Perspective: A parade to fight the far right
A performer is part of the parade at the Mangueira samba school at Carnival celebrations in the Sambadrome in Rio de Janeiro on March 5. By Paulo Pachá Paulo Pachá is an assistant professor of medieval history at the Universidade Federal Fluminense in Brazil. March 24 at 6:00 AM In Brazil, samba is more than a musical genre: It’s a story. At each year’s Rio Carnival, samba schools compete with plot-driven parades often rooted in the country’s history.
The Carnival parades carried out by samba schools in Rio emerged in the 1930s as a mix of several earlier popular traditions, but also through the state’s drive to control them. From the start, as authors Luiz Simas and Fabio Fabato have argued, samba schools and Brazilian society have engaged in an ongoing dialogue with the nation’s history.
Both the samba and the parade shared the same title: “Bedtime Stories for Grown-up People.” Framed by the composers as an emotional conversation with Brazil itself about “the history that history does not tell,” it challenged the traditional characterization of colonization and the nation’s heroes .
The parade itself was carried out by more than 3,500 people — musicians, dancers, actors and support personnel — organized in “alas” and used costumes, performances and allegorical cars to present its plot. The parade made its history lesson clear at one moment when it eloquently swapped the nation’s traditional heroes presented as framed portraits in a museum wall for indigenous and black figures.
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