2020 Themed Samba
Authors: Marcelo Motta, Fred Camacho, Guinga do Salgueiro, Getúlio Coelho, Ricardo Neves and Francisco Aquino.
Singer: Emerson Dias
Na corda bamba da vida me criei
Mas qual o negro não sonhou com liberdade?
Tantas vezes perdido, me encontrei
Do meu trapézio saltei num vôo pra felicidade
Quando num breque, mambembe Moleque
Beijo o picadeiro da ilusão
Um novo norte, lançado à sorte
Na "companhia" do luar... Feito sambista...
Alma de artista que vai onde o povo está
E vou estar com o peito repleto de amor
Eis a lição desse nobre palhaço
Quando cair, no talento, saber levantar
Fazer sorrir quando a tinta insiste em manchar
O rosto retinto exposto
Reflete no espelho
Na cara da gente um nariz vermelho
Num circo sem lona, sem rumo, sem par...
Mas se todo show tem que continuar
Bravo! Ah esperança entre sinais e trampolins
E a certeza que milhões de Benjamins
Estão no palco sob às luzes da ribalta
A luta me fez majestade
Na pele, o tom da coragem
Pro que está por vir...
Sorrir é resistir!
Olha nós aí de novo
Pra sambar no picadeiro
Arma o circo, chama o povo, Salgueiro!
Aqui o negro não sai de cartaz
Se entregar, jamais!
I was born free!
I am the son of the “Negro Malaquias”, a darn brutal guy who hunted the “runaway” farm, whose lords were good; and my mother Leandra was a domestic captive.
One day the circus arrived in the village, I brought corn bread to sell at the entrance; I was about twelve years old and decided to run away. The arena represented freedom, dream and fantasy. Before I forget, my name is Benjamim Chaves, but my dad calls me "Beijo," "Moleque Beijo."
I left at Circus Sotero, There, the obligation of the children was to learn all the tasks early. Even me, who was an aggregate, learned under punishment, how to take care of animals, all stunts and other things…
“The art mother of all numbers is the leap” and I made a leap in life. You have to learn to fall, to know how to get up.
I learned a lot from “Mestre Severino” and adopted his surname, now you can call me Benjamin de Oliveira. But between dream and reality, life of "kiss" is difficult, it is difficult as what ... And from catching so much, I ran away again. My destiny was to run away, black man's destiny…
I went after a caravan of gypsies, but the rogues wanted to trade me for a horse?!
I went and got caught by a farmer, proved it was from the circus and he let me go on a trip.
And from circus to circus, I replaced the main clown, who was sick, in the Frutuoso Circus, beginning my story there.
Night was beginning to boil in the big cities, it was new times, theaters, concert cafes, the elite sought serious theater, and the lighter people found the fun they wanted in the circus. “Every artist has to go where the people are!”
My popularity grew, once until the president, the iron marshal Floriano Peixoto, for me to sing and dance fouls was there to greet me.
At Spinelli I launched the form of theater combined with circus they would call the pavilion. Comedies, parodies and the art of acting by gestures, without words. We made classics, like Otello, farces, melodramas, operettas like The Merry Widow, even a parody of The Guarani, which ended up projected on the screens, cinema appeared in the beautiful era. The first Momo, which would later be the representation of the “King in Folia”, was for the first time, represented by me, in my fantastic operetta The Cupid of the East. As well as countless pieces of my own.
I was an actor, director, author, producer, dancer, composer, singer (even recorded records), and clown yes sir! BRAZIL'S FIRST BLACK CLOWN! And the clown, what is it? And what was it? Wow ?! Above all: a Brazilian artist !!!
Open the curtains, turn on the lights, the show has to go on! Respectable audience, ladies and gentlemen, on this catwalk / parade, my dear Willow will present: New Benjamins of the circus, theater, cinema and television, with the applause “d'you”!
I say goodbye with a kiss from “Moleque” and thank you very much !!!
In its first parade, with the plot "Romaria à Bahia" in 1954, Acadêmicos do Salgueiro surprised the audience and reached third place, ahead of Portela.
The first president of the Salgueiro was Paulino de Oliveira and in the years that followed, the school dared to deal with plots that put black people in prominence, not as extras. It is a striking example of this new style, Ship Negreiro (1957). But it was in 1958, under the presidency of Nélson Andrade, that the association adopted the motto that it still has today: no better, no worse, just a different school. Nélson Andrade was responsible for the carnival of Fernando Pamplona to the Salgueiro in 1960, beginning a great change in the visual of the school. Pamplona created a team formed by him, the couple Dirceu and Marie Lousie Nery, Arlindo Rodrigues and Nilton Sá, revolutionized the aesthetics of the parades of the samba schools. This trend was reinforced by the arrival of Fernando Pamplona and later by Arlindo Rodrigues, who rescued black characters who enriched Brazilian history, although they were little portrayed in school books such as Zumbi dos Palmares (Quilombo dos Palmares - 1960), Xica da Silva (Xica da Silva - 1963) and Chico Rei (Chico Rei - 1964).
1963 - "Xica da Silva"
In the first parade held on Avenida Presidente Vargas, Acadêmicos do Salgueiro was the ninth school to perform for Group 1. Once again the school chose to pay homage to an unknown personality of the general public at the time, Chica da Silva. The idea of ??developing such a plot started from the carnival artist Arlindo Rodrigues. Even Fernando Pamplona was unaware of the character. Arlindo was responsible for the parade, while Pamplona helped to choose the samba-entredo. For the first time, in the history of the carnival of Rio de Janeiro, a plot was centered on a female personality. Also for the first time, a samba school parade featured a choreographed wing. With wigs, gloves, and period clothing, school components represented twelve pairs of polka dancing nobles. The "minuet" wing was choreographed by Mercedes Baptista, the first black dancer of the Municipal Theater of Rio de Janeiro. At the time, the idea caused controversy and divided opinions, receiving criticisms from more traditional sambistas. With the passage of time, the choreographies in wings and allegories were incorporated by other schools. Isabel Valença, wife of the then president Osmar Valença, paraded as a standout representing Chica da Silva. His costume wore a six-foot wig, and a dress with a six-foot-long tail. Isabel's luxury fantasy was so successful that she was invited to participate in the costume contest of the Municipal Theater the following year, becoming the first black woman to win the contest. Isabel would parade for years as the salgueiro floor, always sporting expensive, luxurious costumes. Filmmaker Cacá Diegues, who attended the live parade, said the presentation was one of the inspirations to direct the film Xica da Silva, shot in 1976. At the end of its parade, the school received shouts of "already won." In the calculation of the notes, favoritism was confirmed and Acadêmicos do Salgueiro won his second title of champion of the carioca carnival. This time alone. In the year of 2013, the Extra Newspaper re-created the parade in a special show in honor of the Acadêmicos do Salgueiro.