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| Carnaval da Cidade do Rio de Janeiro | |
|---|---|
| Name | Carnaval da Cidade do Rio de Janeiro |
| Native name | Carnaval do Rio de Janeiro |
| Location | Rio de Janeiro (city), Brazil |
| Dates | February or March (annual) |
| Genre | Festival, Parade |
Carnaval da Cidade do Rio de Janeiro is the annual festival held in Rio de Janeiro (city), Brazil marked by parades, street parties, and cultural competitions. It combines traditions from Portuguese Republic, African diaspora, and Indigenous peoples of Brazil and draws millions of visitors to venues such as the Sambadrome Marquês de Sapucaí and neighborhoods like Santa Teresa (Rio de Janeiro), Copacabana and Lapa, Rio de Janeiro. The event features participation by Escolas de samba, blocos de rua, public authorities including the Prefeitura do Rio de Janeiro and cultural institutions like the Instituto Moreira Salles.
Carnival in Rio de Janeiro (city) evolved from colonial-era festivities associated with the Portuguese Empire, linked to traditions brought by settlers and adapted under influences from the Atlantic slave trade, Yoruba people, Bantu peoples, and Indigenous peoples of the Americas. In the 19th century, elite masked balls in the Paço Imperial and popular "ranchos" and "cordões" coexisted with street processions led by figures tied to Abolitionism in Brazil and urban labor movements such as those connected to the Companhia de Navegação Lloyd Brasileiro. The consolidation of organized samba schools in neighborhoods like Mangueira, Portela and Império Serrano during the 1920s and 1930s intersected with media expansion via O Globo and Jornal do Brasil. The mid-20th century saw the construction of the Sambadrome Marquês de Sapucaí by Oscar Niemeyer-era projects and planners influenced by Getúlio Vargas cultural policies and the Ministry of Education and Health (Brazil) initiatives. Post-dictatorship cultural policies under administrations such as those of Luiz Inácio Lula da Silva and Fernando Henrique Cardoso further professionalized production, while festivals like Rock in Rio and celebrations around New Year's Eve in Rio de Janeiro have shaped contemporary staging and tourism dynamics.
Organization involves municipal, state and private entities including the Prefeitura do Rio de Janeiro, the Governo do Estado do Rio de Janeiro, and the Liga Independente das Escolas de Samba do Rio de Janeiro (LIESA). The calendar coordinates venues such as the Sambadrome Marquês de Sapucaí, municipal stages in Praça XV de Novembro, and public security agencies like the Polícia Militar do Estado do Rio de Janeiro and Corpo de Bombeiros Militar do Estado do Rio de Janeiro. Logistics draw on infrastructure tied to Aeroporto Internacional do Rio de Janeiro–Galeão–Antonio Carlos Jobim, Aeroporto Santos Dumont, and transit systems including SuperVia and MetrôRio. Sponsorship and broadcasting rights engage corporations like Globo (TV network), Band (TV network), and cultural sponsors such as the Instituto Brasileiro de Museus and multinational brands linked to FIFA and Olympic Games legacy projects. Event adjudication uses juries composed of representatives from entities such as the Academia Brasileira de Letras and music bodies like Escola de Música da UFRJ.
Samba schools such as Mangueira, Portela, Beija-Flor, Salgueiro, Imperatriz Leopoldinense, Unidos da Tijuca, Mocidade Independente de Padre Miguel, and Estação Primeira de Mangueira compete in tiers organized by LIESA and by the Liga das Escolas de Samba do Rio de Janeiro. Each escola mounts sambas-enredo composed by composers affiliated with groups like Aprendizes do Samba and directors including carnival producers inspired by figures such as Jorge Ben Jor and Cartola. Parade elements reference designers from institutions such as the Escola de Belas Artes (UFRJ) and employ artisans from neighborhoods including Vila Isabel and Madureira (Rio de Janeiro). Historical champions like Portela and Mangueira reflect cultural lineages connected to events including the Semana de Arte Moderna (1922) and collaborations with performers like Gal Costa and Caetano Veloso.
Street blocos originated from informal groups like Cordão do Bola Preta, Bola Preta, Sargento Pimenta and Monobloco and now include neighborhood blocos such as Simpatia é Quase Amor, Banda de Ipanema, Bloco da Preta and Meu Santo É Pop. They animate areas including Centro (Rio de Janeiro), Lapa, Rio de Janeiro, Ipanema and Copacabana. Municipal regulation involves the Comissão de Legislação da Câmara Municipal do Rio de Janeiro and public orders enforced by the Secretaria Municipal de Ordem Pública (Rio de Janeiro). Many blocos were catalysts for grassroots cultural movements tied to entities like Movimento Negro Unificado (MNU) and linked to artists such as Beth Carvalho, Martinho da Vila, and Gilberto Gil. International cultural exchange has connected Rio blocos with festivals in Lisbon, Buenos Aires, New York City, and Barcelona.
Musical forms at Carnival include samba-enredo, marchinha, samba de terreiro, samba-reggae and influences from bossa nova and tropicália. Costuming draws on designers and ateliers linked to Casa de Rui Barbosa, Museu do Amanhã, and fashion figures such as Zuzu Angel and Thierry Mugler collaborations that engaged Brazilian stylists like Dener Pamplona de Abreu. Iconic performers across eras include Elza Soares, Ivete Sangalo, Claudia Leitte, Anitta, Cartola, and Nelson Cavaquinho. Theme selection often engages historiography touching on Candomblé, Umbanda, Quilombos, and commemorations of figures like Zumbi dos Palmares and events such as the Independence of Brazil. Parade dramaturgy intersects with choreographers and directors associated with institutions such as Universidade Federal do Rio de Janeiro and production houses like Globo Filmes.
Carnival generates revenue streams for hospitality entities including Hotel Nacional (Rio de Janeiro), Copacabana Palace, and operators like CVC Brasil and LATAM Airlines. The event impacts sectors represented by the Associação Brasileira da Indústria de Hotéis (ABIH), Sindicato de Hotéis, Restaurantes e Bares (SEDEF) and retail in commercial corridors such as Avenida Atlântica and Rua do Ouvidor. International arrivals are recorded at Aeroporto Internacional do Rio de Janeiro–Galeão–Antonio Carlos Jobim with tourist flows tracked by the Instituto Brasileiro de Geografia e Estatística and promoted by the Embratur. Mega-events legacy investments from the 2016 Summer Olympics and partnerships with FIFA World Cup organizers affect infrastructure, while economic studies produced by universities like Fundação Getulio Vargas and Pontifícia Universidade Católica do Rio de Janeiro analyze multiplier effects, informal labor markets and income for artisans from Madureira (Rio de Janeiro).
Security coordination brings together agencies such as the Polícia Militar do Estado do Rio de Janeiro, Polícia Civil do Estado do Rio de Janeiro, Corpo de Bombeiros Militar do Estado do Rio de Janeiro, Defesa Civil (Brazil), and health services including Hospital Municipal Miguel Couto. Crowd control, transport planning and emergency response integrate transit authorities like MetrôRio, SuperVia and the Departamento de Trânsito do Estado do Rio de Janeiro (DETRAN-RJ). Private security firms contracted by organizers liaise with municipal bodies such as the Secretaria Municipal de Cultura do Rio de Janeiro and international insurers influenced by policies originating in Banco Central do Brasil. Logistics encompass float construction yards in neighborhoods like Caju, staging facilities at the Sambadrome Marquês de Sapucaí, and environmental management coordinated with agencies including the Instituto Estadual do Ambiente and Prefeitura da Cidade do Rio de Janeiro.