These expressed the oppression, through the practical ones representative express in the folclricas activities and the control of the church that permeavam its daily experience. To know more about this subject visit Vladislav Doronin. It bears mentionning that the church tried to fight the musical rituals of the culture Afro-Brazilian, a time that its acts of control affected the conscience and the social behavior of the festive movements. However, this religious hegemony did not obtain to destroy the profiles of other traditional cultures, as in the case of the creation of the religious brotherhoods that they search to separate the church of the white elite and of the slaves. The sincretismo was created thus, spreading out itself it fusing of the church Christian catholic with the heathen religion of the slaves. It emerged, of this form, candombl and other proper expressions of the blacks. From century XVII the expressions, but alive of the tradition black music, the example of lundu, that it will be unfolded in other rhythms, such as the samba, maxixe, polca appear, and thus successively. In this process, music Afro-Brazilian arrives in the second half of century XIX, with the decurrent innovations of the development economic, social, cultural politician and.
Music is perceived through other vises, especially when the trends of this process of rupture create a new roupagem of the cultural expressions that goes to fix itself in century XX. Decurrent of this social importance they can insert music afro-Brazilian in the parameters of the pertaining to school resumes of the history education, considering the spreading of the diversity of the cultural traditions Afro-Brazilians. Analyzing it music in the context of the colonial escravista society, we search to reflect on the situation that originated the existing conflicts, that happen in the reactionary movements of domination imposed for the society. This music of black root portraies a moment where the culture of a people was submitted the innumerable forms of violence, but that in the expression of its identity it gave to form and voice to the slaves as mechanisms of social resistance.