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| Bloco da Preta | |
|---|---|
| Name | Bloco da Preta |
| Origin | Rio de Janeiro, Brazil |
| Years active | 1978–present |
| Genre | Samba, Marchinha, Carnival bloco |
Bloco da Preta Bloco da Preta is a Carnival bloco founded in Rio de Janeiro, Brazil, known for large street parades and popularizing samba and marchinha traditions. It functions as a prominent cultural institution within Brazilian Carnival alongside groups from Salvador, São Paulo, and Recife, attracting performers, tourists, and media coverage. The bloco has engaged with municipal authorities, cultural festivals, and recording labels while contributing to the urban music scene and Carnival economy.
Founded in 1978 in Rio de Janeiro during a period of renewed public celebration after the military regime, the bloco emerged amid other Carnival revivals such as Ilê Aiyê, Olodum, and Acadêmicos do Salgueiro. Early parades drew local musicians influenced by Cartola, Noel Rosa, Carmen Miranda, and Zeca Pagodinho, and soon the bloco intersected with institutions like the Escola de Samba Unidos de Vila Isabel and venues on Avenida Rio Branco. In the 1980s and 1990s the bloco expanded its reach through collaborations with radio stations such as Rádio Globo and broadcasters like Rede Globo, while municipal permits involved interactions with the Prefeitura do Rio de Janeiro and the Lei do Samba regulatory environment. During the 2000s the bloco adapted to tourism growth linked to events like the Pan American Games and later the FIFA World Cup and Summer Olympics, negotiating crowd control with Polícia Militar do Estado do Rio de Janeiro and emergency services including Corpo de Bombeiros do Rio de Janeiro. Throughout its history the bloco has navigated debates on heritage recognized by bodies such as the Instituto do Patrimônio Histórico e Artístico Nacional and cultural programs from the Ministério da Cultura.
Musically, the bloco centers on samba-enredo, marchinha, and partido-alto traditions rooted in composers like Pixinguinha, Heitor dos Prazeres, Ary Barroso, and Wilson Batista. Performances feature percussion sections inspired by bateria arrangements of Mangueira and Portela, brass influenced by Bossa Nova and arrangements familiar from Tom Jobim and João Gilberto, and vocal leads recalling Elza Soares and Milton Nascimento. The bloco incorporates repertoire from Carnival standards by Chiquinha Gonzaga, revivals of work by Gonzaguinha, and contemporary interpretations by artists affiliated with labels such as Som Livre and Universal Music Brazil. Rehearsals and workshops have involved musicians linked to institutions like the Conservatório Brasileiro de Música, community projects similar to Vila do Teatro, and collaborations with figures from the movimento negro and Afro-Brazilian cultural centers like Casa da Cultura da Providência.
Annual parades take place in central locations associated with events on Avenida Rio Branco, Copacabana, and near historic zones like Praça Mauá and Lapa Arches. Special performances have coincided with festivals such as Carnaval do Rio de Janeiro, the Festival de Parintins fringe, and municipal commemorations tied to Dia do Samba and Dia Nacional do Samba. The bloco has appeared alongside high-profile acts from Christina Branco to Ivete Sangalo at televised Carnival specials on TV Globo and has participated in charity events connected to organizations like Instituto Rio Moda and Fundação Roberto Marinho. Noteworthy editions attracted attendance paralleling crowds at shows by Gilberto Gil, Caetano Veloso, Marisa Monte, and Anitta.
Operational leadership combines artistic direction, logistics, and community outreach, with coordination involving municipal registration with the Secretaria Municipal de Cultura and engagement with unions such as Sindicato dos Músicos. The bloco’s structure includes directors for percussion, brass, and vocal sections, working with sound engineers and stage managers drawn from venues like Circo Voador and Fundição Progresso. Funding sources have included sponsorships from corporations similar to Petrobras, partnerships with cultural institutes like SESC, ticketed events coordinated with promoters such as Time For Fun, and merchandising through vendors in commercial districts like Rua do Ouvidor.
The bloco has influenced Carnival culture across Rio and other cities including Salvador, São Paulo, Belo Horizonte, and Fortaleza, informing debates in newspapers such as O Globo and magazines like Veja and Época. Scholars at universities such as Universidade Federal do Rio de Janeiro and Universidade de São Paulo have referenced its role in urban cultural dynamics, identity politics, and heritage preservation alongside studies on Afro-Brazilian expression linked to Quilombo dos Palmares narratives and religious practices at Candomblé terreiros. Public reception ranges from praise in lifestyle outlets to critiques in academic forums examining commercialization, gentrification, and the relationship with municipal authorities like the Câmara Municipal do Rio de Janeiro.
Recordings associated with the bloco include live parade compilations, studio singles, and contributions to Carnival anthologies released by labels such as Som Livre, Deckdisc, and Sony Music Brasil. Releases have appeared on compilation albums alongside tracks by Martinho da Vila, Beth Carvalho, Paulinho da Viola, and Zeca Pagodinho, and featured in soundtrack collections distributed with broadcasters like Globo Filmes. Archival audio and video have been preserved in collections at institutions such as the Museu da Imagem e do Som and documentation projects led by researchers from Fundação Getulio Vargas and cultural NGOs.
Category:Carnival in Rio de Janeiro Category:Samba groups