Rio de Janeiro's samba schools: narrative processes and (dis)continuity from the insertion of carnival artists (1950-1965)
Rio de Janeiro / Samba Schools / Memory / Carnavalescos
In this one, we will seek to understand how the narrative processes were built about the arrival of carnival artists to samba schools in Rio de Janeiro. At first, we try to understand the reasons why the two memoirists – Sérgio Cabral and Haroldo Costa – pointed to the work of Fernando Pamplona and his team as the starting point of a thematic and aesthetic revolution. In addition, we analyzed demos if they understood associations and if they perceived a movement that modified the patterns of the parades designed to increase the process as a moment. Furthermore, try to investigate whether the carnival artists themselves are revolutionary processes, judge their critical works that accept the manifestation of popular culture and respond to how they work in the associations.
perspective, the arrival of carnivals, considered at this age, which is a movement of our process of understanding continued in our way, because their work that as samba schools Gain the opportunity to present themselves in continuous ways to the general public, as well as a new aesthetics in the costumes what was like cultural, given that even associations little known by the general public. Carnivals such as ranchos and large societies of decadence had already entered decades of decades, precisely because they had not been learned to perceive the context they put in front of the public194 that came to advance0-5 of them, they did not promote the attention of and of the press. generally. From now the end of the 1950s.