A common argument “against” the culture of Carnaval is that the parties are a modern way of “panem et circenses”. Therefore, in the eyes of those who believe this, the celebration should not receive the praise it gets since it would be a way of society turning a blind eye towards its own problems. But this argument, in fact, shows a very limited point of view manipulated by historical concepts made up by an elite that has, since the beginning, hated Carnaval and its celebrations.
When seen with an open mind, Carnaval shows itself as a form of protest. The world-famous shows at avenues like Sapucaí are constantly celebrating black, indigenous, and overall Brazilian history, combining ancestral memories and partying all together. Also, the expression of joy for four days on the streets in the famous “bloquinhos” by people who, every day, wake up to take the full public transport to get to their jobs is a political way of showing that every class of society deserves joy – a method of resistance by many.
To better understand the “unseen” politics of Brazilian Carnaval, it’s important to comprehend where it comes from, how it began, and how it has evolved over the centuries.
ROOTS OF THE PARTY
Brazilian Carnaval has roots in the Portuguese Entrudo. More precisely, it arrived in 1641, with the Catholic Church (until nowadays, it is the entity that decides when it’s going to be celebrated). The lower classes would get to the streets with their faces painted, and “attack” people with balls filled with water and flour. From up the balconies, younger members of the higher classes would throw buckets of water at the people “downstairs”.
In the 19th century, the Entrudo got criminalized, and the higher classes took over, getting to the streets and appropriating from the party they had for so long judged. After years of protesting and reorganization, the party got back to the streets with less “aggression” and several adaptations in order to fit in again. The popular “marchinhas” were invented at that time, and led to a future with the creation of samba music in 1910.
In Bahia, the famous “afoxés” were created, belonging to the African embassy and the African “Pandêgos”. Also in the northeast, frevo was popularized in the streets of Recife and the maracatu in Olinda. The samba schools started being founded in 1920, which later became the famous schools like Estácio De Sá and Portela. The first competition between those was held in 1929.
In the 1950s, the party began to be commercialized and funded by several capitalist personalities and, obviously, the story with “jogo do bicho” – a method of transgression.
YEARS OF LEAD
Considered an activity of the marginalized members of society, the samba schools were also victims of the Brazilian dictatorship. Military soldiers and cops would constantly stay around their installations, pay attention to the art, and go against anything that contradicted their morals. In São Paulo, groups like Vai Vai, Camisa Verde e Branco, and Acadêmicos do Peruche were symbols that persevered against the repression. Garages were invaded, communities had their items confiscated, and they still stayed strong under adversity.
In an interview for Agência Brasil, the current cultural director of Vai Vai, Fernando Penteado, told stories about how, in every rehearsal, they would see cop cars around, and that was a sign that the night was going to be hard. He also claims that during a rehearsal on a Sunday in the 1960s, it got even deeper: cops invaded the place, took away, and violated the instruments. They did not give up: on Thursday, the community had all the instruments fixed, and the rehearsal took place as if nothing had happened.
Fernando also denounced the several arrests that would happen without actual motive: composers were arrested during the night and only freed in the morning.
THE PEOPLE’S SHOW
Speaking of samba schools, they represent several communities of favelas in Rio. Throughout the year, these communities gather together to write the samba, tailor costumes, design allegorical cars, and tell a story chosen by the “carnavalesco”. There are choreographies, lyrics, and several concepts to bring to life from inside the creative minds of people.
As previously said, many shows tell stories of the indigenous or African ancestry of the Brazilian people, especially since it’s a culture inherited from such ancestors. Many samba schools have made history with their protests: Beija-Flor de Nilópolis, in 1989, with the theme Rats and Vultures, Let Go Of My Costume, presented trash reinvented as allegories, bringing together to put in the spotlight the homeless and every misfit of society.
In 2019, Estação Primeira de Mangueira was consecrated champion after the theme Stories To Tell Grown Ups – a protest against police violence suffered by black people, especially in favelas, a reminder of the Brazilian dictatorship, the Indigenous blood in the hands of the colonizer, and a celebration of the late senator Marielle Franco, one of the country’s most notorious activists.
In 2025, Paraíso do Tuiuti celebrated the memory of the first openly transgender Brazilian woman in the registers – Xica Manicongo. With the theme Who Is Afraid Of Xica Manicongo?, they brought up the sad story of the woman stolen from her homeland and forced to assume an identity to fit European standards. In the front commission, the deputy Erika Hilton was presented and crowned as “president”, and throughout the show, the memory of several transgender women whose lives were taken by the system was celebrated.
A MATTER OF RESISTANCE
In conclusion, the idea that Carnaval is a modern “panem et circenses” is a myth. Brazilian Carnaval preserves the memory of those whose freedom, humanity, and recognition were always neglected. With attention and an open mind, it’s possible to comprehend and get to know better about the party.
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The article above was edited by Isabelle Bignardi.
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