{"id":80588,"date":"2025-03-10T17:27:46","date_gmt":"2025-03-10T20:27:46","guid":{"rendered":"https:\/\/rioonwatch.org\/?p=80588"},"modified":"2025-03-21T18:13:57","modified_gmt":"2025-03-21T21:13:57","slug":"samba-abstrato-exposes-the-whitening-of-samba-schools-opinion","status":"publish","type":"post","link":"https:\/\/rioonwatch.org\/?p=80588","title":{"rendered":"Samba Abstrato Exposes the Whitening of Samba Schools [OPINION]"},"content":{"rendered":"<figure id=\"attachment_80589\" aria-describedby=\"caption-attachment-80589\" style=\"width: 1453px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/rioonwatch.org\/wp-content\/uploads\/2025\/03\/Unidos-da-Tijuca-Rio-Sambadrome-2025-.png\"><img fetchpriority=\"high\" decoding=\"async\" class=\"wp-image-80589 size-full\" title=\"Unidos da Tijuca parade at Rio's Sambadrome \u2013 Carnival 2025.\" src=\"https:\/\/rioonwatch.org\/wp-content\/uploads\/2025\/03\/Unidos-da-Tijuca-Rio-Sambadrome-2025-.png\" alt=\"Unidos da Tijuca parade at Rio's Sambadrome \u2013 Carnival 2025.\" width=\"1453\" height=\"705\" srcset=\"https:\/\/rioonwatch.org\/wp-content\/uploads\/2025\/03\/Unidos-da-Tijuca-Rio-Sambadrome-2025-.png 1453w, https:\/\/rioonwatch.org\/wp-content\/uploads\/2025\/03\/Unidos-da-Tijuca-Rio-Sambadrome-2025--620x301.png 620w, https:\/\/rioonwatch.org\/wp-content\/uploads\/2025\/03\/Unidos-da-Tijuca-Rio-Sambadrome-2025--1296x629.png 1296w, https:\/\/rioonwatch.org\/wp-content\/uploads\/2025\/03\/Unidos-da-Tijuca-Rio-Sambadrome-2025--768x373.png 768w\" sizes=\"(max-width: 1453px) 100vw, 1453px\" \/><\/a><figcaption id=\"caption-attachment-80589\" class=\"wp-caption-text\">Unidos da Tijuca parade at Rio&#8217;s Sambadrome, Carnival 2025.<\/figcaption><\/figure>\n<p style=\"text-align: right;\"><a href=\"https:\/\/bit.ly\/4bzG7ZY\" target=\"_blank\" rel=\"noopener\"><strong><em>Clique aqui para Portugu\u00eas<\/em><\/strong><img decoding=\"async\" class=\"alignright wp-image-23766 size-full\" src=\"https:\/\/www.rioonwatch.org\/wp-content\/uploads\/2012\/08\/PT-e1439583827971.png\" width=\"20\" height=\"20\" \/><\/a><\/p>\n<p>Launched in 2016, the <a href=\"https:\/\/bit.ly\/4ifatmM\">Samba Abstrato<\/a> (Abstract Samba) Facebook page was created to document the appropriation and <a href=\"https:\/\/bit.ly\/43ag7SW\">whitening<\/a> of Brazilian carnival samba schools, as well as to confront the invasion of the so-called \u201c<a href=\"https:\/\/bit.ly\/3Xi3W2A\">abstract muses<\/a>,\u201d a phenomenon it criticizes for distorting the essence of carnival\u2014a <a href=\"https:\/\/bit.ly\/4ioGRDI\">celebration rooted in Black favela culture<\/a>.<\/p>\n<p>Whether in <a href=\"https:\/\/bit.ly\/4bjLb4C\">Rio&#8217;s<\/a>, <a href=\"https:\/\/bit.ly\/4iivIE7\">S\u00e3o Paulo&#8217;s<\/a>, or other carnival celebrations across Brazil, these aptly-named abstract muses are following the money and <a href=\"https:\/\/www.youtube.com\/watch?v=esxYh0UUxVk\">taking away spaces traditionally held by Black beauties<\/a> raised within the culture of their local samba schools. It is no coincidence that <a href=\"https:\/\/bit.ly\/4hYlyc2\">abstract muses are predominantly white<\/a>, while \u201cconcrete muses\u201d\u2014women dancers raised within a local samba community\u2014are increasingly displaced. Indeed, it is the Black female samba dancer who has become most invisible as the so-called \u201cland of abstraction\u201d continues its invasion.<\/p>\n<p>However, it is important to understand that abstract muses are merely the most visible symptom of the colonization of Carnival, which, unfortunately, seeps into various aspects of samba schools. This process increasingly distances samba schools from their communities-of-origin, turning modern-day <em>quilombos<\/em> into mere businesses. The invitations samba schools extend to abstract muses culminate in major deals with white celebrities, meticulously crafted marketing strategies, and the pursuit of profit rather than prioritizing the skilled footwork of \u201cconcrete\u201d samba dancers and the love for the school&#8217;s colors and flag.<\/p>\n<h3>The Dynamics of Activism Against the \u2018Land of Abstraction\u2019 on Social Media<\/h3>\n<p>Since its creation in 2016, the Samba Abstrato page quickly gained a strong following. Today, the community has <a href=\"https:\/\/www.facebook.com\/sambaabstrato\">112,000 followers<\/a> on Facebook. On Instagram, where the current account is only nine months old, it has <a href=\"https:\/\/bit.ly\/4bjwvlY\">4,389 followers<\/a>. The previous account was taken down, forcing the group to start over.<\/p>\n<p>For years, the Samba Abstrato community remained anonymous on social media, presenting itself to the carnival public without revealing its members. This was a strategic choice \u201cfor safety reasons and to avoid personifying the struggle.\u201d However, in 2025, as others began facing threats and even physical assaults, the page\u2019s directors decided it was necessary to step forward, face the spotlight, and confront the lawsuits.<\/p>\n<p>It became essential to publicly state that criticism of the abstract muses should not be understood as encouraging violence. On the flip side, Samba Abstrato expects the &#8220;abstract muses&#8221; to recognize their <a href=\"https:\/\/bit.ly\/3Fa42mO\">white privilege<\/a> and to refrain from making unfounded accusations against Black individuals. Therefore, in response to the attacks targeting Black members of the samba community over alleged connections to Samba Abstrato, its founder decided to step out from behind the scenes.<\/p>\n<blockquote class=\"instagram-media\" style=\"background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);\" data-instgrm-captioned=\"\" data-instgrm-permalink=\"https:\/\/www.instagram.com\/p\/DFaMFKoxYJR\/?utm_source=ig_embed&amp;utm_campaign=loading\" data-instgrm-version=\"14\">\n<div style=\"padding: 16px;\">\n<p>&nbsp;<\/p>\n<div style=\"display: flex; flex-direction: row; align-items: center;\">\n<div style=\"background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;\"><\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center;\">\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;\"><\/div>\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;\"><\/div>\n<\/div>\n<\/div>\n<div style=\"padding: 19% 0;\"><\/div>\n<div style=\"display: block; height: 50px; margin: 0 auto 12px; width: 50px;\"><\/div>\n<div style=\"padding-top: 8px;\">\n<div style=\"color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;\">Ver essa foto no Instagram<\/div>\n<\/div>\n<div style=\"padding: 12.5% 0;\"><\/div>\n<div style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\">\n<div>\n<div style=\"background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\"><\/div>\n<div style=\"background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\"><\/div>\n<div style=\"background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\"><\/div>\n<\/div>\n<div style=\"margin-left: 8px;\">\n<div style=\"background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\"><\/div>\n<div style=\"width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);\"><\/div>\n<\/div>\n<div style=\"margin-left: auto;\">\n<div style=\"width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\"><\/div>\n<div style=\"background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\"><\/div>\n<div style=\"width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\"><\/div>\n<\/div>\n<\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\">\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\"><\/div>\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\"><\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p style=\"color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;\"><a style=\"color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;\" href=\"https:\/\/www.instagram.com\/p\/DFaMFKoxYJR\/?utm_source=ig_embed&amp;utm_campaign=loading\" target=\"_blank\" rel=\"noopener\">Uma publica\u00e7\u00e3o compartilhada por Samba Abstrato (@samba.abstrato)<\/a><\/p>\n<\/div>\n<\/blockquote>\n<p><script async src=\"\/\/www.instagram.com\/embed.js\"><\/script><\/p>\n<h3>Tit for Tat: Subverting Racist Humor Through Art<\/h3>\n<p>A few carnivals ago, the founder of Samba Abstrato served as a \u201c<a href=\"https:\/\/bit.ly\/41tXkPP\">horse<\/a>\u201d\u2014a <a href=\"https:\/\/bit.ly\/4kH2jWg\">medium<\/a> through which the spiritual world communicates with the earthly world in the Afro-Brazilian religions of <a href=\"http:\/\/bit.ly\/2XZ1G1E\">Candombl\u00e9<\/a> and <a href=\"http:\/\/bit.ly\/2LnVUDA\">Umbanda<\/a>\u2014to embody a satire that denounced and fought against the \u201c<a href=\"https:\/\/bit.ly\/43CMmKw\">Nega Maluca&#8221; costumes<\/a> [a racist trope meaning \u201ccrazy Black woman,\u201d which sadly serve as the country&#8217;s version of blackface during carnival]. On the streets of S\u00e3o Paulo, she took on the persona of \u201c<a href=\"https:\/\/bit.ly\/43qwNps\">Lolo, The Pot-Banging Protester<\/a>,\u201d a reference to the pot-and-pan-banging demonstrations that gained prominence during Dilma Rousseff\u2019s presidency and peaked amid president Jair Bolsonaro\u2019s gross mismanagement of the coronavirus pandemic.<\/p>\n<p>Luanna Te\u00f3filo, who dressed up as \u201cLolo, The Pot-Banging Protester,\u201d holds a law degree from Mackenzie University in S\u00e3o Paulo and a master\u2019s in Linguistics from Sorbonne University in France. As the founder of the Samba Abstrato community, she remained anonymous behind the scenes of the page for nearly ten years. Today, however, even AI identifies the S\u00e3o Paulo-based entrepreneur as its founder.<\/p>\n<p>The character created by Te\u00f3filo is \u201cLolo, Heloisa Clarice Figueiroa dos Santos, a true-blood S\u00e3o Paulo native and a representative of the traditional Brazilian family. A pot-banging protester who rallies against \u2018everything that\u2019s out there,\u2019 though she isn\u2019t quite sure what that everything is. She is \u2018Branca Maluca,\u2019&#8221; or &#8220;Crazy White Woman.&#8221;<\/p>\n<h3>Exposed by Samba Abstrato, &#8220;Carnival Villains&#8221; Turn to the Courts<\/h3>\n<p><em>O Primeiro Livro, <\/em>Samba Abstrato\u2019s first book, has been available for pre-order since 2024, though its delivery has been delayed due to compensation paid to a white dancer who sued the page. The podcast <em>The Abstract Process<\/em> is also currently unavailable on digital platforms due to bureaucratic and legal issues.<\/p>\n<p>Three years ago, Samba Abstrato began selecting a \u201cbook of the season.\u201d The first was <a href=\"https:\/\/bit.ly\/3FjxpDn\"><em>Black Samba, White Exploitation<\/em> <\/a>by <a href=\"https:\/\/bit.ly\/3FAmGUQ\">Ana Maria Rodrigues<\/a>. Originally published in 1984, the book was based on the author\u2019s master\u2019s thesis at the University of S\u00e3o Paulo in 1981. According to Te\u00f3filo, \u201cShe didn\u2019t include [the figure] of the Abstract Muse at the time, but she talks about how whiteness will appropriate the economic value [generated by Blackness].\u201d<\/p>\n<p>In 2024, the book of the season was <a href=\"https:\/\/bit.ly\/3F8Qk3D\"><em>Since Samba&#8217;s Been Samba<\/em><\/a> by <a href=\"https:\/\/bit.ly\/4i3PBiH\">Paulo Lins<\/a>, \u201ca deep dive into the cardinal points of samba, such as Largo do Est\u00e1cio, Pra\u00e7a Onze, sacred sites of Candombl\u00e9 and Umbanda worship, or the gatherings at Tia Ciata\u2019s house and Mangueira&#8217;s Buraco Quente\u2026 an incredible cartography of [Rio&#8217;s] <em><a href=\"https:\/\/bit.ly\/4iDJVvC\">malandragem<\/a><\/em>,\u201d as stated by essayist Helo\u00edsa Buarque de Hollanda.<\/p>\n<p>Now, in 2025, the book of the season is <a href=\"https:\/\/bit.ly\/4haIuUb\"><em>At the Samba Circle<\/em><\/a> by <a href=\"https:\/\/bit.ly\/3F9kpQs\">Francisco Guimar\u00e3es<\/a>, better known as Vagalume (Firefly), originally published in 1933. Guimar\u00e3es is considered a pioneer for being the first to document carnival in the print newspapers of his time. Moreover, he was also the first to criticize the \u201csambestros\u201d\u2014figures who did not belong to the samba circles but took advantage of samba without any true commitment, buying partnerships instead. In other words, what Samba Abstrato now denounces as a Carnival Villain or an Abstract Muse, Vagalume called a \u201cSambestro\u201d 92 years ago.<\/p>\n<p>In Brazil, whiteness has been infiltrating samba culture in a process that has been consolidating itself for a century, driven by an elite apparently unwilling to reflect on its privileges\u2014privileges generated on the backs of those who suffered bondage within the <a href=\"https:\/\/rioonwatch.org\/?p=25458\">world&#8217;s largest slave-owning economy<\/a>\u2014now using their privilege to buy access to Black cultural spaces and expressions generated post-emancipation. Meanwhile, the people who create this culture remain, for the most part, marginalized, underfunded, and unrecognized for their enormous contribution to the country.<\/p>\n<p>In the 1990s, another historical samba figure spoke out against the invasion of the samba stage by white women. <a href=\"https:\/\/bit.ly\/4in2fcC\">Dona Ivone Lara<\/a>, the First Lady of Samba, openly opposed white Rainhas de Bateria, the \u201cqueens\u201d who lead the rhythm section during carnival and help rouse the audience. Around the same time, another outspoken figure in the samba world was carnival designer <a href=\"https:\/\/bit.ly\/4hpRMvK\">Jo\u00e3osinho Trinta<\/a>, who, in an interview on the TV program <em>Roda Viva<\/em>, revealed that he had devised strategies to protect <a href=\"https:\/\/bit.ly\/4haRb0L\">Beija-Flor<\/a>\u2014<a href=\"https:\/\/bit.ly\/3Fkt4zv\">2025\u2019s carnival champion<\/a>\u2014against what he called \u201cthe infiltration of samba ETs.\u201d<\/p>\n<blockquote><p>\u201cToday, samba schools are entirely white\u2026 high-society people people who don&#8217;t belong to the world of samba. Not that white people don\u2019t have the right to dance samba. I have a little girl there [in Beija Flor], the daughter of Portuguese parents, who is an extraordinary samba dancer. [But] when you have this whole invasion of high society people, of foreigners who have no connection with samba\u2026\u201d \u2014 Jo\u00e3osinho Trinta<\/p><\/blockquote>\n<p>Recently, after watching the <a href=\"https:\/\/bit.ly\/43nNnWQ\">2025 Royal Carnival Court<\/a> contest, organized by the Rio de Janeiro City Hall\u2014which selects the King Momo, Queen, princesses, and muses, with prizes ranging from R$32,500 to R$45,500 (US$5,570 to US$7,800)\u2014<a href=\"https:\/\/bit.ly\/4blh9xB\">Luiz Antonio Marcondes<\/a>, son of samba singer and composer <a href=\"https:\/\/bit.ly\/3XlVFdX\">Neguinho da Beija-Flor<\/a> [who famously celebrated (and retired at) his 50th carnival this year at that winning parade], took to social media to vent. The video in which Marcondes expresses his frustration with the carnival villains in the competition went viral. His indignation echoed that of many samba veterans and masters, raised in samba school compounds and workshops: there were contestants who didn\u2019t even know how to dance samba.<\/p>\n<blockquote class=\"instagram-media\" style=\"background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);\" data-instgrm-captioned=\"\" data-instgrm-permalink=\"https:\/\/www.instagram.com\/reel\/DCFBeUWPsAn\/?utm_source=ig_embed&amp;utm_campaign=loading\" data-instgrm-version=\"14\">\n<div style=\"padding: 16px;\">\n<p>&nbsp;<\/p>\n<div style=\"display: flex; flex-direction: row; align-items: center;\">\n<div style=\"background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;\"><\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center;\">\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;\"><\/div>\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;\"><\/div>\n<\/div>\n<\/div>\n<div style=\"padding: 19% 0;\"><\/div>\n<div style=\"display: block; height: 50px; margin: 0 auto 12px; width: 50px;\"><\/div>\n<div style=\"padding-top: 8px;\">\n<div style=\"color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;\">Ver essa foto no Instagram<\/div>\n<\/div>\n<div style=\"padding: 12.5% 0;\"><\/div>\n<div style=\"display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;\">\n<div>\n<div style=\"background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);\"><\/div>\n<div style=\"background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;\"><\/div>\n<div style=\"background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);\"><\/div>\n<\/div>\n<div style=\"margin-left: 8px;\">\n<div style=\"background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;\"><\/div>\n<div style=\"width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);\"><\/div>\n<\/div>\n<div style=\"margin-left: auto;\">\n<div style=\"width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);\"><\/div>\n<div style=\"background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);\"><\/div>\n<div style=\"width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);\"><\/div>\n<\/div>\n<\/div>\n<div style=\"display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;\">\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;\"><\/div>\n<div style=\"background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;\"><\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p style=\"color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;\"><a style=\"color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;\" href=\"https:\/\/www.instagram.com\/reel\/DCFBeUWPsAn\/?utm_source=ig_embed&amp;utm_campaign=loading\" target=\"_blank\" rel=\"noopener\">Uma publica\u00e7\u00e3o compartilhada por Luiz Antonio Marcondes (@jrbeijaflor30)<\/a><\/p>\n<\/div>\n<\/blockquote>\n<p><script async src=\"\/\/www.instagram.com\/embed.js\"><\/script><\/p>\n<p>As can be observed, the infiltration persists, weakening the heritage and legacy of the Black men and women who founded these samba schools in the favelas\u2014those who embroidered their flags in the alleyways and sacred grounds of their communities. Just before carnival, journalist M\u00f4nica Bergamo revealed in her column in <em>Folha de S\u00e3o Paulo<\/em> a statement by carnival designer <a href=\"https:\/\/bit.ly\/3R1TLM2\">Paulo Barros<\/a>: \u201cThere are 12 samba schools. You\u2019ll probably see ten identical parades\u2026 Most of this year\u2019s themes are Afrocentric&#8230; I can guarantee that 90% of the audience won\u2019t understand a thing.\u201d It\u2019s ironic that Barros, currently with Unidos de Vila Isabel, would make such a statement while working for a samba school internationally renowned for an Afro-themed parade: <a href=\"https:\/\/bit.ly\/3XxGi2l\"><em>Kizomba, Festa da Ra\u00e7a<\/em><\/a>, the 1988 samba that celebrated the centennial of the formal abolition of slavery in Brazil.<\/p>\n<p>One of the most striking examples of the abstraction of Rio\u2019s Carnival was this year\u2019s relegation of <a href=\"https:\/\/bit.ly\/3Fd0Vuo\">Unidos de Padre Miguel<\/a>. The Vila Vint\u00e9m samba school delivered a parade praised for its grandeur, the engagement of the community, and a samba that left its mark on Carnival 2025. None of this, however, was enough to impress the judges. With scores shockingly inconsistent with the performance, all the school and its community could do was wait for the judges&#8217; explanations to understand what had happened. But upon reading the justifications, the reason for the relegation became clear: judge Ana Paula Fernandes stated that she deducted points from the school due to the \u201cexcessive use of Yoruba terms\u201d in the samba.*<\/p>\n<p>Unfortunately, examples like these are not isolated cases. It is essential to respect the very foundation of the samba schools, their roots, and the Black and favela-born people who organize and gift Brazil with the world\u2019s greatest popular celebration.<\/p>\n<p>*<em>Unidos de Padre Miguel has since contested the decision on the grounds of religious racism, and the appeal has been accepted and supported by the president of LIESA, Rio\u2019s League of Samba Schools. The final decision is yet to be determined by a plenary meeting with all 12 Special Group schools.<\/em><\/p>\n<p data-pm-slice=\"1 1 []\"><em>About the author: <a href=\"https:\/\/bit.ly\/4i3uDjS\">Paulo Mileno<\/a>, born and raised in Taquara, in Rio de Janeiro\u2019s West Zone, is an actor, filmmaker, cultural producer, and writer. He is also an editorial board member of <a href=\"https:\/\/bit.ly\/4hsum9j\">Revista \u00c1frica e Africanidades<\/a> and was a researcher at the Philosophy Center of the Rio de Janeiro State University (UERJ). Mileno contributes to <a href=\"https:\/\/bit.ly\/4i7l1oa\">Observat\u00f3rio da Imprensa<\/a>, <a href=\"https:\/\/bit.ly\/3itDcaD\">Brasil de Fato<\/a>, \u00a0<a href=\"https:\/\/bit.ly\/2o6e94I\" rel=\"noopener\">Jornal do Brasil<\/a>,\u00a0<a href=\"https:\/\/bit.ly\/3QRGPbm\" rel=\"noopener\">Black History Month<\/a>,\u00a0<a href=\"https:\/\/bit.ly\/4kxwdwf\" rel=\"noopener\">Ufahamu: A Journal of Black Studies<\/a> at the <a href=\"https:\/\/bit.ly\/4iph51W\">University of California, Los Angeles<\/a>,<\/em><em>\u00a0<a href=\"https:\/\/bit.ly\/43pJUah\" rel=\"noopener\">San Francisco National Black Newspaper<\/a>,\u00a0<a href=\"https:\/\/bit.ly\/4btZpjq\" rel=\"noopener\">Black Star News<\/a>,\u00a0<a href=\"https:\/\/bit.ly\/41s7DnF\" rel=\"noopener\">Amsterdam News<\/a> and Africa Business.<\/em><\/p>\n<hr \/>\n<h4><b data-stringify-type=\"bold\">Support\u00a0<\/b><b data-stringify-type=\"bold\"><i data-stringify-type=\"italic\">RioOnWatch<\/i><\/b><b data-stringify-type=\"bold\">\u2019s tireless, critical and cutting-edge hyperlocal journalism, online community organizing meetings, and direct support to favelas\u00a0<\/b><b data-stringify-type=\"bold\"><a class=\"c-link\" href=\"http:\/\/bit.ly\/DonateToRioOnWatch\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"http:\/\/bit.ly\/DonateToRioOnWatch\" data-sk=\"tooltip_parent\">by clicking here.<\/a><\/b><\/h4>\n","protected":false},"excerpt":{"rendered":"<div class=\"mh-excerpt\"><p>Clique aqui para Portugu\u00eas Launched in 2016, the Samba Abstrato (Abstract Samba) Facebook page was created to document the appropriation and whitening of Brazilian carnival samba schools, as well as to confront the invasion of <a class=\"mh-excerpt-more\" href=\"https:\/\/rioonwatch.org\/?p=80588\" title=\"Samba Abstrato Exposes the Whitening of Samba Schools [OPINION]\">[&#8230;]<\/a><\/p>\n<\/div>","protected":false},"author":245,"featured_media":80589,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"template-full.php","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1288,1328,1268,1331,3527,1803,336],"tags":[315,662,3554,3677,1075,221,188,3590,1781,571,279,3435,3446],"writer":[3775],"translator":[3452],"illustrator":[],"photographer":[],"class_list":{"0":"post-80588","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-highlight","8":"category-by-community-contributors","9":"category-favelaculture","10":"category-opinion-2","11":"category-representation","12":"category-satire","13":"category-violations","14":"tag-african-diaspora","15":"tag-afro-brazilian-culture","16":"tag-anti-racism","17":"tag-carnaval","18":"tag-critique","19":"tag-favela-culture","20":"tag-history","21":"tag-negritude","22":"tag-opinion-2","23":"tag-samba","24":"tag-slavery","25":"tag-structural-racism","26":"tag-white-privilege","27":"writer-paulo-mileno","28":"translator-staff"},"_links":{"self":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/posts\/80588","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/users\/245"}],"replies":[{"embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=80588"}],"version-history":[{"count":3,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/posts\/80588\/revisions"}],"predecessor-version":[{"id":80660,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/posts\/80588\/revisions\/80660"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=\/wp\/v2\/media\/80589"}],"wp:attachment":[{"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=80588"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=80588"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=80588"},{"taxonomy":"writer","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fwriter&post=80588"},{"taxonomy":"translator","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftranslator&post=80588"},{"taxonomy":"illustrator","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fillustrator&post=80588"},{"taxonomy":"photographer","embeddable":true,"href":"https:\/\/rioonwatch.org\/index.php?rest_route=%2Fwp%2Fv2%2Fphotographer&post=80588"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}