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| Carnaval de Rio | |
|---|---|
| Name | Carnaval de Rio |
| Native name | Carnaval do Rio |
| Location | Rio de Janeiro, Brazil |
| First celebrated | 1723 |
| Frequency | Annual |
| Genre | Carnival |
| Attendance | Millions |
Carnaval de Rio is the annual festival held in Rio de Janeiro, Brazil, renowned for its samba school parades, street blocos, elaborate costumes, and large public celebrations. The festival draws visitors from around the world to events concentrated in the Sambadrome Marquês de Sapucaí, neighborhoods such as Lapa and Copacabana, and venues across the South Zone. It intersects with national calendars like Carnival in Brazil and religious observances such as Ash Wednesday.
The origins trace to Portuguese colonial-era festivities including Entrudo and European traditions like the Venetian Carnival and Iberian carnival customs imported during the Portuguese Empire. Late 19th- and early 20th-century developments involved Afro-Brazilian cultural expressions from communities in Cidade Nova and Santo Cristo and institutions linked to Afro-Brazilian religions such as Candomblé and Umbanda. The emergence of organized samba groups paralleled the careers of musicians connected to Estácio de Sá and cultural figures like Cartola, Noel Rosa, Heitor dos Prazeres, and Ismael Silva. The inauguration of the Sambadrome Marquês de Sapucaí in 1984 transformed the spectacle following municipal policies under administrations of figures such as Jovair Arantes and civic planners influenced by events like the World Cup 1950 and 2016 Summer Olympics.
The event is managed through collaborations among municipal authorities of Rio de Janeiro, private promoters, and conglomerates including Liga Independente das Escolas de Samba do Rio de Janeiro and associations such as LIESA, Intendant offices, and neighborhood associations in Madureira and Cidade Nova. Scheduling aligns with the liturgical calendar anchored to Easter and Ash Wednesday and involves regulatory frameworks similar to those used by cultural bodies like Instituto do Patrimônio Histórico e Artístico Nacional for heritage events. Logistics engage entities such as Companhia de Engenharia de Tráfego and venues managed by architects influenced by names like Oscar Niemeyer and urbanists linked to Joaquim Cardozo.
Samba schools from communities like Mangueira, Portela, Beija-Flor, Salgueiro, Império Serrano, Acadêmicos do Salgueiro, Unidos da Tijuca, Grande Rio, Estação Primeira de Mangueira and Vila Isabel compete in divisions organized by LIESA and other leagues such as the Special Group and Access Group. Parade elements include enredo themes often inspired by works such as Macunaíma, biographies of figures like Zumbi dos Palmares, historical episodes like the Lei Áurea and Independence of Brazil, and tributes to artists like Cartola and Nelson Cavaquinho. Parade production involves carnavalesque roles such as Mestre-sala and Porta-Bandeira, Comissão de Frente, battery sections led by a puxador and directors associated with choreography traditions from schools in Vila Isabel. Judging criteria developed by organizations akin to LIESA determine scores for harmony, percussion, samba-enredo, floats and allegories, and costumes.
Music centers on samba-enredo, percussion-driven arrangements from sections known as bateria, compositions by maestros and arrangers tied to figures like Dona Ivone Lara and Monarco. Dancers include passistas and master choreographers who draw on traditions from neighborhoods such as Madureira and Vila Isabel, and influences from genres like samba de roda, marchinha, samba-canção, and bossa nova. Costume designers and ateliers reference historical repertoires from studios established near Centro and craftsmen trained in techniques promoted by cultural institutions including Fundação Getulio Vargas-linked programs and municipal cultural departments. Costumes range from minimalist two-piece designs worn by Carnival queens to monumental floats inspired by artists such as Heitor dos Prazeres and scenography approaches used in productions at venues like Theatro Municipal.
Street blocos such as Bola Preta, Sargento Pimenta, Céu na Terra, Simpatia é Quase Amor, Cordão da Bola Preta, Banda de Ipanema, Suja e Alvo, and neighborhood groups in Lapa, Ipanema, Leblon, Santa Teresa, Botafogo and Copacabana mobilize residents, musicians, and tourists. These blocos organize routes coordinated with municipal agencies like Prefeitura do Rio de Janeiro and policing by Polícia Militar do Estado do Rio de Janeiro and community safety initiatives associated with Unidades de Polícia Pacificadora. Street music includes brass bands, trio elétrico-style ensembles influenced by Axé traditions from Salvador and carnival marchinhas tied to composers like Braguinha and Lamartine Babo.
The festival generates revenue across sectors involving hospitality chains such as Belmond Hotel das Cataratas-type luxury providers, local pousadas in North Zone, tour operators, airlines like LATAM Brasil and Gol Transportes Aéreos, and informal economies in markets near Saara. Employment spikes in costume ateliers, float workshops, sound production firms, and event services with links to trade unions and federations comparable to Sindicato dos Trabalhadores das Indústrias de Confecção. Economic analyses by institutions like Banco Central do Brasil and studies at universities such as Federal University of Rio de Janeiro assess tourism flows and municipal tax revenues. Social impacts include community development projects in favelas like Rocinha and Complexo do Alemão, debates over gentrification in zones like Lapa and Centro, and public-health coordination with agencies like Serviço Único de Saúde during peak attendance.
Carnival serves as a stage for Afro-Brazilian cultural affirmation linked to figures and movements such as Gilberto Gil, Caetano Veloso, Jorge Ben Jor, Pixinguinha, and organizations advocating cultural rights. Controversies include disputes over commercialization involving media conglomerates like Rede Globo, debates on sponsorship from multinational corporations, tensions regarding policing policies and public security under administrations of mayors such as Eduardo Paes and Marcelo Crivella, and discussions about cultural appropriation, racial representation, and labor conditions for performers and artisans. Legal and policy debates have engaged institutions like Ministério Público Federal and cultural heritage bodies over preservation, copyright for samba-enredos, and the balance between tourism development and neighborhood autonomy.