![]() In 2004, the Samba de Roda do Recôncavo Baiano was included in the Livro Registro as Formas de Expressão, a book in which protected national cultural assets are registered. The Recôncavo can be divided into two distinct regions, one being the Salvador metropolitan region and the other the Recôncavo Sul, which includes the municipalities of the Jiquiriçá Valley in addition to those traditionally known as the Recôncavo. But where exactly is the Recôncavo Baiano located? The strip of land around the Bay of All Saints, which consists of mangroves, lowlands, and highlands, is known as the Recôncavo region. But the Samba de Roda do Recôncavo Baiano has great importance for the state of Bahia. Samba de Roda is not only found in the state of Bahia but can also be found in other regions of Brazil. The performances are usually inclusive in spirit, meaning that everyone present, including those who are attending for the first time, are generally encouraged to participate, sing along, clap in rhythm, and even dance in the middle of the roda if the opportunity presents itself. Samba de Roda can take place indoors or outdoors, in a bar, in a square, or a terreiro de candomblé. Normally, it is not customary for all participants to dance at the same time, as this would cause the circle to break up. Although men can also dance, women predominate in dancing, while men predominate in playing the instruments, except for the plate and knife. It is performed mainly from the hips down and consists of an almost imperceptible rocking back and forth of the feet, which are almost glued to the floor, with a corresponding movement of the hips. The choreography, which is always performed within the roda, can be very different, but the most typical gesture is the so-called miudinho. The repertoire of songs is known to most participants and can thus be performed at will during individual and possibly couple singing. Occasionally there may be verbal improvisations. The stanzas are relatively short and rarely exceed eight verses. The response or relativo, as it is called in Portuguese, is sung either by all present or sometimes by only one or two singers. The songs usually consist of the main verse, usually sung by one or two singers. Major instruments include viola, tambourine, chocalho (vessel rattle), atabaque (barrel drum), ganzá (rattle), guitar, reco-reco (rhythm instrument), agogô (impact idiophone), and berimbau. Plates and knives are often used to provide rhythmic accompaniment to the chants. The role of ad hoc solutions in the sound production of the Samba de Roda is best illustrated by the example of prato-e-faca, in English "plates and knives". It is quite possible to play a Samba de Roda without instruments: Singing, clapping hands, and beating the rhythms on any object. ![]() Samba de Roda was and still is often played with only the instruments available. The person standing and dancing in the center of the roda calls a new dancer to the center with the umbigada. In Portuguese, the circle means roda, hence the name Samba de Roda. Participants line up in a circle to sing, play, dance, and clap their hands. The Samba de Roda also influenced the emergence of the Bossa Nova and the Samba from Rio de Janeiro. In the Samba Corrido, there is dancing, clapping, and music at the same time. Only then do they begin dancing and clapping. In Samba Chula, the singers sing a poem, called the Chula, and the participants stand still waiting for the end of the sung poem. The music style includes two variants, Samba Chula and Samba Corrido. Subsequently, the event gained importance and conquered the whole country. The song " Pelo Telefone", was sung by the singer Donga. The first Samba de Roda was recorded on vinyl in 1916. The African heritage of Samba de Roda blends uniquely with cultural traits brought by the Portuguese, such as the guitar and tambourine, and with poetic elements of the Portuguese language itself. Today, the cultural traditions handed down by the enslaved Africans and their descendants, which include the cult of the Orixás and Caboclos and Capoeira, are maintained. The first reports with this name and many features that still characterize the Samba de Roda today date back to the 1860s.
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