Samba Carnival, Japan

One of the oldest records of the word samba appeared in magazine's Pernambuco O Carapuceiro, dated February 1838, when Father Miguel Lopes Gama of Sacramento wrote against what he called the "samba d'almocreve" - not referring to future musical genre, but a kind of merriment (dance drama) popular for blacks of that time. According to Hiram Araújo da Costa over the centuries, the festival of dances of slaves in Bahia were called "samba".
In the middle of the 19th century, the word samba defined different types of music made by African slaves, when conducted by different types of Batuque, but assumed its own characteristics in each Brazilian states, not only by the diversity of tribes for slaves, and the peculiarity of each region in which they were settlers. Some of these popular dances were known: bate-baú, samba-corrido, samba-de-roda, samba-de-Chave and samba-de-barravento in Bahia; coco in Ceará; tambor-de-crioula (or ponga) in Maranhão; trocada, coco-de-parelha, samba de coco and soco-travado in Pernambuco; bambelô in Rio Grande do Norte; partido-alto, miudinho, jongo and caxambu in Rio de Janeiro; samba-lenço, samba-rural, tiririca, miudinho and jongo in São Paulo.
From year 2000, there were some artists who were looking to reconnect most popular traditions of samba. Were the cases of Marquinhos of Oswaldo Cruz, Teresa Cristina among others, that contributed to the revitalization of the region of Lapa, in the Rio de Janeiro. In São Paulo, samba resumed the tradition with concerts in Sesc Pompéia Club and also by the work of several groups, including the group Quinteto em Branco e Preto who developed the event "Pagode da Vela" ("Pagoda of Sail"). This all helped to attract many artists from Rio de Janeiro, who shows, established residence in neighborhoods of the capital paulistana.