From the Foreword
This book on Brazilian percussion presents a selection of my current research – based on experience in the field as well as study of the literature. It gives insight into the rich musical and cultural history of the Brazilian people and also reflects my personal and professional experience over many years as a percussionist . . .
Most of the rhythms introduced here are so-called Afro-Brazilian rhythms (Chapters 1–5). They developed exclusively in Brazil, while maintaining their strong African roots. The other rhythms (Chapters 6 and 7) have clear European origins, yet are strongly imbued with unmistakable African elements . . .
The teaching method has 141 pages and many photographs.
Excerpt from Chapter 2 – "Samba-Reggae in Bahia"
In the beginning of the 1970s, inspired by the "black soul" wave (The Jackson Five and James Brown, among others) in North America, young black Brazilians also began to invent new ways of demonstrating "black awareness" through hair style, clothing, dance and of course music. This movement called negritude developed with the greatest intensity in Salvador, the capital of Bahia, especially in the district of Liberdade on the outskirts of the city.With the founding of the bloco-afro Ilê-Aiyê (bloco = Carnaval group) black Brazilians developed a new consciousness on the political, musical and social-cultural level. The blocos, which arose directly out of the social reality of Bahia, made it their goal to rediscover the values of the black race and Afro-Brazilian culture and to integrate them anew. The name "Ilê-Aiyê" stems from Yorubá (an African language) and means "House of Life", strikingly reflecting the spirit of negritude . . .
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