The evolution of different musical traditions from the roots of Samba is a mark of the vibrancy of the carnival arts scene, argues Sam Alexander.
When I first encountered samba drumming - and through that carnival arts - I was a young sun-struck teenager enjoying the height of summer. Covent Garden Piazza was filled by the sound of the London School of Samba in its youth. How could I have known that what I encountered on that balmy Sunday afternoon in the eighties was to turn out to be not just life changing for me, but would be repeated for so many different people throughout the UK in the coming years?
In the past two decades, Brazilian percussion groups have spread and flourished, almost virus-like, throughout the land. However, due to the shallow roots of the scene and the lack of experienced Brazilian percussionists, many enthusiastic but inexperienced teachers have had to develop their work on the job, bringing their own particular take on the music with many varied results Ska-Samba, Samba-Bhangra, Samba-Punk as well as more clearly Brazilian styles. Many of these groups have come across similar problems at similar times of their development. The kind of problems that these groups face tend to range from differences in opinion about whether the group should play new creations or adhere to strictly Brazilian grooves; whether the group can contain both aspiring semi-professionals and off-the-street community participants; and whether musical direction should be by committee or one persons vision. The thing is, most groups are unprepared for the seismic repercussions of these dilemmas. As one of the old guard, I have found that it is no use trying to warn any group about the pitfalls and challenges they may face. Each group seems to need to find its own answers to what may seem to be its own particular situation.
Some samba-based percussion groups in the UK have been able to extend their work and now manage to include a melodic element, either voice or brass in their line up and others are able to work with dancers. Very few have made the jump into including costume-making, allegory and visual carnival arts, and thus working with carnival arts in its fullest sense. There are a few notable examples of groups that have embraced carnival arts in its totality, but they are few and far between. 20 years ago if you walked into someones front room and saw a Djembe (African drum) it might be a talking point for the rest of the evening, but nowadays it might not get a second glance.
This reflects a change in attitudes to world music, community music and our perception of an individuals involvement in creating music. This is a new musical culture, often inspired by Brazilian genres, often not. Sometimes the only Brazilian element is the type of percussion instrument being played. It is hardly surprising that in groups where there is little or no contact with skilled Brazilian or Brazilophile practitioners, the most successful musical arrangements make no attempt to recreate a traditional Brazilian beat but strike out with Hip-Hop, Drum'n'Bass and other styles more keenly felt by home grown players. The general perception of these ensemble percussion groups is that they are 'Samba' bands. They play samba drums but they don't always play Samba. This has caused considerable bickering between people who feel that the word 'Samba' has taken on a new meaning in a new context, and others for whom neither the meaning nor the context has changed.
All this is the sign of a living culture. A sign that this new phenomenon is stretching its wings, defining itself and ultimately leaving a legacy for future generations. Who can say, but we may have our own young future master drummers growing up in our midst. Masters of a clutch of new rhythms, developed in the UK and feeding back to Africa, the Caribbean and Brazil.
Sam Alexander has worked as a carnival director, percussionist and teacher for 20 years. He is Co-Director of Umbela Arts.
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