2020 Themed Samba
Authors: Claudio Russo, Diego Nicolau, Renato Galante, Kirrazinho, Ralf e Fadico (Participação Especial: Wagner Rodrigues)
Tire o preconceito do caminho
Que eu quero passar com minha cor
Plante flor sem ter espinhos
O ódio não flagela o amor
Senhor, a liberdade ainda não raiou
Quem deveria me chamar de irmão
Tem tanto desprezo na alma
Porque se somos iguais na raiz
Primatas na essência
Mas só a mim restou a cicatriz?
Abre a porta da senzala ôôô
Me liberte das mazelas, ê favela
Bananas que a vida dá (bis)
A gente consome
Quando a fome apertar
Quero ver, quem não come
E quando a liberdade é lei
De congo à Chico-Rei
A negritude é ouro
É arte que enfrenta a chibata
Nos terreiros de Ciata
É mão no couro
O negro é forte feito baobá
Coisa de orixá Ê crioulo…
Erga essa cabeça, vai na fé
Mostra que a nossa raça
Não é só samba no pé
Não, mil vezes não
Replique a dor
Que o preconceito
Fere igual punhal
Quando atravessa nosso peito
Entra na roda sinhá
Meu povo quer igualdade, respeito (bis)
Essa luta é tanto sua quanto minha
Vai ter quizomba
No quilombo da Rocinha
Emotional tattoo. Everything is marked by melanin between cells. The color imprinted on the skin denounces our ethnicity, where our root is embedded, reveals even our parents' culture. Skin color portrays stories, rescues memories, allows us to carry affective traditions as the result of a long trajectory.
Discriminating people by the color of the skin is something irrational. Throwing bananas at the black brothers as if this biased act were a major offense should no longer cause moral shock, for according to scientific studies based on the evolutionist theory initiated by the English naturalist Charles Darwin, monkeys and humans have a common ancestral relative. Both are part of the primate superfamily.
Although Darwin is right when it comes to the evolution of species, even today there are those who suffer from embarrassing racist acts, out of pure ignorance. Rocinha, subversive, reverses this preposterous logic by throwing bananas at still primitive primates, mentally dwarfed men poisoned by racism. In this way, our school wish to value affirmative actions so every black citizen imposes himself as a transforming agent, also developing his self-esteem and recognizing his own value.
What is in the Baiana's board? Bananas to Prejudice! Carnival is an auspicious scenario to go bananas from reality. This is why each banana quoted, symbolically trown back, will take on the contours of the courageous Afro-Brazilian identity manifested through dance, music, performing arts, sports, religious rituals, besides the struggle for justice sought by black mothers. This is the majestic cultural legacy left by the slaves who, although living in degrading conditions, never forgot their black nobility brought on the skin from Africa.
Although we have not evolved from a monkey at all, we are only with him as a relative of a common ancestor, Charles Darwin would be amazed today if he witnessed someone, out of sheer prejudice, throw bananas to deprecate black-skinned brothers. Who manifests racial prejudice forgets an unusual banana described in the evolutionist theory advocated by the English naturalist adventurer: both monkeys and men belong to the same evolutionary group, the primate supergroup. We do have primate roots, as well as wild chimpanzees due to our genes are 98% identical, a fact proven by genetic engineering. So why throwing bananas on black people? Only as a matter of skin?
Originally we belong to the primate class. Whether we are given or not, we are all the same and the inhabitants of a rocky jungle, both technological and chaotic, where intolerant actions recorded by History show open racial discrimination. Particularly in Brazil, prejudiced acts against Afro-descendants have stained this nation since colonial slave-owning times.
In the 21st century, prejudice is proof of how many humans remain primitive primates in the mentality. This is why anti-racism must have a character of constant social activism in the construction of a legitimate black identity.
When Darwin asserts that monkeys and men have a primate relative in common, it allows them to justify that bananas thrown on black citizens can also be re-launched as an affirmative moral effect against those who discriminate against them. "As long as the color of the skin is more important than the brightness of the eyes, there will always be war." Banana war!
Sugar banan is gold. In that anachronistic colonial Brazil the Africans here disembarked in the condition of slaves, however, black noblesse rebelled revealing the real meaning of monarchic symbols adopted in the quilombos, brotherhoods and festive popular demonstrations. Theses people tattooed on the skin from Africa, continent marked by great reigns, was a relevant instrument to overcome atrocities in the humiliating environment of slavery and, later, in the disguised Brazilian racism. Thus, the enslaved Chico "gave bananas" to the garimpo where he was exploited, becoming king in Minas Gerais after buying mangos with gold, that was stored in his hair. Nobly bred, merry parades of ex-slaves took to the streets to celebrate the coronation of the King of Congo, our traditional congado, with dances, batuques and sacred songs. Another Afro-Brazilian ensemble, lulled by the overturned thrash implements, bows to the royal court of maracatus whose Kings and Queens, sheltered under a sumptuous parasol with gold fringes, wield scepters and crowned heads. Negro slave dressed as a nobleman reflected "banana debauchery" in the eyes of the gentlemen.
Finger bananas. Impassioned, forbidden, stigmatized, important cultural expressions traced by the Afro-Brazilian artists have resisted the fetters of the nefarious prejudice after traveling a long trajectory until reaching autonomy, recognition and own creativity. Black art vivifies versed words transcribed in exquisite literary works; projects dramaticity displayed on the glamorous screen; overflows talent when he stars in soap operas; attracts media spotlights on the stars of the green lawns. Among the valuable artistic fields, two scenarios were equally prodigal to black stardom: the carioca slums, where sambas sprouted up and the "schools", associations that gave the musicians a sense of legitimacy and allowed to break with the segregating social barriers because of that fruitful clump descended inspired beats by avant-gard poets, many of them improvised, perpetuating stars like Ciata, who "on the phone" was denounced, but the police chief "gave bananas" not to let the flame of the malicious sambista be erased. Another exuberant scene featured performances illuminated by the magical backdrop of the stages: TEN, Teatro Experimental Negro, conceived by Abdias do Nascimento, a great exponent in the fight against racism and the marginalization of Afro-descendant populations. This inclusive project, which began in 1944, discussed the social valorization of the Negro in Brazilian theater and dramaturgy, bringing to the table workers, domestic servants, favelas and modest civil servants, all recruited by Abdias, whose aspiration was to compose black casts to delineate a new dramaturgical style, with its own aesthetic.
Plantains, the banana of the earth. Like a leafy Baobab, our black people flourished in the controversial terrain of modern Brazil to ripen new consciousness, branch out self-esteem, unleash avid militants for planting affirmative seeds. Now, anti-racist actions happen with no restrictions in the streets, squares, schools, at work, in the interconnected virtual environment and especially in the favelas, true urban senzalas where black mothers keep doing their efforts and continue evoking justice towards the new day ; where young black citizens denounce cruel realities to the sound of drums that shake structures imposed by conservative society. But whether it be in the favela or anywhere, racial prejudice will not be able to undermine who has a head made to flaunt lots of hair with their powerful subversively disheveled black power hairstyle. Neither will it intimidate devout children who are united by the mother faith, those who carry power in the axé, who even offer bananas in some of them asking for protection from the orixás because in them they find the strength to fight: "Save Our Lord Jesus Christ, Epa Babá, Oxalá! Save Saint George the Warrior, Ogum, Ogumhê, my Father! Save Saint Bárbara, Èparrei Oyá, my mother Iansã! Save Saint Peter, Kawô Cabecilê, Xango! Save Our Lady of the Conception, Odofiaba, Yemanjá!"
The samba school Acadêmicos da Rocinha was formed with the union of three carnival blocks: Império da Gávea, Sangue Jovem, and Unidos da Rocinha.
In this way, the boards of the three blocks met in 1988 to form a school that would represent the community of Rocinha worthily. Introducing himself for the first time in the carnival of 1989, the school had as nothing more, nothing less, than Joãosinho Thirty who took the school to a tri-championship.
Winning its first parade with the themed samba "The Splendor of the Divine Orixás" by the Preliminary Group, the school returned to emerge victorious in Group 3, with the theme "A Heart Called Brazil", and in Group 2, with the theme "From the splendor of Pagan Rome, to the Awakening of Rocinha ".
Arriving in Group A in 1992, the school made an excellent parade with the theme "Not to mention I did not speak of the flowers" of carnival designer Carlinhos de Andrade, but despite the excellent performance, the school did not pass the 5th place.
Finally the dream of belonging to the Group of the elite of samba came with the runner-up in 1996 with the plot "Bahia With Lots Of Love" developed by the carnival designer Gil Rincón.
Rocinha would thus reach the special group in 1997, after securing a runner-up in Group 1 in 1996.
The school's debut in the samba elite was a daring one, as it brought a story about Disney - "Zé Carioca's enchanted trip to Disney" - but failed to perform well and finally returned to Group 1. In that the same year Rocinha invited five children from the favela to represent Brazil on Disney's 25th birthday in Orlando, Florida. The school was awarded the Gold Standard for the best male samba dancer of that year, Zé Luís da Silva.
The following year, in 1998, the school had a very weak parade ended up falling to Group B, where it would return to be champion, but could not stay in Group 1 and ended up returning to Group B again, signing in 2001, but champion of this.
Returning to Group A for the Carnival of 2002, Rocinha paraded in its theme a tribute to Jornal O Povo, and in 2003, the school paid homage to the centenary of the Fluminense Futebol Clube. However, it had problems and not to exceed the parade time and did not make the drums' retreat in Sector 11, getting the 8th rating.