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The story

Sambódromo Paulista - Photo / Disclosure: Carnaval SP
Sambódromo Paulista - Photo / Disclosure: Carnaval SP

After the embarkation of the mililique and the entrudo in Brazilian lands, the party, which would become Carnival, developed differently in the different places where it flourished. In São Paulo, under the strong influence of the populations that migrated from the countryside to the city, already in the context of the crisis of the coffee economy, it was the population resulting from the rural exodus caused by the coffee crisis that triggered the beginning of the São Paulo Carnival.

Carnival celebrations and samba itself differed little from Rio de Janeiro to São Paulo, except for a clear difference in tempo, that is, roughly speaking, in speed, in music time. The São Paulo samba musician, used to the hard work in coffee plantations and migrating to the city for workers' work, did what Plínio Marcos called 'working samba, tough, pulled to the batuque', contrasting with the lyricism and the cadence of the carioca samba.

In addition, São Paulo's samba was decisively influenced by other strongly percussive rhythms, such as the jongo-macumba, also known as Caxambú. The relationship between Carnival and the law dates from that time: the police repression suffered by the samba dancers, carried out harshly and without criteria. The samba dancers, not only at Carnival, but throughout the year, were seen as marginal and harassed by the authorities.

In the marginalized periphery of a São Paulo under construction, the sound of drumming announced an immigrant culture that would later influence Brazilian culture definitively. The first intervention of the Municipality of São Paulo in Carnival dates from 1885, promoting the first carnival parade of the strings existing at the time. [Citation needed] The strings for a long time defined the musicality of the working population in São Paulo, and it was in them that they developed the São Paulo samba.

However, the carnival demonstrations of the less affluent classes, with a strong black influence, were practically ignored by the mainstream press of the time, as well as by the public power, which sometimes repressed them. In 1914, the Cordão da Barra Funda was created by Dionísio Barbosa, this cord being an ancestor of the Green and White Shirt. Subsequently, others such as Geraldinos, Mocidade do Lavapés, Ruggerone and Campos Elyseos, the largest in the city until then, stood out.

Source: Wikipedia

Sambódromo Paulista - Photo / Disclosure: Carnaval SP
Sambódromo Paulista - Photo / Disclosure: Carnaval SP
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