Geography
Area: 8,511,965 sq. km. (3,290,000 sq. mi.); slightly smaller than the U.S.
Cities: Capital--Brasilia (pop. 2.5 million). Other cities--Sao Paulo (11.2 million), Rio de Janeiro (6.3 million), Belo Horizonte (2.4 million), Salvador (2.7 million), Fortaleza (2.4 million), Curitiba (1.7 million), Recife (1.5 million), Porto Alegre (1.4 million).
Terrain: Dense forests in northern regions including Amazon Basin; semiarid along northeast coast; mountains, hills, and rolling plains in the southwest, including Mato Grosso; midwestern savannahs; the world's largest wetland area; and coastal lowland.
Climate: Mostly tropical or semitropical with temperate zone in the south.

People
Nationality: Brazilian.
Population (2010): 190 million.
Annual population growth rate: 1.02%.
Ethnic groups: African, Portuguese, Italian, German, Spanish, Japanese, Indigenous peoples, and people of Middle Eastern descent.
Religion: Roman Catholic (74%).
Language: Portuguese.
Education: Literacy--90.3% of adult population.
Health: Infant mortality rate--21.17/1,000. Life expectancy--73.1 years in 2010.
Work force (2009 est.): 101.7 million.

Government
Type: Federative republic.
Independence: September 7, 1822.
Constitution: Promulgated October 5, 1988.
Branches: Executive--president (chief of state and head of government popularly elected to no more than two 4-year terms). Legislative--Senate (81 members popularly elected to staggered 8-year terms), Chamber of Deputies (513 members popularly elected to 4-year terms). Judicial--Supreme Federal Tribunal (11 lifetime positions appointed by the president).
Political parties: Workers' Party (PT), Brazilian Democratic Movement Party (PMDB), Brazilian Social Democratic Party (PSDB), Democrats (DEM), Democratic Workers Party (PDT), Brazilian Labor Party (PTB), Party of the Republic (PR), Brazilian Socialist Party (PSB), Communist Party of Brazil (PC do B), Progressive Party (PP). Popular Socialist Party (PPS), Green Party (PV), Socialism and Freedom Party (PSOL), the National Mobilization Party (PMN), Humanistic Solidarity Party (PHS), the Brazilian Republican Party (PRB), Christian Social Party (PSC), Christian Labor Party (PTC), and the Labor Party of Brazil (PT do B), Brazilian Communist Party (PCB), and Brazilian Labor Renewal Party (PRTB).

Economy (2010 est.)
GDP (nominal exchange rate): $ 2.1 trillion.
GDP (purchasing power parity): $2.194 trillion.
Annual real growth (2010): 7.5%.
Per capita GDP (nominal exchange rate): $11,185.
Per capita GDP (purchasing power parity): $10,900.
Natural resources: Iron ore, manganese, bauxite, nickel, uranium, gemstones, oil, wood, and aluminum. Brazil has 14% of the world's renewable fresh water.
Agriculture (6% of GDP): Products--soybeans, coffee, sugarcane, cocoa, rice, livestock, corn, oranges, cotton, wheat, and tobacco.
Industry (28% of GDP): Types--steel, commercial aircraft, chemicals, petrochemicals, footwear, machinery, motors, vehicles, auto parts, consumer durables, cement, and lumber.
Services (66% of GDP): Types--mail, telecommunications, banking, energy, commerce, and computing.
Trade: Trade balance (2011)--$20 billion surplus. Exports--$202 billion. Major markets--China 15%, United States 10%, Argentina 9%. Imports--$182 billion. Major suppliers--United States 15%, China 14%, and Argentina 8%.
Exchange rate (March 3, 2011): U.S. $1 = 1.65 Brazilian reais.

GOVERNMENT AND POLITICAL CONDITIONS
Brazil is a federal republic with 26 states and a federal district. The 1988 constitution grants broad powers to the federal government, made up of executive, legislative, and judicial branches. The president holds office for 4 years, with the right to re-election for an additional 4-year term, and appoints his own cabinet. There are 81 senators, three for each state and the Federal District, and 513 deputies. Senate terms are 8 years, staggered so that two-thirds of the upper house is up for election at one time and one-third 4 years later. Chamber terms are 4 years, with elections based on a complex system of proportional representation by states. Each state is eligible for a minimum of eight seats; the largest state delegation (Sao Paulo's) is capped at 70 seats. This system is weighted in favor of geographically large but sparsely populated states.

Nineteen political parties are represented in Congress. Since representatives to the lower house might switch parties, the proportion of congressional seats held by particular parties can change. The major political parties are:

ECONOMY
The Brazilian economy’s solid performance during the financial crisis and its strong and early recovery, including 2010 growth of 7.5%, have contributed to the country’s transition from a regional to a global power. Expected to continue to grow in the 4% to 5% range, the economy is the world’s eighth-largest and is expected to rise to fifth within the next several years. During the administration of former President Lula, surging exports, economic growth and social programs helped lift tens of millions of Brazilians out of poverty. For the first time, a majority of Brazilians are now middle-class, and domestic consumption has become an important driver of Brazilian growth. President Dilma Rousseff, who took office on January 1, 2011, has indicated her intention to continue the former president’s economic policies, including sound fiscal management, inflation control, and a floating exchange rate.

Rising employment and strong domestic demand pushed inflation to nearly 6% in 2010, leading the central bank to boost interest rates and the Rousseff government to announce cuts in 2011 spending. The economic boom and high interest rates have attracted foreign currency inflows that have driven up the value of the currency (the real) by nearly 40% since the start of 2009. In an effort to limit the appreciation, the government has increased dollar reserves and capital controls.

Brazil is generally open to and encourages foreign investment. It is the largest recipient of foreign direct investment (FDI) in Latin America, and the United States is traditionally the top foreign investor in Brazil. Since domestic savings are not sufficient to sustain long-term high growth rates, Brazil must continue to attract FDI, especially as the government plans to invest billions of dollars in off-shore oil, nuclear power, and other infrastructure sectors over the next few years. The major international athletic competitions that Brazil will host every year until the 2016 Rio Olympics are also leading the government to invest in roads, airports, sports facilities, and other areas.

Trade Policy
President Rousseff will continue to make economic growth and poverty alleviation top priorities. Export promotion is a main component in plans to generate growth and reduce what is seen as a vulnerability to international financial market fluctuations. To increase exports, the government is seeking access to foreign markets through trade negotiations and increased export promotion as well as measures to promote exports.

Agriculture
Agriculture is a major sector of the Brazilian economy, and is key for economic growth and foreign exchange. Agriculture accounts for about 6% of GDP (25% when including agribusiness) and 36% of Brazilian exports. Brazil enjoyed a positive agricultural trade balance of $55 billion in 2009. Brazil is the world's largest producer of sugarcane, coffee, tropical fruits, frozen concentrated orange juice (FCOJ), and has the world's largest commercial cattle herd (50% larger than that of the U.S.) at 170 million head. Brazil is also an important producer of soybeans (second to the United States), corn, cotton, cocoa, tobacco, and forest products. The remainder of agricultural output is in the livestock sector, mainly the production of beef and poultry (second to the United States), pork, milk, and seafood.

Environment, Science, and Technology
About half of Brazil is covered in forests, and Brazil has the majority of the world's largest rain forest, the Amazon. Little less than 40% of the Amazon, and to a lesser extent the Cerrado (tropical savannah), is managed by national, state, or municipal governments, either as conservation units, forest concessions, or officially designated indigenous lands. In the last 30 years, migration into the Amazon and the conversion of forest land, primarily for agricultural use, reduced forest cover in the Brazilian Amazon by 20%. Through initiatives such as the revitalization of degraded pastures and forest, agriculture, and livestock integration, the government made progress in reducing deforestation for agricultural use. However, deforestation due to illegal logging remains a serious problem. In 2006, the government created the Brazilian Forest Service with the aim to manage in a sustainable manner the Amazon forest resources.

Other Aspects
Brazil has one of the most advanced industrial sectors in Latin America. Accounting for roughly one-third of the GDP, Brazil's diverse industries include automobiles and parts, machinery and equipment, textiles, shoes, cement, computers, aircraft, and consumer durables. Brazil continues to be a major world supplier of commodities and natural resources, with significant operations in lumber, iron ore, tin, other minerals, and petrochemicals. Brazil has a diverse and sophisticated services industry as well, including developed telecommunications, banking, energy, commerce, and computing sectors. The financial sector is secure and provides local firms with a wide range of financial products, yet interest rates remain among the highest in the world. The largest financial firms are Brazilian (and the two largest banks are government-owned), but U.S. and other foreign firms have an important share of the market.

As Brazil's economy booms from rising agricultural commodity prices worldwide, conflicts over land in the Amazon--where the agricultural frontier is rapidly expanding--are also on the rise. At times, the region appears to be ungovernable for the administration of President Luis Inácio "Lula" da Silva and the governing Workers' Party (PT), which face strong pressure to yield to the interests of regional, national and international agribusiness.

Since it came to power in 2003, the Lula government has been embroiled in a conflict between six large-scale rice growers and 19,000 indigenous people over 4.2 million acres of Amazon grassland, forest and river called Raposa Serra do Sol, in the northernmost state of Roraíma, on the border with Venezuela and Guiana. Today, the land dispute threatens to provoke a civil war in the region.
Palo mayombe orginated from the African Congo and is said to be the world's most powerful and feared form of black magic. In santeria religion there exists a dark side called Palo mayombe. Individuals who practice this dark aspect are called Palero. Palo Mayombe has a very long and historical history. This magic was transported to the Caribbean during Spanish slave trade to Cuba and Puerto Rico in the 1500.

The influence of Palo Mayombe can be found in Central America.Brazil and Mexico. Palo Mayombe in Brazil is Quimbanda. Quimbanda is a mixture of traditional Congo, indigenous in India and Latin American spiritualism.

The differences between Palo Mayombe and Santeria is the religion of Santeria uses the forces of light and the members of Palo Mayombe use ther forces of darkness to achieve their goals and magic spells. Palero practice extemely strong and powerful black magic. Many members of Santeria avoid being associated with Palo Mayombe. Palo Mayombe has its own priesthood and set of rules and regulations. Rules and regulations will vary according to the Palo Mayombe house to which an individual has been initiated into.

Palo Mayombe was integrated as part of the Santeria religion. It is an entirely different world, when having an experience outside of the Latin American spiritualism. It is rare to find a sincere individual in remote villages throughout Latin America and in the United States. There are several famous Palero priests as well as secret societies dedicated to the Palo Mayombe.

Paleros' do not advertise their powers and will only perform spiritual work for an individual by referral. Palero priest's power is so strong that they can take a man of obscure origin and turn him into a very powerfual world figure in a relatively short period of time. Many political leaders have been linked to an involvement with the practice of Palo Mayombe in order to keep them in power and control over the people. It is believed that a Palero can also bring death unto an individual within 24 hours. Palero can make and break you by saying just a few incantations and by performing a few minor rituals.

The lack of understanding and ignorance has always brought fear to people. In many cases this ignorance has brought extinction to entire races of people and cultures.

Palo Mayombe is a very fascinating and exciting aspect of Santeria and it should not be taken lightly or ignored. I am thankful to have had the opportunity to have become a part of an ancient form of magic. With great honor and pride,. I salute my family and ahijados in Palo Mayombe

The house of the dead is where the Palero spirits reside. Because the forces and powers of the dark are so fierce, they can not be kept with Santeros Santos or other spiritual guides. Traditionally a Palero will keep his spirts in a special house outside. This special house must always be locked to keep people away. The house must be large enough to conduct your dark magic or misa. If you live in an apartment you must keep your spirits in a seperate room or closet large enough for the spirit of Palo Mayombe. A basement is the perfect place for working the spirits of Palo Mayombe. When you recieve other spirits of Palo Mayombe, they can all stay together. There should be a minimum amount of light and at least one candle burning in honor of the spirits at all times. Palero priest must be stock with supplies for the

When you decide to take a step into the spiritual of Palo Mayombe, it is a life long commitment, dedication and service to our ancestors and spiritual guides A Palero priests' function is more important to serve and protect the community. When an individual is initiated into Palo Mayome, they are baptized into mysteries and secrets of the spirit. Paleros say that they are born of fire and in the end will die of fire. When becoming a Palero priest, a light in darkness will attract the blessings of the spirits. In death, a Palero's life is extingushed in death. They become an elevated spiritual guide of the eternal living darkness.


Before you can become a part of Palo Mayombe, they must first consult an experienced Palo Priest. The Palero will determine through direct contact with the spiritual world and the persons ancestors, if they will be able to practice Palo Mayombe. Most times the spirit will reject an individual because Palo Mayombe is not for that individuals spritual path . The spirits may also deny access to an indivdual because they may not yet be ready to handle or understand the responsibities of being a palero.


If the spirits respond favorably to your request, the next step is to receive a spiritual cauldron-spritual pot. After the invocation ceremony, the spiritual cauldron contains the secrets of powerful spirits. In Central America, Cuba and the Carribeans, this cauldron is called a Nganga-Prenda because the culture of modern day and the influence of Latin American's spiritualism in Palo Mayombe. It is not uncommon to find paleros whose spirits are the living dead. Muertos are kept inside of a large clay pot instead of traditional large iron cauldron. It depends on the palero priest in which form you will recieve your spirit pot and who will assist and teach you the secrets of palo mayombe.

Receiving the initiation and the spirits of Palo Mayombe is only the first step in a long journey into the world of spirits.

Enjoy a steaming cup of Brazlian coffee? Next time you take a sip think of the history behind the coffee bean in Brazil.
Adultery, deceit and politics, all the makings of a modern-day best-seller, yet this story is over 250 years old and what ultimately led to brazilian coffee. In 1727 a Brazilian official named Francisco de Melho Palheta was invited to mediate a heated border dispute between French and Dutch Guiana. Both governments were actively growing coffee in Guiana and closely guarded their financial interests by not allowing the exportation of viable coffee seeds.
Palheta quickly accepted the invitation with hopes of somehow obtaining some seeds for planting coffee in Brazil. While in Guiana Palheta became romantically involved with the French Governors wife. Upon his departure, after successfully mediating a solution to the border issue, the Governors wife presented him with a bouquet of flowers in which she had disguised several coffee seedlings.
The Brazilians quickly learned the rudiments of growing coffee with emphasis on quantity over quality, which is still the prevalent philosophy when it comes to growing coffee in Brazil. Brazil is by far the largest producer of coffee in the world with over forty percent of all coffee coming from this country. However, the vast majority is of marginal quality and what the major commercial processors such as Folgers, Maxwell House etc… rely on as the base product for their blends. By adding small amounts of higher quality coffee they are able to enhance flavor, body and aroma and provide a product that is acceptable to the masses at a reasonable price.
The production of coffee in Brazil had a dark side. As the cultivation of coffee in Brazil grew, so did slavery. Without enough local labor to handle the ever increasing demand for coffee, the Brazilian Government imported slaves by the tens of thousands. By 1828 well over a million slaves, nearly a third of the population, labored on the coffee plantations.
In response to pressure from the British Government, who had outlawed slavery and were boycotting Brazilian slave-grown coffee, Brazil half-heartedly outlawed slavery. Though importation of slaves declined, it did not cease and the two-million or so slaves that were already in the country remained in bondage. It would be another fifty years before slavery was truly abolished.
As production of coffee in Brazil modernized, modern being a relative term for a third-world country. A few growers established a reputation for providing high-quality coffee and edged their way into the American specialty market.
The best coffee in Brazil comes from the region around San Paulo and is named for the port through which it is exported, Santos. Santos is known for its smooth flavor, medium body and moderate acidity. While Santos is the best coffee in Brazil, it is still far from extraordinary when compared to other gourmet coffees of the world.
Even with the reputation of providing low-grade coffee to the masses, the impact Brazil has had on the world coffee trade is undeniable. Without Brazilian coffee to stabilize the market, coffee prices could be three to four times what they are. Imagine paying $15-20 for a one pound can of Folgers. I, for one, am grateful to Brazil for providing the world with cheap coffee.
Going to Brazil? Want to know what Brazilians eat and what is in stall for you? Read on for a quick guide to food in Brazil.
Introduction to Brazilian Food:
Every country has its staple diet and Brazil is no different. Food in Brazil revolved around three key things, 1) arroz which is white rice, 2) feijao which are black beans and 3) farinha which is like flour. It is very hard to try and avoid eating these although they do come in different shapes and sizes. These are usually eaten with either red meat, chicken or fish.
Restaurants in Brazil:
When you are on the move or out an about there are lots of different choices in terms of where to spot for some food in Brazil. A lanchonete is like a snack bar where you can by things like sandwiches, hamburgers, pastries and other ready-made snacks to fill a whole in the stomach. Restaurantes are where you go for sit-down meals. Here you can order anything from quick snacks to buffets to expensive set menus. Pizzarias are obviously where you go to get a pizza, although most also sell pasta. At a charrascarias you can eat all the BBQ meat you want and lots of other food for a fixed price, what would be called an "eat all you can." These are a great option for vegetarians as they usually have decent salad bars. You may come across a serving system called rodizio which are typical in charrascarias whereby the waiter will come round and keep offering you food until you can eat no more.
Meals in Brazil:
Breakfast, known as cafe is usually eaten between 6 and 8.30 a.m. The food at a typical Brazilian hotel breakfast will include coffee, juice, bread, cheese, cereal, eggs and fruit. Lunch is the main meal of the day in Brazil and is usually eaten between 11.30 a.m. and 1.30 p.m. Dinner (jantar) is very much like lunch in terms of the food eaten and can take place anytime from 7 p.m. onwards. If you are visiting any of the big cities in Brazil, like Rio or Sao Paulo, you will notice most people don't bother with dinner until 10 p.m.
Common Brazilian Food:
Although to the untrained eye it may all seem the same, food in Brazil varies from region to region. For example, in the Northern interior there is a heavy Indian influence while in the Northeast it is an African one. The main dish is also region based; in the Amazon fish is the staple while in the south meat, and lots of it, is the norm. Below we have listed a few of the more famous dished of Brazil.
Barreado: meats and spices cooked in a clay pot for 24 hours and served with banana and farofa.
Carangueijada: cooked crab (whole)
Caruru: a good example of a food brought from Africa to Brazil. This is made with ladies fingers (okra) and onions, shrimp, peppers and oil.
Cozido: a stew with potatoes, carrots and vegetables.
Dourado: freshwater fish.
Feijoada: Brazil's national dish. A meat stew with rice and a bowl of beans.
Xinxim de galinha: chicken flavoured with garlic, salt and lemon.

The Carnival of Brazil (Portuguese: Carnaval, IPA: [kaʁnaˈvaw]) is an annual festival held forty-six days before Easter. On certain days of Lent, Roman Catholics and some other Christians traditionally abstained from the consumption of meat and poultry, hence the term "carnival," from carnelevare, "to remove (literally, "raise") meat."[1] Carnival celebrations are believed to have roots in the pagan festival of Saturnalia, which, adapted to Christianity, became a farewell to bad things in a season of religious discipline to practice repentance and prepare for Christ's death and resurrection.
Rhythm, participation, and costumes vary from one region of Brazil to another. In the southeastern cities of Rio de Janeiro and São Paulo, huge organized parades are led by samba schools. Those official parades are meant to be watched by the public, while minor parades ("blocos") allowing public participation can be found in other cities. The northeastern cities of Salvador, Porto Seguro and Recife have organized groups parading through streets, and public interacts directly with them. This carnival is heavily influenced by African-Brazilian culture. Crowds follow the trio elétricos floats through the city streets. Also in northeast, Olinda carnival features unique characteristics, part influenced by Venice Carnival mixed with cultural depictions of local folklore.
Carnival is the most famous holiday in Brazil and has become an event of huge proportions. The country stops completely for almost a week and festivities are intense, day and night, mainly in coastal cities.[2] The consumption of beer accounts for 80% of annual consumption[citation needed] and tourism receives 70% of annual visitors. The government distributes condoms and launches awareness campaigns at this time to prevent the spread of AIDS.[3]
Rio de Janeiro style

A Samba school parades in the Sambadrome in the 2004 Carnival.
Main article: Rio Carnival
Modern Brazilian Carnival originated in Rio de Janeiro in 1641 when the city's bourgeoisie imported the practice of holding balls and masquerade parties from Paris. It originally mimicked the European form of the festival, later absorbing and creolizing elements derived from Native American and African cultures.
In the late 19th century, the cordões (literally "cords", laces or strings in Portuguese) were introduced in Rio de Janeiro. These were pageant groups that paraded through city avenues performing on instruments and dancing. Today they are known as Blocos (blocks), consisting of a group of people who dress in costumes or special t-shirts with themes and/or logos. Blocos are generally associated with particular neighborhoods; they include both a percussion or music group and an entourage of revellers.
Block parades have become an expressive feature of Rio's Carnival. Today, they number more than 100 and the groups increase each year. Blocos can be formed by small or large groups of revelers with a distinct title with an often funny pun. (Os blocos RJ, para os solteiros, são um lugar para conhecer e até beijar pessoas, or "The blocos in Rio de Janeiro, for the singles, are places to meet and even kiss people.") They may also note their neighborhood or social status. Before the show, they gather in a square, then parade in sections of the city, often near the beach. Some blocos never leave one street and have a particular place, such as a bar, to attract viewers. Block parades start in January, and may last until the Sunday after Carnival.
Mestre Sala e Porta-Bandeira, a double executing typical performance and opening a samba school exhibition.
There occur Blocos parades in nearly every neighborhood throughout the city and metropolitan areas, but the most famous are the ones in Copacabana, Ipanema, Leblon, Lagoa, Jardim Botânico, and in downtown Rio. Organizers often compose their own music themes that are added to the performance and singing of classic "marchinhas" and samba popular songs. "Cordão do bola preta" ("Polka Dot Bloco"), that goes through the heart of Rio's historical center, and "Suvaco do Cristo" (Christ's statue armpit, referring to the angle of the statue seen from the neighborhood), near the Botanical Garden, are some of the most famous groups. Monobloco has become so famous that it plays all year round at parties and small concerts.
Samba schools are very large groups of performers, financed by respected organizations (as well as illegal gambling groups), who work year round in preparation for Carnival. Samba Schools perform in the Sambadrome, which runs four entire nights. They are part of an official competition, divided into seven divisions, in which a single school is declared the winner, according to costume, flow, theme, and band music quality and performance. Some samba schools also hold street parties in their neighborhoods, through which they parade along with their followers.
Carnival time in Rio is a very interesting, but is also the most expensive time to visit Rio. Hotel rooms and other lodgings can be up to 4 times more expensive than the regular rates. There are big crowds at some locations and life is far from ordinary in many parts of town.
São Paulo style


Carnival parade in São Paulo, Gaviões da Fiel Torcida Samba School.
The carnival in São Paulo takes place in the Sambadrome of Anhembi on the Friday and Saturday night of the week of Carnival, as opposed to Rio’s Carnival, which is held on Sunday and Monday night.
Various “samba schools” compete in a huge parade. Each school presents a different theme, which they expose through their costumes, dance, music and the “carros alegóricos” (also known as “trio elétrico”, huge vehicles decorated according to the theme designed specifically for the parade).
The schools are responsible for choosing their own themes, which usually revolve around historical happenings or some sort of cultural or political movement.
The most famous (and usually the winners) samba schools are: Nenê de Vila Matilde , Vai-Vai, Camisa Verde e Branco, Unidos do Peruche, Mocidade Alegre and Rosas de Ouro (which in English translate to, respectively: Baby from Matilde Village; Go-Go; Green and White Shirt; Peruche United; Happy Youth; and Golden Roses).
Vai-Vai is the oldest school and has been the First Division champion most times (14 total, including the 2011 championship). It also is the most popular, for it has the most fans.
Bahia style
Main article: Bahian Carnival
(The city of Salvador has the largest street party in the world, the carnival) There are several major differences between Carnival in the state of Bahia in Northeastern Brazil and Carnival in Rio de Janeiro. The musical styles are different at each carnival; in Bahia there are many rhythms, including samba, samba-reggae, axé, etc., while in Rio there is the multitude of samba styles: the "samba-enredo", the "samba de bloco", the "samba de embalo", the "funk-samba", as well as the famous "marchinhas" played by the "bandas" in the streets.

Carnival circuit of the city of Salvador.
In the 1880s, the black population commemorated the days of Carnival in its own way, highly marked by Yoruba characteristics, dancing in the streets playing instruments. This form was thought of as "primitive" by the upper-class white elite, and the groups were banned from participating in the official Bahia Carnival, dominated by the local conservative elite. The groups defied the ban and continued to do their dances.
By the 1970s, four main types of carnival groups developed in Bahia: Afoxês, Trios Elétricos, "Amerindian" groups, and Blocos Afros. Afoxês use the rhythms of the African inspired religion, Candomblé. They also worship the gods of Candomblé, called orixás. An Electric Trio is characterized by a truck equipped with giant speakers and a platform where musicians play songs of local genres such as axé. People follow the trucks singing and dancing. The "Amerindian" groups were inspired by Western movies from the United States. The groups dress up as native Americans and take on native American names. Blocos Afros, or Afro groups, were influenced by the Black Pride Movement in the United States, independence movements in Africa, and reggae music that denounced racism and oppression. The groups inspired a renewed pride in African heritage.
Pernambuco style

Street Carnival in Recife.
The North East state of Pernambuco has unique Carnivals in its present capital Recife and in its colonial capital Olinda. Their main rhythms are the frevo and the maracatu. Galo da Madrugada is the biggest carnival parade in the world, considering the number of participants, according The Guinness Book of World Records. It means "dawn's rooster" and parades, as the name suggests, in the morning only. Frevo is Pernambucan-style dance with African and acrobatic influences, as it is fast and electrifying, often using an open umbrella and frequent legs and arms movements.
Unlike Salvador and Rio, the festivities in Recife, Olinda and Itamaraca do not include group competitions. Instead, groups dance and play instruments side by side. Troças and maracatus, mostly of African influence, begin one week before Carnival and end a week later. Some well-known groups have funny names, such as: Tell me you love me, damn eggymann (with a famous giant dancing doll that leads the group), Crazy Lover, Olinda's Underpants, and The Door. Held 40 days before Lent.
Minas Gerais style

Carnival parade of Ouro Preto, Minas Gerais.
Minas also holds some important carnival parades, mainly in the historic cities of Ouro Preto, Mariana and Diamantina. They are held mostly by students' houses, which attract a majority of young people from the neighbor states. There are also other major parades in the region, such as the one in Pompéu.
Carnival in Minas Gerais is often characterized by blocos carnavalescos with varying themes and fantasy styles, almost always accompanied by a brass and drums band. However, Minas Gerais carnival was first influenced by the Rio de Janeiro Carnival (several cities have their own samba schools). Later some Axé groups from Bahia came to play in the state every carnival season.
The Carnival of the city of Ouro Preto is very popular with college students in the area. The city has a large proportion of students, who during the year live in places called Repúblicas (a rented house maintained and ruled by themselves). During carnival, the Repúblicas are literally packed with residents and many visitors coming from all over the country. The hills prevent traffic of heavy sound trucks, but don't stop people from feasting all night and day.[4]
However, some view the Ouro Preto carnival festivities as a threat to the old and historical harmony of the region. According to one such person: the recent emergencet of industry from the surrounding localities, population growth and a spike in street traffic have jeopardize Carnival as older citizens remember it. One cause for alarm is the street carnival of Ouro Preto, which attracts thrill-seeking students from across Brazil. The students crowd the streets while playing loud and arguably disruptive music.[5]
Others
Some southern cities such as Curitiba, Florianópolis, Camboriú, and Porto Alegre have smaller samba school groups or blocos, but like São Paulo state towns, they seem to prefer balls to street dancing.

Anhembi Sambódromo in São Paulo.
The Carnival parades in Rio de Janeiro and São Paulo take place in the Sambodromo, located close to the city center. In the city of Rio, the parades start at 20:00 or 21:00 (depending on the date) and end around 5:00 in the morning. The Rio de Janeiro Metro (subway) operates 24 hours during the main parade days.
The actual amount of spectators in the Sambodromo may be higher than the official number of seats mentioned below. Sector 9 is an exception. Actually the word 'seat' is not relevant. In Sector 1 access is given to the local community at a symbolic cost. Sectors 6 and 13 are the cheapest. Sectors 3, 5 and 7 have equally good views (even though there is a price difference between them). Sector 9 has marked seats and is therefore less crowded. Dress Circle and Boxes are the best, and priced accordingly.[6]
Axé
This is not exactly about a style or musical movement, but rather about a useful brand name given to artists from Salvador who made music upon northeastern Brazilian, Caribbean and African rhythms with a pop-rock twist, which helped them take over the Brazilian hit parades since 1992. Axé is a ritual greeting used in Candomblé and Umbanda religions, and means "good vibration." The word music was attached to Axé, used as slang within the local music biz, by a journalist who intended to create a derogatory term for the pretentious dance-driven style.
As singer Daniela Mercury began her rise to stardom in Rio and São Paulo, anything coming from Salvador would be labeled Axé Music. Soon, the artists became oblivious to the derogatory origins of the term and started taking advantage of it. With the media pushing it forward, the soundtrack of Carnival in Salvador quickly spread over the country (through off-season Carnival shindigs), strengthening its industrial potentials and producing year-round hits along the 90s.
Tested within the height of Carnival heat, Axé songs have been commercially successful in Brazil throughout the past decade. The year 1998 was particularly fortunate for the artists from Bahia: together, Daniela Mercury, Ivete Sangalo, Chiclete com Banana, Araketu, Cheiro de Amor and É o Tchan sold over 3.4 million records.[8]
Micareta
Carnatal in Natal, largest micareta (off-season Carnival) in the country.[9]
There are also micaretas, as they are called off-season Carnival. The micaretas are similar to the Bahian Carnival and very different from the samba school parades, popular in Rio de Janeiro. The micareta is like this: during the days of party, a huge truck (called "trio elétrico"), with a band on the top and sound boxes all around, drives slowly along the streets or enclosed space.
The crowd follows the trio elétrico singing, dancing, jumping to the sound of the music. To be allowed to follow the truck, one must buy admittance to one of the several "blocos" (block). A bloco is an enterprise which obtains permission to participate in micareta, hires the band, sells admittance and controls access.
Brazil has several micaretas that take place throughout the year in various cities. They can be done in the streets (traditional micareta) or in closed spaces surrounded (indoor micareta).
Brazil in the 1980s started developing a reputation for violence and crime due to a massive debt that left no money for necessities such as police, hospitals and schools. In the early 1990s, however, things began to turn around, as the government was able to decrease its debt and thus reintroduce money into public services, starting with the police. Officers were stationed anywhere there seemed to be a problem: city streets, beaches, etc. and the crime rate began to fall. Huge investments into tourism simultaneously made the protection of tourists a government priority. Tourism throughout Brazil is now a top priority, and everything is done to ensure the safety and comfort of visitors.
Taxis are very safe and available everywhere, but some incidents are occasionally reported. Taxis are the number one most common mode of transportation that tourists use, and with their inexpensive costs and convenience, it is generally the one most recommended.[10]
Although pictures and videos of Carnival in Salvador don't usually focus on police officers, a security system is there. Besides the regular police force, revelers dance amidst a security staff numbering over 600 people in all, hired by blocos to contain the crowds and keep the flow moving as smoothly as possible along the designated circuit. All private security plans are reviewed in advance by the Brazilian Federal Police. Basically, these are the functions performed by security organizations during the parade:
• Rope Holders: They carry the ropes that separate the dancers who signed up with a bloco from the dancers who didn't (the so-called "popcorn" revelers), and help keep up the pace so bottlenecks don't form. There are about 400 rope holders in all.
• Rope Inspectors: Each inspector monitors about 10 rope holders.
• Rope Supervisors: They supervise about 5 rope inspectors each.
• Disciplinary Supervisors: About 70 supervisors in all walk at the front of the bloco as pacesetters, keeping dancers away from the ropes and monitoring the revelers' access to the support vehicle.
• Line Monitors: They monitor lines to restrooms, cash registers and bars.
• Costume Inspectors: They walk among the dancers, making sure that popcorns don't invade the area reserved to registered dancers, and also keep an eye out for falsified costumes and vendors without a license.
Security Agents: More than 50 professionals move about as the blocos press on, ready to handle excessive or aggressive behavior. They must work for companies approved by the Federal Police
Brazilian art
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Aleijadinho: Angel of the Passion, ca. 1799. Congonhas do Campo
Brazil was colonized by Portugal in the middle of the 16th century. In those early times, owing to the primitive state of Portuguese civilization there, not much could be done in regard to art expression. The original inhabitants of the land, pre-Columbian Indian peoples, most likely produced various forms of art, but very little is known about this. Little remains, except from specific cultures like the Marajoara, who left sophisticated painted pottery. So, Brazilian art—in the context of Western Art—began in the late 16th century and, for the greater part of its evolution, depended wholly on European standards.
The oldest known art in Brazil is the cave paintings in Serra da Capivara National Park in the state of Piauí,[1] dating back to c. 13,000 BC. More recent examples have been found in Minas Gerais and Goiás, showing geometric patterns and animal forms.[2]
One of the most sophisticated kinds of Pre-Columbian artifact found in Brazil is the sophisticated Marajoara pottery (c. 800–1400 AD), from cultures flourishing on Marajó Island and around the region of Santarém, decorated with painting and complex human and animal reliefs. Statuettes and cult objects, such as the small carved-stone amulets called muiraquitãs, also belong to these cultures.[3] The Mina and Periperi cultures, from Maranhão and Bahia, produced interesting though simpler pottery and statuettes.
In the beginning of the 21st century, the ancient Indian traditions of body painting, pottery, cult statuettes, and feather art are still being cultivated by the remaining Indian peoples.
[edit] Baroque
Main article: Baroque in Brazil
The first Western artists active in Brazil were Roman Catholic priests who came from Portugal to “civilize” the Indians. Jesuits assumed an important role in this process, with their many missionary establishments called "Reductions" teaching religion through art in the form of sacred plays, music, statuary, and painting. José de Anchieta was the first important playwright; Agostinho de Jesus and Agostinho da Piedade produced the first known sculptures; Belchior Paulo, João Felipe Bettendorff, Ricardo do Pilar, and a few others did the first paintings; while Francisco de Vaccas and Pedro da Fonseca[disambiguation needed] started organizing the musical life of the infant colony. Basílio da Gama and Gregório de Mattos were the first secular poets. All of them worked under the influence of the Baroque, the dominant style in Brazil until the early 19th century.[4][5]
Through the 17th and 18th centuries Baroque art flourished with increasing richness and craftsmanship, mainly in Bahia and Pernambuco along the coast and in some inland regions, reaching the highest levels of originality in Minas Gerais, where a gold rush nurtured a rich and cultured local society. In Minas lived the greatest artists of Brazilian Baroque: painter Manuel da Costa Ataíde and sculptor-architect Aleijadinho. Minas was also the birthplace of a proto-Neoclassical school of music and literature, with composers Lobo de Mesquita and Francisco Gomes da Rocha, and poets Tomás Antônio Gonzaga and Cláudio Manuel da Costa
Meanwhile, literature too evolved towards a romantic-nationalist school with the works of Casimiro de Abreu and Manuel Antônio de Almeida. Around 1850, a transition began, centered upon Álvares de Azevedo, who was influenced by the poetry of Lord Byron. This second generation of Romantics was obsessed with morbidness and death, and soon after, social commentary could be found in literature, both features not seen in the visual arts. Antônio Castro Alves wrote of the horrors of slavery, and the persecuted Indians were rescued through art by poets and novelists like Antônio Gonçalves Dias and José de Alencar. These trends combined in one of the most important accomplishments of the Romantic era in Brazil: the establishment of a Brazilian national identity based on Indian ancestry and the rich natural environment of the country.[11]
In music, the 19th century produced only two composers of outstanding talent: neoclassical sacred composer José Maurício Nunes Garcia, for a while music director to the court, and later, Romantic operist Carlos Gomes, the first Brazilian musician to win international acclaim.[12]
In the late 19th century, Brazilian art became acquainted with Realism. Descriptions of nature and of the people of Brazil's varied regions as well as psychological romances proliferated with João Simões Lopes Neto, Aluísio Azevedo, Euclides da Cunha, and, above all, Machado de Assis, while Almeida Junior, Pedro Weingärtner, Oscar Pereira da Silva, and other Realist painters depicted folk types and the distinctive colors and light of Brazilian landscape.
[edit] 20th century: Modern and Contemporary
The beginning of the 20th century saw a struggle between old schools and modernist trends. The Week of Modern Art festival, held in São Paulo in 1922, was received with fiery criticism by conservative sectors of the society, but it was a landmark in the history of Brazilian art. It included plastic arts exhibitions, lectures, concerts, and the reading of poems. Due to the radicalism (for the times) of some of their poems and music, the artists were vigorously booed and pelted by the audience, and the press and art critics in general were strong in their condemnation. However, those artists are now seen as the founders of Modern art in Brazil. Modernist literature and theory of art were represented by Oswald de Andrade, Sérgio Milliet, Menotti del Picchia, and Mário de Andrade, whose revolutionary novel Macunaíma (1928) is one of the founding texts of Brazilian Modernism. Painting was represented by Anita Malfatti, Tarsila do Amaral, Emiliano Di Cavalcanti, Vicente do Rego Monteiro; sculpture by Victor Brecheret; and music by Heitor Villa-Lobos, the leader of a new musical nationalism, among many others

Brazilian cuisine, like Brazil itself, varies greatly by region. The natural crops available in each region add to their singularity.
Brazilian cooking, while it has many similarities with that of its South American neighbors, is distinct and uniquely delicious. Stretching from the Amazon in the north, through the fertile plantations of the central coast and on to the southern pampas, the food of Brazil spans a unique mix of cultures and cuisines. The original population contributed popular ingredients like cassava and guaraná. African slaves influenced the cuisine of the coastal states, especially Bahía. And around the country, a Portuguese heritage is reflected in a variety of dishes.
Root vegetables such as cassava (locally known as mandioca, aipim, or macaxeira), yams, and peanuts[citation needed], and fruits like açaí, cupuaçu, mango, papaya, guava, orange, passionfruit, pineapple, and hog plum are among the local ingredients used in cooking. Brazilian pine nuts called pinhão grow in a tree that is abundant in the southern part of Brazil, and are a popular national snack, as well as a lucrative export. Rice and beans are an extremely common dish, as are fish, beef and pork.
Some typical dishes are caruru, which consists of okra, onion, dried shrimp and toasted nuts (peanuts and/or cashews) cooked with palm oil until a spread-like consistency is reached; feijoada, a simmered bean-and-meat dish; tutu de feijão, a paste of beans and cassava flour; moqueca capixaba, consisting of slow-cooked fish, tomato, onion and garlic topped with cilantro; and chouriço, a mildly spicy sausage. Salgadinhos, cheese buns, pastéis and coxinha are common finger foods, while cuscuz branco, milled tapioca, is a popular dessert. Brazil is also known for cachaça, a popular native liquor used in the caipirinha.
The European immigrants (primarily from Germany, Italy, Poland, Spain and Portugal) were accustomed to a wheat-based diet, and introduced wine, leaf vegetables, and dairy products into Brazilian cuisine. When potatoes were not available they discovered how to use the native sweet manioc as a replacement.[1] Lasagna and other pasta dishes are also very popular.
Sports in Brazil are those that are widely practiced and popular in the country, as well as others which originated there or have some cultural significance. The Brazilian people are very involved in sports. Football is the most popular sport in Brazil. One of the most influential Brazilian football players is Pelé, widely considered as the best football player of all time.
Capoeira
Capoeira is an Afro-Brazilian martial art marked by deft, tricky movements often played on the ground or completely inverted. It also has a strong acrobatic component in some versions and is always played with music. It is a culturally significant sport, developed in colonial times by slaves. Nowadays Capoeira is practiced internationally and found its way into popular culture through many computer games and movies.
Brazilian Jiu-Jitsu, luta livre and Vale Tudo
Brazilian Jiu Jitsu originated in Brazil in the 1910s, and emphasizes ground fighting techniques and submission holds involving joint-locks and chokeholds. Gracie Jiu Jitsu became known internationally in the 1990s, due to the very skilled fighters in the Gracie family, namely Hélio Gracie, Royce Gracie and Rickson Gracie, which are also responsible for spreading the practice of Vale tudo, meaning "anything goes", seen today in mixed martial arts tournaments such as PRIDE, DREAM and the Ultimate Fighting Championship. Many Brazilian fighters have became significant figures in various mixed martial art tournaments abroad, including these three, and caused "Wimbledon effects" with their domination. Some notable Brazilian fighters in these tournaments include Anderson Silva, Wanderlei Silva, Antonio Rodrigo Nogueira, Vitor Belfort, Mauricio Rua, Ricardo Arona, and Lyoto Machida. Helio Gracie had a rather small build and changed Jiu-Jitsu (that came from Japan) to be used by anyone in a real fight situation. The belt progression goes in the following order: White, Blue, Purple, Brown, Black, Red-black, Red.


Footvolley
Footvolley was created by Jordan Tavener in the 1960s. It is a mix of Football and Volleyball, where the players must use their feet and head to get the Ball over the net and into the opponent's court, and, is also played on the beaches. It is one of the most popular Beach Sports in Brazil.
Tennis
Maria Esther Bueno is the most successful Brazilian tennis player in Grand Slam tournaments. She has seven single titles (four wins at the US Open and three at Wimbledon) and twelve doubles titles (five at Wimbledon, four at the US Open, two in the Roland Garros, including a mixed doubles, and once at the Australian Open). In the men's side, Gustavo Kuerten, or Guga, is the most successful Brazilian player, with three wins at Roland Garros (1997, 2000, 2001) and the being ranked number one in the world for almost a full year. However, bad administrations, lack of money and serious support, and the elitization of this sport resulted in an uncompetitive Brazilian tennis, fragile and with a doubtful future. Today, Thomaz Bellucci is the Brazil's top player, one of the 30 best in the world.
Basketball
Basketball is the third most popular sport in Brazil. The men's Brazilian national team has won the Basketball World Championship twice, in 1959 and 1963. They have also been runners up on two occasions in 1954 and 1970, as well as coming third on two occasions in 1967 and 1978, meaning that the Brazilian national team has won in total six medals at the Basketball World Championship. The Brazilian national team has also won three Olympic bronze medals (1948, 1960, 1964)and total of nine medals at the FIBA Americas Championship three gold (1984, 2005, 2009) two silver (1988, 2001) and four bronze (1989, 1992, 1995, 1997). Oscar Schmidt is the most renowned male Brazilian player, and Hortência Marcari the most renowned female. There are many good Brazilian Basketball players that play in the Brazilian domestic league the Campeonato Brasileiro de Basquete and for big clubs across the world. There are four notable Brazilian players that play in the NBA: they are the Toronto Raptors' Leandro Barbosa, the Denver Nuggets' Nenê, the Cleveland Cavaliers' Anderson Varejão, and the San Antonio Spurs' Tiago Splitter.
[edit] Motorsport
Brazil has produced three Formula One world champions: Emerson Fittipaldi (1972 and 1974), Nelson Piquet (1981, 1983 and 1987) and Ayrton Senna (1988, 1990 and 1991). In total, Brazil has 101 Formula One race wins (as of the 2009 Italian Grand Prix), distributed between Senna (41), Piquet (23), Fittipaldi (14), Massa (11), Barrichello (11) and José Carlos Pace (1).
There are four Brazilian drivers in the 2010 lineup, Rubens Barrichello of Wiliams, Felipe Massa of Ferrari, Bruno Senna of Hispania and Lucas Di Grassi of Virgin.
The Brazilian Grand Prix has been in the Formula One calendar since 1972, currently held in October or November. There are two circuits have been host to the race: Jacarepagua and Interlagos. The first one, located in Rio de Janeiro, hosted the 1978 race and then between 1981 and 1989. From 1972 to 1977, in 1979 and 1980, and since 1990 the Brazilian Grand Prix takes place at the Interlagos circuit, in São Paulo.
The only Formula One constructor to ever be based in Brazil is Fittipaldi Automotive.
Brazil is also home to notable drivers in American Championship Car Racing. Cristiano da Matta was 2001 CART champion and Tony Kanaan was 2004 IndyCar champion, whereas Brazilians have won the Indianapolis 500 race 6 times: Emerson Fittipaldi (1989 and 1993), Hélio Castroneves (2001, 2002 and 2009) and Gil de Ferran (2003). The CART race the Rio 400 at Jacarepagua in the late 1990s, whereas the IndyCar Series currently hosts São Paulo Indy 300 street race since 2010.
In the sports car racing scene, Raul Boesel won the 1987 World Sportscar Championship and got close to winning the 1991 Le Mans 24 Hours, when he was second, and Ricardo Zonta won the 1998 FIA GT Championship. Also the Mil Milhas Brasil, an endurance race, has the longest history in the Brazilian racing events.
Auto racing popularity is rising, with the Stock Car Brasil and Fórmula Truck being broadcasted nationally. The South American Formula Three is mostly held in Brazil and has developed several South American circuit drivers.
On motorcycle racing, the most prominent Brazilian racer on MotoGP as of now is Alex Barros, who is the most experienced racer of all time in the category with 276 race starts and seven wins. The Brazilian motorcycle Grand Prix is a former Grand Prix race.
The Indigenous peoples in Brazil (Portuguese: povos indígenas no Brasil) comprise a large number of distinct ethnic groups who inhabited the country prior to the European invasion around 1500. Unlike Christopher Columbus, who thought he had reached the East Indies, the Portuguese, most notably Vasco da Gama, had already reached India via the Indian Ocean route when they reached Brazil.
Nevertheless the word índios ("Indians") was by then established to designate the people of the New World and stuck being used today in the Portuguese language to designate these peoples, while the people of India, Asia are called indianos in order to distinguish the two people.
At the time of European discovery, some of the indigenous peoples were traditionally mostly semi-nomadic tribes who subsisted on hunting, fishing, gathering, and migrant agriculture. Many of the estimated 2,000 nations and tribes which existed in the 16th century died out as a consequence of the European settlement, and many were assimilated into the Brazilian population.
The Indigenous population was largely killed off by the Spanish, declining from a pre-Columbian high of millions to some 300,000 (1997), grouped into some 200 tribes. However, the number could be much higher if the urban Indigenous populations are counted in all the Brazilian cities today. A somewhat dated linguistic survey[3] found 188 living indigenous languages with 155,000 total speakers.
On 18 January 2007, FUNAI reported that it had confirmed the presence of 67 different uncontacted tribes in Brazil, up from 40 in 2005. With this addition Brazil has now overpassed New Guinea as the country having the largest number of uncontacted peoples.
Brazilian Indigenous people have made substantial and pervasive contributions to the world's medicine with knowledge used today by pharmaceutical corporations, material and cultural development—such as the domestication of cassava and other natural foods.
In the last IBGE census (2006), 519,000 Brazilians classified themselves as indigenous, even though millions of Brazilians have Amerindian ancestry
The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, zouk-lambada, lambada, choro, bossa nova, frevo, maracatu, MPB, sertanejo, Brazilian rock, axé, brega, and others. Samba has become the best known form of Brazilian music worldwide, especially because of the country's carnival, although bossa nova, which had Antônio Carlos Jobim as one of its most acclaimed composers and performers, have received much attention abroad since the 1950s, when the song Desafinado, interpreted by João Gilberto, was first released. Instrumental music is also largely practiced in Brazil, with styles ranging from classical to popular and jazz influenced forms, featuring composers like Heitor Villa-Lobos, Pixinguinha and Hermeto Pascoal. The country also has a growing community of modern/experimental composition, including electroacoustic music.
Origins
The first registration of musical activity in Brazil comes from the activities of two Jesuit priests in 1549. Ten years later, they had already founded settlements for indigenous people (the Reduções), with a musical-educational structure.
One century later, the Reduções of the southern Brazil, which were founded by Spaniard Jesuits, had a strong cultural development, where some music schools were founded. Some of the reports of that time show the fascination of the indigenous people for European music.[1] The Indians also took part in the music, with both the construction of musical instruments and practice of vocal and instrumental performance. The musical standards were, naturally, from the European culture, and the purpose of the musicalization for the indigenous people was mostly for Catechism, with negligible original creative contribution by themselves. Later, the remaining Indians who survived the massacres and epidemics went to the more remote regions of Brazil, escaping from contact with the European settlers, and their part in the national musical life diminished, eventually almost completely disappearing.
Indigenous and folk music
The native peoples of the Brazilian rainforest play instruments including whistles, flutes, horns, drums and rattles. Much of the area's folk music imitates the sounds of the Amazon Rainforest. When the Portuguese arrived in Brazil, the first natives they met played an array of reed flutes and other wind and percussion instruments. The Jesuit missionaries introduced songs which used the Tupi language with Christian lyrics, an attempt to convert the people to Christianity,[4] and also introduced Gregorian chant and the flute, bow, and the clavichord.
Drum known as Ilú used in Xambá religion in Pernambuco
The earliest music in what is now Brazil must have been that of the native peoples of the area. Little is known about their music, since no written records exist of this era. With the arrival of Europeans, Brazilian culture began to take shape as a synthesis of native musical styles with Portuguese music and African music

Maracatu.
This type of music is played primarily in the Recife and Olinda regions during Carnaval. It is an Afro-Brazilian tradition. The music serves as the backdrop for parade groups that evolved out of ceremonies conducted during colonial times in honour of the Kings of Congo, who were African slaves occupying symbolic leadership positions among the slave population. The music is played on large alfaia drums, large metal gonguê bells, snare drums and shakers. An important variant is found in and around Fortaleza, Ceará (called maracatu cearense), which is different from the Recife/Olinda tradition in many respects: triangles are used instead of gonguês, surdos or zabumbas instead of alfaias. Also, important female characters are performed by cross-dressed male performers, and all African and Afrobrazilian personages are performed using blackface makeup.
Afoxé
Afoxê is a kind of religious music, part of the Candomblé tradition. In 1949, a group called Filhos de Gandhi began playing afoxé during hasnaval parades in Salvador; their name translates as Sons of Gandhi, associating black Brazilian activism with Mahatma Gandhi's indian independence movement. The Filhos de Gandhi's 1949 appearance was also revolutionary because, until then, the Carnaval parades in Salvador were meant only for light-skinned people.
Repente
Repentista.
Northeastern Brazil is known for a distinctive form of literature called literatura de cordel, which are a type of ballads that include elements incorporated into music as "repentismo", an improvised lyrical contest on themes suggested by the audience.
Similar to Repentismo, appears among the Caipira culture a musical form derived from Viola Caipira, which is called Cururu.
Eastern Amazônia
Eastern Amazônia has long been dominated by carimbó music, which is centered around Belém. In the 1960s, carimbo was electrified and, in the next decade, DJs added elements from reggae, salsa and merengue. This new form became known as lambada and soon moved to Bahia, Salvador by the mid-1980s. Bahian lambada was synthesizer-based and light pop music. French record producers discovered the music there, and brought it back with them to France passing by Portugal, where a Bolivian group called Los Kjarkas saw their own composition launch an international dance craze. Soon, lambada had spread throughout the world and the term soon became meaninglessly attached to multiple varieties of unrelated Brazilian music, leading to purist scorn from Belém and also Bahia.
Another form of regional folk music, bumba-meu-boi, was popularized by the Carnival celebrations of Parintins and is now a major part of the Brazilian national scene.
Popular music
Choro
Choro (literally "cry" in Portuguese, but in context a more appropriate translation would be "lament"), traditionally called chorinho ("little cry" or "little lament"). Instrumental, its origins are in 19th century Rio de Janeiro. Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). The young pianist Ernesto Nazareth published his first choro (Não Caio Noutra) in 1878 at the age of 14.[5] Nazareth's choros are often listed as polkas;[6] he also composed waltzes, schottisches, milongas and Brazilian Tangos. (He resisted the popular term maxixe to represent Brazilian tango.)[7] Chiquinha Gonzaga was another important composer of choros and started shortly after Nazareth. Chiquinha Gonzaga composed her first success, the polka-choro "Atraente", in 1877. In the beginning, the success of choro came from informal groups of friends which played in parties, pubs (botecos), streets, home balls (forrobodós), and also the musical scores published by print houses.[8] By the 1910s, much of the Brazilian first phonograph records are choros. The mainstream success of this style of music (By the 1930s) came from the early days of radio, when bands performed live on the air. By the 1950s and 1960s it was replaced by samba and Bossa Nova and other styles of Brazilian popular music, but was still alive in amateur circles called "rodas de choro" (informal choro gatherings in residences and botecos). However, in the late 1970s there was a successful effort to revitalize the genre carried out by some famous artists: Pixinguinha, Waldir Azevedo and Jacob do Bandolim.
Samba
In 1929, prompted by the opening of the first radio station in Rio de Janeiro, the so-called radio era began spreading songs - especially the novelty Samba in its current format - to larger masses. This period was dominated by few male interpreters - notably Almirante, Braguinha, Mário Reis, Sílvio Caldas, Francisco Alves and singer/composer Noel Rosa and even fewer chanteuses such as Aracy de Almeida and sisters Aurora Miranda and Carmen Miranda, who eventually came to Hollywood becoming a movie star.[9]
North eastern music is a generic term for any popular music from the large region of Northeastern Brazil, including both coastal and inland areas. Rhythms are slow and plodding, and are derived from accordions and guitars instead of percussion instruments like in the rest of Brazil—in this region, African rhythms and Portuguese melodies combined to form maracatu and dance music called baião has become popular. Most influentially, however, the area around the state of Pernambuco, the home of forró, frevo and maracatu.
Southern music
Southern music ((Portuguese: Música gaúcha) is a general term used for the music originally from the Rio Grande do Sul state, in Southern Brazil. It is somewhat of a mixture between Argentinian-Uruguayan styles with Portuguese melodies and aboriginal rhythms. Some of the most famous musicians of this genre are Renato Borghetti, Yamandu Costa, Jayme Caetano Braun and Luiz Marenco, among others.
Music of Salvador: Late 60s to mid-70s
In the latter part of the 1960s, a group of black Bahians began dressing as Native Americans during the Salvadoran Carnaval, identifying with their shared struggles through history. These groups included Comanches do Pelô and Apaches de Tororó and were known for a forceful and powerful style of percussion, and frequent violent encounters with the police. Starting in 1974, a group of black Bahians called Ilê Aiyê became prominent, identifying with the Yoruba people and Igbo people of West Africa. Along with a policy of loosening restrictions by the Brazilian government, Ilê Aiyê's sound and message spread to groups like Grupo Cultural do Olodum, who established community centers and other philanthropic efforts.
Frevo
Frevo is a style of music from Olinda and Recife. Frevo bands always play during the Carnival.
Forró
The core of a classic forró band is a trio consisting of zabumba, a triangle and an accordion. Forró is eminently danceable, and became one of the foundations for the lambada in the 1980s. Luiz Gonzaga was the preeminent early forró musician who popularized the genre in Rio de Janeiro and São Paulo in the 1940s with songs like "Asa Branca".
Samba-reggae
The band Olodum, from Pelourinho, are generally credited with the mid-1980s invention of samba-reggae, a fusion of Jamaican reggae with samba. Olodum retained the politically-charged lyrics of bands like Ilê Aiyê.
Funk Carioca and rap
Funk Carioca is a type of dance music from Rio de Janeiro, derived from and superficially similar to Miami Bass. In Rio it is most often simply known as Funk, although it is very different musically from what Funk means in most other places and contexts. Funk Carioca, like other types of hip-hop lifts heavily from samples such as international rips or from previous funk music. Many popular funk songs sampled music from the movie Rocky.[10]
Funk as well as rap was introduced to Brazil in a systematic way in the 1980s. These types of music were heavily supported in big cities by people—usually teenagers—of lower socioeconomic status. Many funk artists have openly associated themselves with black movements and often in the lyrics of their songs, comment on race relations and openly express black pride.[11]
In São Paulo and other places in the south of Brazil, in more urban areas, rap is more prevalent than funk. The lower class, mostly nonwhite rappers are referred to as "Rapeiros". They dress similarly to American rappers that they have seen on television.[12] Early Brazilian rap was based upon rhyming speeches delivered over dance bases sampled from funk albums, with occasional scratches. São Paulo has gained a strong, underground Brazilian rap scene since it's emergence in the late 1980s with many independent labels forming for young rappers to establish themselves on.[13]
In the 1990s in Rio de Janeiro, funk as well as rap were reported by the press to have been adopted by the drug lords of the city as a way to market their drugs at dance hall events. Some crime groups were known to subsidize funk parties to recruit young kids into the drug dealing business. These events were often called baile funk (which can mean a funk dance party) and were sometimes notorious for their blatant sexuality and violence. However, while some funk and rap music was used to send messages out about slums and drugs, others were used mostly to deliver socio-political messages about local, regional, or national issues they are affected by. In fact, some groups adhered to what they called rap consciência (socially conscious rap) and opposed hip-hop which some considered too alienated and consumerist. Despite these differences, both types of music continue to thrive in Brazil today.[10][11]
Sertanejo
Música sertaneja or Sertanejo is a term for Brazilian country music. It originally referred to music originating among Sertão and musica caipira. (Caípira music appeared in the state of São Paulo, Mato Grosso do Sul, Goiás and some the regions of Minas Gerais, Paraná, Mato Grosso and Mato Grosso do Sul. Musical rhythm very spread out in the Southeastern and southern regions of Brazil.) But it has since gained more influences from outside Brazil. In particular American country music, Mexican mariachi, and the Music of Paraguay. For several years it was a category at the Latin Grammy Awards.
Zouk-Lambada
Zouk-Lambada (also called Lambada-Zouk or Brazilian Zouk) is a group of closely related dance styles based on or evolved from the lambada dance style and is typically danced to zouk music or other music containing the zouk beat. The name Brazilian Zouk is used to distinguish the dance from the Caribbean Zouk dance style, which is historically related to, but very different from the Lambada dance style. The two dominant styles of Zouk-Lambada are the Porto-Seguro style and the Rio-style. The word Lambazouk is often used to refer exclusively to one or the other style depending on the region you live. The word Lambazouk was originally used to refer to the dance style developed by Daniel and Leticia Estévez López, although they use the term M-zouk nowadays (for Mallorca-zouk) The Zouk-Lambada dancing styles are among the most popular non-ballroom dances for couples in Brazil, others being Forró, Lambada, Samba de gafieira and Salsa.