O carnaval das escolas de samba na cidade de São Paulo vem adquirindo um importante conteúdo social, político e econômico. Ao longo de seu desenvolvimento, passou por diversas transformações acompanhando o crescimento da cidade e adaptando-se aos novos conteúdos urbanos e a imposições políticas e técnicas. Todavia, ainda guarda um caráter genuíno atrelado à festa, característica de sua gênese. Diante disso, essa pesquisa se desenvolve a partir de uma periodização composta por três períodos definidos pelos eventos mais significativos observados ao longo da história dessa manifestação cultural. As variáveischave determinantes para a ruptura dos períodos são as normas e as políticas públicas realizadas com a finalidade de desenvolvê-las e, como conseqüência dessas ações, as divisões sociais e territoriais do trabalho criadas na produção dos desfiles carnavalescos em relação aos diferentes circuitos da economia urbana. O objetivo é compreender a dinâmica territorial das escolas de samba em São Paulo através da análise do processo de produção do carnaval que inclui a ação de diversos agentes na cidade, considerando a tendência à apropriação dessa manifestação popular pela indústria cultural. E analisar a forma como os membros das escolas de samba produzem cultura e fazem política, utilizando-se dos novos conteúdos técnicos que a cidade oferece, para se organizar e buscar formas de suprir suas necessidades. / The carnival made by the Schools of Samba in the city of São Paulo has been acquiring important social, politics and economics content. Throughout its development several changes have occurred, following the city growth and adapting itself to the new urban contents and political and technical impositions. It still keeps a genuine feature related to the party, typical of its genesis. Thus, this paper has been developed, based on a three- part periodisation determined by the most significant events through the history of this cultural manifestation. The determinant events that mark the rupture of periods are the public politics and norms created with the purpose of developing this manifestation and, as a consequence of these actions, the social and territorial division of labour originated during the production of carnival parades related to different circuits of the urban economy. The objective is to comprehend the territorial dynamics of Schools of Samba in São Paulo through the analysis of the process of carnival production that includes the action of several agents in the city, considering the trend of appropriation of this manifestation by the culture industry. And to analyze the way the members of Schools of Samba produce culture and political actions, making use of new technical contents offered by the city, to organize themselves and search for new ways of fulfilling their needs.

Inscrit à la liste des « Chefs-d’oeuvre du Patrimoine Oral et Immatériel de l’Humanité » de l’UNESCO en 2001, leCarnaval d’Oruro fait depuis plusieurs décennies l’objet d’une valorisation croissante. L’une des spécificités de la fêteréside dans son surprenant développement au cours du XXe siècle, ainsi que dans la théâtralisation des enjeux etconflits nationaux qu’elle propose. Cette thèse se propose d’appréhender la métamorphose du Carnaval d’Oruro aucours des XXe et XXIe siècles (1920-2015), en prenant pour points de départ l’analyse des différentes interactionsd’ordre économique, politique, social et culturel qu’engendra son évolution historique, ainsi que certains de ses enjeuxet conflits qui en découlèrent. La réflexion s’oriente dans un premier temps sur les modalités temporelles du Carnaval,organisé autour d’un réseau dense et complexe de manifestations qui façonnent son calendrier. Chacun des temps de lalongue période jalonnant la préparation et le déroulement du Carnaval apporte en effet une dimension spécifique à cedernier, permettant la mise en relation de groupes, pratiques ou personnes réunis autour d’une même festivité,polymorphe et parfois déroutante. La seconde partie s’attache à présenter et analyser la multiplication des événementset mesures politiques et économiques qui firent du Carnaval une fête mobilisant un nombre croissant d’acteurs, au fild’un vingtième siècle marqué par d’importants bouleversements historiques nationaux. L’étude de la « constructionphysique » du Carnaval, autour d’un certain nombre de marqueurs spatiaux et matériels, de ses retombéeséconomiques et touristiques, ou de son impact sur les politiques régionales et nationales, façonne cette partie articuléeautour du déroulement « concret » du Carnaval et de ses variations historiques. Enfin, la troisième partie propose uneréflexion sur les modalités de représentation et de mise en scène de la société orureña et/ou bolivienne à travers leCarnaval, reflet ou illustration des nombreuses transformations du pays au cours du XXe siècle. Le Carnaval entraeffectivement dans une nouvelle étape de son histoire à partir des années quatre-vingt, devenant progressivement lethéâtre voire le creuset de processus politiques et de modalités de représentation toujours plus complexes. Cettedernière partie explore également des conflits ou interactions liés aux processus d’affirmation identitaire, culturelle oupolitique que généra et continue de générer le Carnaval, particulièrement depuis sa consécration par l’UNESCO en mai2001. L’ensemble de ce travail repose sur trois types de sources, mises en relation ou en contraste dans chacune desparties présentées. Les observations de terrain (2012, 2014, 2015) sont complétées par un important travail derépertoriage des archives de presse produites par le quotidien orureño La Patria, depuis sa fondation en 1919 jusqu’ànos jours, justifiant les bornes temporelles de l’étude. Près de 3.500 articles de presse ont ainsi été recensés et étudiés,permettant de mieux appréhender l’histoire du Carnaval et ses répercussions sur la société orureña. Les donnéesrésultant de la mise en place de deux questionnaires diffusés sur place et en ligne (2014, 2016) auprès de plusieurscentaines de danseurs et participants du Carnaval viennent enrichir ce corpus journalistique et donner à la réflexion unedimension sociologique. À travers ces différents supports, la présente thèse propose une étude des principaux enjeux,interactions et conflits suscités par le Carnaval sur la période 1920-2015, dans une approche à la fois synchronique etdiachronique, afin de cerner l’ampleur et la complexité d’un Carnaval étudié non seulement dans sa dimension festivepremière, mais aussi depuis ses coulisses ou enjeux souterrains, parfois moins manifestes ou explicites. / From its proclamation as “Masterpiece of the Oral and Intangible Heritage of Humanity” by UNESCO in 2001, theOruro Carnival is being deeply highlighted. One of its specificities consists in its impressive evolution throughout theHistory, and in its dramatization of the Bolivian society conflicts. This work pretends to study the Carnival’stransformation during the 20 and 21st centuries (1920-2015), considering and understanding the metamorphosis of theOruro Carnival by taking initial postulates in the analysis of some of its most significant challenges and conflicts, aswell as the different interactions with economic, political, social or cultural produced by its historical evolution.The reflection focuses initially on temporary terms of Carnival, organized around a complex grid of events that shapeits schedule. Each moment of the period between the Carnival’s preparation and its development brings a specificdimension to it, allowing the development of relationship between groups, practices or people gathered around a samepolymorphic festivity. The second part aims to present and analyze the multiplication of events and political oreconomic measures that made the Carnival celebration mobilizing a growing number of players, over a century markedby major national historical upheavals. The study of the Carnival’s “physical construction”, around a great number ofspatial markers and equipment, its economic and tourism benefits, or its impact on the regional and national policy,shape this second part around the “concrete” course of Carnival and its historical changes. The third part proposes areflection on the modalities of representation and staging of the orureña and / or Bolivian society through a Carnivalthat reflects or illustrates some of the many transformations of the country during the twentieth century. The Carnivalthen entered a new stage in its history, becoming the theater of national political processes, and crystallizing newissues of representation. This last part also examines conflicts or interactions related to identity, cultural or politicalaffirmation processes, generated by the Carnival, especially since its consecration by UNESCO in May 2001. Thiswork is based on three types of sources. Field observations (in 2012, 2014 and 2015) are supplemented by importantwork of indexing newspaper archives produced by the orureño daily “La Patria”, since its foundation in 1919 untilnow, justifying the temporary terms of the study. Nearly 3.500 articles have been identified and studied to get to abetter understanding of the Carnival history and its impact on the orureña society. The data resulting from theimplementation of two questionnaires dissimilated locally and online (2014 and 2016) with hundreds of Carnivaldancers and participants, completes the journalistic corpus and gives an additional sociological dimension to thereflection. Through these media, this thesis proposes a study of the major issues, interactions and conflicts over theCarnival in the period 1920-2015, in both a synchronic and diachronic approach in order to better understand the scopeand complexity of the Carnival, not only in its festive dimension, but also for its underground scenes or issues,sometimes less obvious or explicit.

Made available in DSpace on 2015-04-14T13:47:26Z (GMT). No. of bitstreams: 1 430805.pdf: 8359657 bytes, checksum: c2d3ca7d6274a75e9ed7c858bbe82594 (MD5) Previous issue date: 2011-03-30 / O presente estudo tem como tema de investiga??o a trajet?ria da entidade carnavalesca Sociedade Recreativa e Beneficiente Estado Maior da Restinga entre 1977 e 2002, seu papel na constru??o da identidade e visibilidade do bairro Restinga. Para tanto, analiso os processos de segrega??o espacial na cidade de Porto Alegre e as pol?ticas p?blicas de habita??o. Al?m disto, tra?o um panorama geral a partir de uma revis?o bibliogr?fica que trata transforma??es do carnaval em Porto Alegre. O processo de funda??o da escola de samba, bem como sua estrutura??o e consolida??o, a partir das entrevistas junto aos membros da comunidade e componentes da escola, e de mat?rias publicadas em jornais da ?poca

Made available in DSpace on 2015-04-14T13:47:57Z (GMT). No. of bitstreams: 1 447476.pdf: 3781579 bytes, checksum: 39231571e72d457efcdd49aaefd67157 (MD5) Previous issue date: 2013-03-26 / This thesis investigates the changes that occurred in the Porto Alegre s carnival during the second cycle (1906-1914) of Esmeralda and Venetian carnival societies, highlighting the changes in relation to women's participation in the festivities. Will highlight the presence of members of the political and military elite within these associations and their possible influence on the changes. Show that the Evas give way to Marias, seeking a construction of a carnival distinct hierarchies and reinforcement of dominant males. In the first chapter, did a brief analysis of the trajectory of the two companies in the carnival of Porto Alegre since its foundation until its revival, highlighting the reasons why the press and the elite of the capital defended the need for a transformation of the festivities: the eradication of Shrovetide moralization and Carnival. The second chapter aims to evaluate the behavior and female participation during the celebrations, noting that in the second phase of these societies, women have gained greater exposure by participating in the board, organizing dances and having a prominent figure in Queens. However, this increased participation was conditioned to a moralization of his conduct. We noticed also that the influence of the participation of military and members of the Republican Party-Rio Grande on these companies was striking and that most women attending societies were daughters of the elite of the state capital, imbued with ideological conservatives and moral precepts, are therefore entangled amid the political power networks. In the last chapter, we studied the life histories of some of the queens of carnival societies Esmeralda and Venetians. Sought through analysis of individual trajectories corroborate what we had discussed earlier in stating that female participation in the carnival societies was permeated by political relationships and belonging to the military and political cadres of Porto Alegre. Finally, we analyze the carnival from the perspective of relationships that cross and transcend the world of dances and processions. In these celebrations, the daughters of the elite of the capital could have fun and connect with young families of good standing protected virulence and permittivity of Shrovetide. It was a carnival caste maidens, girls family, as in the carnival festivities elite Porto Alegre Eves of yore become the Marys. / Esta tese procura investigar as transforma??es que ocorreram no carnaval de Porto Alegre durante o segundo ciclo (1906-1914) das sociedades carnavalescas Esmeralda e Venezianos, destacando as mudan?as em rela??o ? participa??o das mulheres no festejo. Evidenciaremos a presen?a de membros da elite pol?tica e militar no seio destas agremia??es e sua poss?vel influ?ncia nas altera??es ocorridas. Mostraremos que as Evas dar?o lugar ?s Marias, na busca de uma constru??o de um carnaval distinto e do refor?o das hierarquias dominantes do masculino. No primeiro cap?tulo, fizemos uma breve an?lise da trajet?ria destas duas sociedades no carnaval porto-alegrense desde a sua funda??o at? seu renascimento, ressaltando os motivos pelos quais a imprensa e a elite da capital defendiam a necessidade de uma transforma??o dos festejos: a erradica??o do entrudo e a moraliza??o e a distin??o do carnaval. O segundo cap?tulo buscou avaliar as condutas e a participa??o feminina durante as comemora??es, observando que, na segunda fase dessas sociedades, as mulheres passaram a ter uma exposi??o maior, participando da diretoria, organizando bailes e tendo um papel de destaque na figura das rainhas. Por?m, este maior destaque estava condicionado a uma moraliza??o de sua conduta. Percebemos, ainda, que a influ?ncia da participa??o de militares e membros do Partido Republicano Rio-Grandense sobre essas sociedades era marcante e que grande parte das mulheres que frequentavam as sociedades eram filhas desta elite da capital ga?cha, imbu?da de preceitos ideol?gicos conservadores e moralizantes, estando, portanto, enredadas em meio ?s redes de poder pol?tico. No ?ltimo cap?tulo, foram estudadas as trajet?rias de vida de algumas das rainhas das sociedades carnavalescas Esmeralda e Venezianos. Procuramos, por meio da an?lise destas trajet?rias individuais, corroborar o que hav?amos discutido anteriormente ao afirmar que a participa??o feminina no carnaval das sociedades estava permeada por rela??es pol?ticas e de pertencimento aos quadros pol?ticos e militares de Porto Alegre. Enfim, buscamos analisar o carnaval sob a ?tica de rela??es que se entrecruzam e que extrapolam o universo dos bailes e pr?stitos. Nestes festejos, as filhas da elite da capital podiam se divertir e se relacionar com jovens de boas fam?lias estando protegidas da virul?ncia e da permissividade do entrudo. Era um carnaval de castas donzelas, mo?as de fam?lia, pois nas festas carnavalescas da elite de Porto Alegre as Evas de outrora tornaram-se as Marias.

Procuramos neste trabalho tratar o carnaval e o humor no Rio de Janeiro, através da ótica difundida pelas revistas ilustradas Fon-Fon! e Careta, através de textos e ilustrações elaboradas por grandes nomes da caricatura e da literatura e de jornalistas que ficaram no anonimato por conta de suas crônicas e artigos não conterem assinaturas. Através destas publicações, é possível perceber a importância do carnaval na vida destes homens de letras e pincéis e quão importante foi a contrapartida que eles forneceram não apenas ao público leitor, mas a nós historiadores, pois é possível resgatar e reconstruir através destas publicações não apenas a história do carnaval, mas também compreender o contexto do período, os problemas políticos, a moda, as inovações e mudanças na vida da população carioca. É possível também entender o quanto era importante o carnaval e o humor , não apenas para a saúde financeira das empresas jornalísticas e editoriais, pois a abordagem e o tema agradavam o público leitor, mas principalmente na vida destes escritores e artistas, que não apenas escreviam sobre esta festa de forma irreverente, mas participavam ativamente dela como foliões e portanto, eles mesmos eram também artífices desta história. / This work analyzes carnival in Rio de Janeiro through the irreverent view disclosed by the illustrated magazines Fon-Fon! and Careta. For such purpose, texts and illustrations elaborated by great names in caricature and literature were used, as well as by journalists who remained anonymous due to the fact that their chronicles and articles did not carry their signatures. The way in which carnival was dealt with in said publications, was intimately related to the world view which intellectuals enjoyed, the Belle Epoque, and to the readers of these magazines: the urban middle classes and part of the elite. To understand both the view and the type of humoristic approach used, songs and the works of chronicle writers, memorialists and historians who worked on the theme were also investigated. At the end, what could be verified through the study of these publications was the importance that carnival enjoyed in the lives of those men of letters and brushes, and how relevant was the counterpart which they made possible not only to readers, but also to us, historians. Through these publications, it is possible to redeem and reconstruct part of the history of carnival as well as understand the context of the period, political problems, stylishness, innovations and changes in the lives of Rio de Janeiro (carioca) dwellers. So much attention to the theme from the illustrated press denotes the importance of carnival to the financial health of newspaper companies, since the subject and its well-humored approach pleased readers, besides showing that not only did those writers and artists write about the festivities in an irreverent manner, but they also actively participated in them as carnival merrymakers, and therefore they were, themselves, artificers of that history.

Este trabalho tem por objetivo analisar as relações entre o carnaval, enquanto iniciativa popular das escolas de samba, e o poder público que o promove e financia, sobretudo nas três últimas décadas. Para tal, identifica, inicialmente, os principais agentes que tem participado da organização oficial do festejo: do lado das escolas, os líderes sambistas das grandes agremiações e seus vários órgãos de representação (Liga, Superliga etc.), e do lado do estado, seus órgãos públicos (principalmente a SPTuris) e funcionários. Observando alguns casos concretos de negociações entre esses sujeitos (que envolvem desde a definição de políticas públicas formais ao uso dos espaços na cidade, como a rua, quadras, barracões e o sambódromo), o trabalho analisa de que forma um conjunto de noções é posto em debate associando o carnaval ao folclore, à cultura, ao turismo, ao negócio, ao espetáculo, ao lazer etc. Nesse enredo de negociações, conclui-se que os diversos interesses, prioridades e motivações dos agentes situam-se num continuum no qual as diferentes noções e posições tornam-se termos construídos ciclicamente em cada situação específica de diálogo e/ou embate. Tal como o carnaval, a cada ano um novo enredo se apresenta. / This study aims to analyze the relationship between the carnival, as a popular initiative of the Schools of Samba, and government that promotes and finances the event, especially over the last three decades. Initially, this dissertation identifies the main actors who have participated in the organization of the official celebration, which means, by the side of the government, state agencies, especially Spturis, and their employees; and, by the side of the Schools of Samba, leaders of their major associations and of their representative committees (called Liga League and Superliga Superleague). By observing some specific cases of negotiations between those actors, which involves from public politics development to the use of formal public spaces in the city, like streets, blocks, the Sambódromo, this study intends to examine how a set of concepts is called into a debate that associates the carnival to the folklore, culture, tourism, business, the spectacle, leisure etc. In this \"scenario of negotiations, its possible to conclude that the different interests, priorities and motivations of the agents fit a continuum in which different notions and positions are cyclically constructed, depending on the situation: if it is a dialogue or a controversy. Such as the carnival that happens every year, this scenario of negotiatios tell us, each year, another story.

Orientador: Carlos Eduardo Di Stasi / Banca: Eliana Gulglielmetti Sulpício / Banca: Alberto Tsuyoshi Ikeda / Resumo: Esse trabalho discute a função musical e social do Repinique na Bateria do Grêmio Recreativo e Cultural Escola de Samba (GRCES) Império de Casa Verde na cidade de São Paulo, bem como a situação daquele que o executa, objetivando um melhor entendimento das dinâmicas existentes dentro deste contexto social específico e do próprio instrumento, o qual carece de trabalhos significativos a seu respeito. É mostrado, através da sistematização de um novo método notacional, algumas características referenciais do instrumento dentro da linguagem do samba enredo - estilo em que ele está envolvido naquilo que se refere às suas variações, padrões rítmicos, timbres, sonoridades e funções musicais e sociais, ligadas diretamente à sua importância nesse aspecto. Analisamos o que ocorre socialmente com o seu executante dentro e fora de sua comunidade. Por fim, observamos em que nível a posição adquirida neste contexto específico corresponde a um real reconhecimento na sua comunidade como um todo e em outros setores sociais / Abstract: This work intents to discuss the musical and social function of the instrument Repinique within the Bateria do Grêmio Recreativo e Cultural Escola de Samba (GRCES) Império de Casa Verde in São Paulo, Brazil, as well as the position of those who play it, aiming a better understanding of the existing dynamics within the specific social context and the instrument itself, about which there is little significant work written. Through a new systematic notation method, we show some referential characteristics of the instrument within the language of samba enredo - style in which it is involved concerning its variations, rhythm patterns, timbre, sounds and musical and social functions, all connected to its importance in this latter aspect. It was analyzed what socially occurs to its player inside and out his community. At last, it was observed at what level the social status within this specific context corresponds to a real recognition in his community as a whole and in other social sectors / Mestre

This dissertation is a literary analysis of the popular culture phenomenon of a component of Uruguayan Carnival – the murga. Murga is a musical theater form whose members sing and act on tablados – neighborhood makeshift stages – and is the most politically subversive component of Carnival. My study traces the origins of murga and analyzes historically significant shows as well as contemporary performances. This project also includes an anthology of transcribed and annotated murga repertoires and interviews, which fills a gap in the study of Uruguayan popular culture as such research has never before been conducted. Chapter 1 examines the origins of Uruguayan Carnival and murga in particular, both in concrete history as well as in its “mythical origin,” a term used by Uruguayan historian Milita Alfaro to describe the collective idea of popular culture phenomena. In the 20th century, murgas became a crucial form of resistance during the military dictatorship as murguistas could subvert censorship and voice criticism of the regime. The chapter concludes with a discussion of present-day murga and its evolution into a Carnival institution, considering how the function of murga has changed in today’s society. Chapter 2 presents a close reading and literary analysis of two historically important murga performances, Falta y Resto in 1992 and Agarrate Catalina in 2011. These two years are significant because of their political context; in 1992, Uruguay was in a moment of post-dictatorship transition, and 2011 was the “honeymoon” period of the leftist Broad Front Coalition. In particular, I examine the intellectual, meta-literary nature of murga lyrics and their ever-present social commentary. Chapter 3 is a comprehensive study of three shows from 2017 and is based on research conducted in Montevideo, and also includes interviews with historically important murga figures including Milita Alfaro, creator of Falta y Resto Raúl Castro, and Edu “El Pitufo” Lombardo, one of the most recognized murga performers. The full transcriptions of the performances are collected and annotated in chapter 4. This final chapter, as well as the included appendices, represent the foundation of a murga archive and the construction of new primary texts as a base for future research.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Essa dissertação, que se organiza a partir de três eixos temáticos - a memória, envelhecimento e samba -, foi realizada, sobretudo, a partir da observação do cotidiano de um grupo específico: os idosos que fazem parte da ala da Velha Guarda das escolas de samba do Rio de Janeiro. O objetivo primordial é verificar como esse grupo se constitui a partir de múltiplos trabalhos da memória como guardiões das tradições do samba carioca. Para isso, dividimos o trabalho em quatro capítulos, cada um deles enfocando um dos significantes da pesquisa. Assim, no primeiro apresentamos o objeto central, no caso, os dez idosos pertencentes à Velha Guarda e que foram entrevistados, a partir dos pressupostos teóricos da História Oral, e que vão construindo narrativas significativas do si e do outro em torno da de um território específico, o mundo do samba. Nos capítulos subsequentes a questão teórica do envelhecimento e da memória é construída de maneira entrelaçada mais uma vez a partir de fragmentos narrativos dos idosos. Como metodologia privilegiada, além das técnicas de entrevista da História Oral, utilizamos os pressupostos da análise etnográfica. As histórias de vida são compostas ao lado da observação participante em diversas reuniões realizadas pelos idosos, sobressaindo-se aquelas de caráter festivo. As festas que organizam semanalmente, constituindo em lugares de práticas de sociabilidades particulares, são o ponto alto da aplicação da metodologia, feita através da observação participante e da construção de diários de campo. Além disso, tivemos a preocupação de registrar em imagens esses momentos, figurando elas no trabalho não como meras ilustrações, mas como uma narrativa peculiar desses momentos significantes dos idosos em sua relação com a memória e o samba. / This dissertation, which is organized through three themes - memory, aging and samba, was conducted above all starting from observing the everyday of a particular group: elderly people who are part of the Old Guard wing of the samba schools of Rio de Janeiro. The main purpose is to see how this group constitutes itself from multiple memory work as guardians of the traditions of samba carioca. For this, we divide the work into four chapters, each one of them focused on one of the research objects. Thus, we first present in the central object, in this case, the ten seniors belonging to the Old Guard and who were interviewed, from the theoretical presuppositions of Oral History, and narratives that are building significant other and the other around a territory specifically, the world of samba. In subsequent chapters the theoretical question of aging and memory is constructed so interwoven once more narrative from fragments of the elderly. As a privileged methodology, beyond the techniques of oral history interview, we used the presuppositions of ethnographic analysis. Life stories are composed alongside participant observation in various meetings held by the elderly, standing up for those festive character. The feasts that organize weekly, forming in places of particular practices of sociability, are the high point of application of the methodology, made through participant observation and construction of field diaries. Furthermore, the concern had of registering images in these moments, figuring them in the work not as mere illustrations, but as a peculiar narrative of these significant moments of the elderly in their relation to memory and samba.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este estudo retrata a trajetória de duas lideranças fundamentais não só no plano da Escola de Samba GRES Portela como na trajetória em geral das Escolas de Samba do Rio de Janeiro. A escolha dos dois personagens, além da conhecida relevância de ambos na história do carnaval carioca, se dá pelo fato de que os dois aparecem como importantes referências de suas agremiações carnavalescas representando e organizando interesses coletivos. Pretendo comparar a trajetória desses dois personagens inserindo ambos em seus contextos históricos. Respectivamente as primeiras três décadas do século XX, e os anos de 1960 até 1980. Elaborando uma pesquisa que compõe um balanço acerca das transformações nas Escolas de Samba do Rio de Janeiro, que ao longo do tempo se forjaram como representação máxima dos festejos carnavalescos da cidade. Analisar as Escolas de Samba pode ajudar a compreender o movimento da cultura popular na história recente da cidade, e como essa se articulou com sociedade e política. / This study analyzes the history of two key leaders not only in terms of Portela Samba School, as in the general trajectory of the Samba Schools of Rio de Janeiro. The choice of two actors, besides the known importance of both in the history of carnival, is given by the fact that the two appear as important references for their carnival associations, representing and organizing collective interests. It is intended to compare the trajectory of these two characters by inserting both in their historical contexts. Respectively, the first three decades of 20th Century, and the years 1960 to 1980. The research consists in a review about the transformations in the Samba Schools of Rio de Janeiro, which in the course of time were forged as the main representation of Carnival festivities in the city. Analyze the Samba Schools can help to understand the movement of popular culture in the recent history of the city, and how this has been linked to society and politics