Related to what several scholars called samba or batuque are represented in the collection: the Cryola Drum of Maranhão, the Batuque of Curiau, the Coco of Alagoas, the Bambelô of Rio Grande do Norte, Carimbó and Lundu do Pará and Samba de Roda of Bahia. All these manifestations, although distinct from each other, due to their regional and particular characteristics, present a series of structuring elements that help to group them together. Edson Carneiro used the term "Samba de Umbigada" to characterize them, as Paulo Dias and Marianna Monteiro prefer to use the term Batuques de Terreiro because they consider the term samba very marked as a Genre of Brazilian popular music and as a carnival tradition.
The following are some of the characteristics of these manifestations, which show this union and these traces of the presence of African culture in Brazil. (We emphasize that not all of these manifestations present all these characteristics, but always some of them): dança de roda, a umbigada (Effective or simulated, with variants such as belly encounter, stomping), handcrafted drums of solid wood and excavated, covered in animal leather, tuned in the heat of the fire, the so-called responsorial corner, "in the form of a question and Response, "where a soloist improvises the verses and the choir responds," in short musical phrases "; The anti-clockwise dance and the praise of St. Benedict.
Another possible link to this tradition of central-southern Africa, where today Angola, Congo and Mozambique are present, is a presence in the popular Catholicism of the royal processions that year after year the streets in praise to Our Lady of the Rosary and to Saint Benedict. With very different rituals among them, many Afro-Brazilian manifestations celebrate the coronation of Black Kings and Black Queens, the Kings Congos. In the collection this tradition was registered in the Taieiras and Cacumbis of Sergipe. These manifestations, little known, are related to others such as congae, congos and maracatus.
For the rhythm or the repertoire are still present in this sample, linked to the samba in a very broad sense, Zabumba de Sergipe, Capoeira Angola da Bahia and Coco de Embolada de Pernambuco.
Get to know a little more of each of these manifestations through the audiovisual and photographic material of Djalma Corrêa.
A researcher of music and popular culture, percussionist Djalma Corrêa has collected in private collection for over 40 years of field research throughout Brazil, extensive documentation of Brazilian popular culture, as well as the collection of documentation made in parallel in Africa, Cuba, In Venezuela, Japan and Europe.
"Sotaques do Samba" presents a sample of the collection of Djalma Corrêa. Various records of the Afro-Brazilian manifestations that are somehow linked to samba and black culture of Bantu origin will be presented here. We do not intend here to define what is samba, but we see in these manifestations aspects that approach the broad cultural universe that is samba. Be it in its structural dimension, in the repertoire or even in its rhythmic and religious dimensions linked to the Bantu universe.