Metamorphosis: The Impact of Third-World Immigration on American Culture

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Sign in via your Institution. Sign in with your library card. Search within In This Article I. Introductory Remarks II.

Conclusions and Outlook Bibliography Notes. All rights reserved. Sign in to annotate. Delete Cancel Save. He was speaking for himself, in the sense of his own preferences, but they also reflected the preference and taste that had become popular in Brazil since the s. Despite local protests, such as Cascudo's, samba quickly became synonymous with Brazil with the help of radio and government promotion.

Born out of the encounter and collaboration between classes and races Vianna , the samba that becomes synonymous with Brazil is then interpreted and proclaimed by leftist political groups and by the City of Rio de Janeiro as a genre whose purest and most authentic expression is found in the slums and is revealed in the annual carnival parades Sandroni Samba, the musical genre, and samba, the dance, become inextricably linked.

Thus, if Brazil is samba and samba is dance, consequently Brazil is also dance and, according to that belief, Brazilians prefer the musical genres that lead to dance, but not necessarily to samba. When Evaldo Jr. He is one of many who have discovered Brazilian music, particularly samba, in the United States: "For me, American music was better than Brazilian, but by playing with Chicago Samba I've realized that Brazilian music is much richer Thus, if Brazilians identify with samba when they encounter it away from Brazil, it is not because it was their preferred musical style, but because it is a central element of the dominant narrative about Brazil to which anyone can easily resort in their condition of immigrants away from home and in need of identity support to compensate for the symbolic and emotional losses of immigration.

It is to that extent, and as a result of the need for compensation, that samba turns into "something stronger with which Brazilians can identify," says Moacyr when comparing it to the Brazilian jazz played by Made in Brazil. To the need for compensation must also be added the demands of "a segmented system particularly sensitive to race and ethnicity", as noted by Gustavo Ribeiro in a study on Brazilians in San Francisco.

The pressures to identify with samba must be understood in this context that also includes the demands of contemporary cultural processes. Yet, despite these pressures, Brazilian immigrants who work with samba know full well that Brazilians appreciate many other dances. But, as they move away from the Brazil of their experiences and immerse themselves more deeply in the demands of the market for exotic cultural goods, they almost come to forget that not all Brazilians like samba.

Samba is so much lauded as a component of Brazilian nationality that Brazilian immigrants often forget that this exaggeration is more a part of a narrative, and how elements are arranged in it, than part of their own experience. Although aware that not everyone likes Brazilian samba, Moacyr has had a hard time dealing with its rejection by certain groups, individuals or environments. For this reason, he often felt something between disappointment and surprise when witnessing that the samba, which so readily moves Brazilians, bores Americans, Mexicans and other groups not familiar with it.

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While boring some, samba fortunately attracts others because it was through a Cuban immigrant that Moacyr got involved with samba in Chicago. He found a Chicago completely hidden in snow.

Tan and excited when he arrived, little by little he found that the energy that he had brought from Brazil was fading. His English was horrible and this prevented him from seeking employment in the field in which he was educated, advertising. The not-so-obvious differences between him and his wife when they lived in Brazil were becoming more visible and unbearable every day.

They lived in Cicero, a mixed area bordering both black and white areas. He explains that there was a permanent tension and he heard of cases of black families who bought a house in the area and the next day found their garage fire-bombed or car windows broken by neighbors. However his wife seemed to ignore the segregation, which was hurting him so deeply, and that too was one of their many areas of contention. In his first year in Chicago, Moacyr studied drawing, English and even cooking! He worked in a restaurant, cooking and washing dishes and eventually learned that there were many more opportunities for survival than only those afforded by his profession in Brazil.

By caring for his daughter, working in the restaurant and taking classes, he endured his first Chicago winter. Heriberto was there, with several percussion instruments, playing samba. Enchanted with Moacyr's performance, Heriberto invited him to be part of the group.

Weeks later the group performed at the Navy Pier. Moacyr remembers that the music played was not such a big deal, but the carnival costumes that the girls wore were beautiful and his participation in the show was the greatest pleasure he had since setting foot in Chicago. At that time, with his attention divided between the girls dancing and his memories of his first Chicago winter, it occurred to him that working with samba might be an alternative among others presented. But it was not until a year later - already divorced - that he met Claudio Peppe, who became his partner in the creation of the Chicago Samba School.

They rehearsed for six months, twice a week, roughly five hours each time. This dynamic facilitated the development of support and solidarity among them. So many miles away from its origin, samba seemed to arouse in Chicago the same wish it did in Brazil: that of bringing together people from all walks of life, who would not otherwise meet, with music, dance and joy. Moacyr remembers that the shows and rehearsals were always a party: "Gerardo, the guy who played the rattlexxx, was totally nuts! The Panamanian, who played the agogo, used to destroy one agogo per night!

I don't even know how to describe it! The group had a very good energy.

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We didn't know where so much enthusiasm came from! At first they paid rent of 50 dollars a month.

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At the time, during the last months of , Wicker Park had not yet gone through the gentrification that has since transformed it into a trendy neighborhood with strong artistic and multicultural appeal. Now composed of twenty or so members, the Chicago Samba School met weekly for samba jams and some Brazilian women always showed up to dance and enjoy themselves. It was almost a samba school in the Brazilian sense!

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And this was exactly Moacyr's idea: to realize the project of founding a samba school in Chicago in partnership with Claudio. Not everyone who played really knew what they were doing, but the group rehearsed every week. The word spread and every week more Brazilians joined the party. Soon the school was invited to play on Thursday nights at the Hot House , a club specializing in World Music.

From the start, Brazilian night was always packed.

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Approximately five hundred people filled the place and danced all night. Brazilians, Americans and Hispanics gathered, and the weekly meeting was full of energy and emotion. According to Moacyr "it was something new and very forceful, something coming from the roots, the heart, you know?

It was a very beautiful thing! People from the neighborhood and others who usually hung around, all knew about the weekly "party" and many would join. The Chicago Samba School played until the club shut its doors at half past two in the morning but nobody would leave because they wanted the group to keep playing. So, the musicians would move to the sidewalk while they played. In a few minutes the street was theirs: upset motorists and residents would call the police and, once in a while, someone would end up in jail.

After his second marriage, Moacyr moved to St. Louis and the administration of the Chicago Samba School was left to his partner Steve Carow who initiated a complete restructuring of the group to give preference to professional musicians. During this period of selection, Moacyr met Luciano Antonio, a Brazilian guitarist and student of classical music at the University of Missouri, Kansas City. Moacyr invited him to play in the group. Gradually, Moacyr and Steve replaced amateur musicians with professionals and the group increasingly moved away from its previous format as a sort of ongoing, informal jam session where everyone comes and goes.

They took the helm of a regular band, in which the relationship between components was more professional and working conditions more clearly established from the beginning. At this time, the group moved to the Mad Bar. As before at the Hot House , the group received a fixed fee regardless of the take at the door.

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Luciano says that Thursday nights were crowded. However, after a few years, the clientele began to drop and the bar owner cancelled the contract.

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It was then that the group moved to The Note all these clubs and bars were located a few hundred meters from each other. At the Note , the band needed to grow musically because payment now depended on good performance, professionalism. They worked hard, introducing new songs and arrangements. Moacyr and Steve hired new musicians, mainly those who played American jazz, and removed the word "school" from the band name: they became just Chicago Samba.