Finally, Rumpilezz is located in a broader tradition of jazz bands in the diaspora that appropriates African-diasporic music to promote black pride. In doing so, the orchestra reinforces the place of Bahia, and particularly of Bahian candomblé, as diasporic centers of black tradition. Taking a constructivist approach, this study aims to respond to the following questions: 1) How do the most influential preconceived ideas about “African” music and culture impact musical activity in Bahia? 2) What opportunities emerge when musical forms perceived as Afro-Brazilian encounter others seen as foreign? and 3) How does music in Bahia express discourses of blackness? This work, based on ethnographic research, historical, cultural, and musical analysis, demonstrates that, in promoting black empowerment, Rumpilezz emphasizes the themes of rhythmicity, percussiveness and spirituality, and downplays the notions of closeness to nature and embodiment. Aspects of public self-representation, performance practice, music structure, and musical reception are analyzed. Adrosenko lives in Melbourne, Australia, carries her own dance company and makes the most beautiful costumes and samba shoes by her store named Little Brazil. A Bahian big band called Rumpilezz that blends jazz with various forms of Afro- Bahian music (such as candomblé and samba-reggae), serves as my laboratory for applying this model. Hailing from Melbourne, Denise has been dancing and performing samba since 2009 co-founding Sambasita Productions, Melbournes. The model accommodates a wide range of interpretations of these themes offering more flexible views of blackness. My contribution uses a Foucauldian interpretation of these notions to explain how they work together to form discourses of blackness, not on the notions themselves for they are all widely known. I propose a model that integrates discourses of black primitivism and empowerment with seven notions commonly associated with black and African music: rhythmicity, percussiveness, spirituality, communalism, embodiment, traditionalism, and closeness to nature. It focuses on discourses of blackness and on the role of grooves, instruments, symbolism, and perceptions of carnival music, candomblé, and jazz in the construction of black identities in Bahia. "This dissertation examines the relationship between music and politics of black identities in Salvador, Bahia (Brazil), an epicenter of Afro-Brazilian culture. Sashya is one of only four artists worldwide and the only Samba instructor in Australia to be officially accredited by Carlinhos Salgueiro (Rio’s foremost choreographer and world famous King of Samba) to teach his signature technique.
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