rival, Portela became the first school to be controlled by a malandro. The man in charge was Natal, and his passion for the samba schools and giving back to the community shows when he had “more than fifty streets paved, helped orphanages, churches, and hospitals. More than two hundred shacks built, sheltering the
Focusing on Salvador a city within the state of Bahia, it has a population of over 3 million people which was previously the capital of Brazil and has many historical influences, such as it “…was the largest and most important port for the trafficking of Africans and other goods on the transatlantic trade route.” (pgs. 5,8). Importantly, Salvador is the most the largest Black population outside of Africa, and is 77 percent Black with 2.3 million Black residents, and is a major factor in determining the projection of living standards and conditions, that re cast in negative commentaries throughout the other parts of the country. (p. 7). This plays a significant role in the social and economic hierarchy as the idea of the country not being influenced by racial distinctions is contradicted by the actual living conditions of Afro-Cubans verses that of other ethnic groups.
Introduction Written and published in 2008 by Paul Gootenberg, History professor and Latin American studies at University of New York at Stony Brook, “Andean Cocaine: The Making of a Global drug” retraces the pivotal stages of the illicit cocaine trafficking, starting from the boundless coca fields in Latin America to the chemistry laboratories in Europe up until the streets of U.S. cities. The aim of this book review is to provide the reader with a short but detailed insight of what is the main content of the book, by paying particular attention to its structure, objectivity and style. Scope & Organisation Adopting a meticulous chronological approach, Gootenberg describes the infamous and complex untold history of cocaine, analysing and
Parks wrote this essay mainly to get attention to people who are blessed to have a sustainable life and can lend a hand to others that are struggling to survive. This issue is very concerning and it is emphasized by the use of imagery to inform the audience of the infamous poverty in Brazil which is a growing concern or: “the most savage of all human affections. ”(Parks 1) The story starts off with Parks stating, “ I’ve never lost my fierce grudge against poverty”(Parks). Parks describes himself walking up a hill and seeing a 12 year old boy named Flavio balancing a tint of
As explained in Alma Guillermoprieto’s Samba, Brazilian samba and carnival allowed those who participated in the dance to come together to participate in Carnaval, a popular celebration during Lent. Samba, a popular dance in Rio de Janiero, Brazil, was an important symbol in Brazilian’s identity for people who were faced with poverty and racism to unite as a community where people’s differences in their backgrounds disappear. Brazilian samba and carnival promotes racial harmony because the idea of racial mixing did not stop people from participating in the dance, as they shared a similar love for samba. Samba brought together both blacks and whites as a community to participate in the dance throughout Carnaval. Alma writes, “I fidgeted, feeling both out of place and eager to linger in the household’s chaotic warmth.
In Sandra Cisneros’ The House on Mango Street, a young, impoverished girl with Hispanic origin, named Esperanza adapts to her new life in Chicago, on Mango Street. Throughout her time living on Mango Street Esperanza observes how other people are living around her, especially women and young girls like her. Esperanza has a variety of female role models in her life. Many are trapped in abusive relationships, waiting for others to change their lives. Some are actively trying to change things on their own.
He mentions that some young men sell drugs because they have no choice and nothing to lose in society. He acknowledge that choice is immoral. However, the resources available to the young men are limited. He states that “the creative social and cultural capital that the boys developed in response to being prevented from acquiring capital to succeed in mainstream institutions” (Rios:98). Moreover, he argues that the punishments meted out by the criminal justice system usually fail to support rehabilitation and social reintegration.
This is no surprise, as salsa can be found in many other Latin American countries. Salsa music is very popular for dancing. It can be heard at parties, bars, clubs, anywhere people may desire to dance. It features a range of instruments and a fast-paced, upbeat rhythm. Salsa music does integrate Cuban influences; however, it was founded in New York by the Puerto Rican community (“Costa Rican Music,” n.d.).
The illegal drug business is a business that is worth more than 25 billion dollars a year. An economic issue that the Barrio Azteca gang has to deal with is other gangs trying to fight for the control of the illegal drug business because the industry of illegal drugs looks very desirable to other gangs
Racial disparity in Brazil is best explained in Abdias Nascimento article, Quilombismo: An Afro-Brazilian Political Alternative. “I believe that the Black and mulatto the Brazilian of colour must have a racial counter-ideology and a counter position in socioeconomic terms. The Brazilian of colour must strive simultaneously for a double change: socioeconomic change in the country, and change in race and colour relations.” In 1968, through these words, Afro-Brazilian scholar, artist, and politician Abdias Nascimento called attention to the potentially divergent but essentially related nature of the two main objectives of Afro-Brazilian activism: first, to effect concrete change in the distribution of social and economic power in Brazil, and second,
Many people are undermined by the drawbacks of belonging to a low socioeconomic status. In The House on Mango Street, Esperanza is raised in a poor, Latino community, causing her to be introduced to poverty at an early age. This introduction of poverty affects Esperanza in many ways, one including that she is unable to find success. Esperanza struggles to achieve success in life because the cycle of poverty restricts her in a position in which she cannot break free from her socioeconomic status.
Poverty is “...the most savage of all human afflictions” (1). It “...[spreads] like a cancer” through generations that become ever more powerless to “...mobilize their efforts against it” (1). Nowhere is this more clear than in Gordon Parks’ essay, “Flavio’s Home”. Parks vividly retells the story of a young boy, Flavio de Silva, and his family as they struggle to survive on grossly less than the bare minimum in the slums of Rio.
The Story of the Vargas Family “Rosa Vargas’ kids are too many and too much. It’s not her fault, you know, except she is their mother and only one against so many” (Cisneros 29). In the novel The House on Mango Street, the author, Sandra Cisneros, touches on the many negative consequences of a single, impoverished mother raising an overwhelming amount of children. Poverty, discrimination, parental and neighborly responsibility, and respect are all issues and social forces that act upon the family; their presence or lack thereof cause several grisly occurrences to take place. Poverty was almost like a curse given to Rosa Vargas by her husband, who “left without even leaving a dollar for bologna or a note explaining how come” (29).
This band is composed of 2 primary singers known as Alexander Delgado and Randy Malcom Martinez. This bands music focuses mostly on reggae music style. One of the reasons why this band has become so popular is because of their collaboration with successful music stars such as Pitbull, Enrique Iglesias, and of course Marc Anthony. They sang a variety of songs including “Somos Tu y Yo” and “Yo quiero mas.” Being of Cuban decent I found my self very connected to the band and their songs.
In the short story “Flavio’s Home”, the author Gordon Parks expresses the poverty in Rio de Janeiro. Gordon Parks was a journalist, and photographer for “Life Magazine” and “Vogue Magazine”. Parks went to Rio De Janeiro in 1990 to enlighten the United States about the poverty-stricken areas in Brazil. The assignment given to him was to find an impoverished father with a family, and examine his earnings. Contrarily, when Parks seen a boy named Flavio; he became fascinated by his appearance and began to follow him home.
Aforetime, the Spanish word Joropo meant "a party or a soiree", but now the meaning of the word gained more power and is defined as a style of music and dance that identifies Venezuelans. Thereby, Joropo, a Venezuelan and Colombian genre, began as an ordinary activity that joined people around music and dances, food and socialization and later on it developed into popular music with both regional and national self-expression, traditional and entertaining significance, maintaining only some musical structures of the Llanero variant in tasca contexts, concerts, festivals, occasions and competitions. According to the parameters of defining a genre in Revista Musical de Venezuela, since the mid-1950s Joropo became wide spread in both private and public spaces and of high impact on social