Misplaced Pages

Axé: Difference between revisions

Article snapshot taken from[REDACTED] with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editContent deleted Content addedVisualWikitext
Revision as of 08:54, 29 December 2016 editBG19bot (talk | contribs)1,005,055 editsm Remove blank line(s) between list items per WP:LISTGAP to fix an accessibility issue for users of screen readers. Do WP:GENFIXES and cleanup if needed. Discuss this at Misplaced Pages talk:WikiProject Accessibility/LISTGAP← Previous edit Latest revision as of 14:22, 25 December 2024 edit undoCitation bot (talk | contribs)Bots5,457,734 edits Removed URL that duplicated identifier. Removed access-date with no URL. Removed parameters. | Use this bot. Report bugs. | #UCB_CommandLine 
(40 intermediate revisions by 31 users not shown)
Line 1: Line 1:
{{Short description|Afro-brazilian popular music genre}}
{{refimprove|date=October 2016}}
{{Infobox music genre
]. |272x272px]]'''Axé''' ({{IPA-pt|a'ʃɛ}}) is a ] ] originated in ], ], ] in the 1980s, fusing different Afro-Caribbean ], such as marcha, ], and ]. It also includes influences of Brazilian music such as ], ] and carixada.
| name = Axé
| native_name = {{lang|yo|Àṣẹ}}
| etymology =
| other_names =
| image =
| stylistic_origins = {{hlist|]|]|]|]|]|samba duro|]}}
| cultural_origins = 1980s, ], Brazil
| instruments = {{hlist|]|]|]|]|]}}
| derivatives =
| subgenres =
}}


The word Axé comes from the ] culture and language, meaning “soul, light, spirit or good vibrations”.<ref name=":3">{{Cite book|url=http://site.ebrary.com/lib/northeastern/reader.action?docID=10282573&ppg=6|title=Let's Make Some Noise : Axé and the African Roots of Brazilian Popular Music|last=Henry|first=Clarence Bernard|date=August 2008|publisher=University Press of Mississippi|access-date=10 October 2016}}</ref> Axé is also present in the ] religion, as “the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás”.<ref name=":3" /> ]. |272x272px]]'''Axé''' ({{IPA|pt|aˈʃɛ}}) is a ] ] originated in ], ], ] in the 1980s, fusing different ], such as marcha, ], and ]. It also includes influences of ] such as ], ] and carixada. The word Axé comes from the ] term '']'', meaning "soul, light, spirit or good vibrations".<ref name=":3">{{Cite book|title=Let's Make Some Noise : Axé and the African Roots of Brazilian Popular Music|last=Henry|first=Clarence Bernard|date=August 2008|publisher=University Press of Mississippi}}</ref><ref name="ad">{{cite book | last = Adeoye | first = C. L. | title = Ìgbàgbọ́ àti ẹ̀sìn Yorùba | publisher = Evans Bros. Nigeria Publishers | location = Ibadan | year = 1989 | isbn = 9781675098 | page = 11 | language = Yoruba}}</ref> Axé is present in the ] religion, as "the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás". It also has ties with the ] and the ] season, which represents the roots of ].<ref name=":3" />


==Roots and History of Axé== ==Roots and History of Axé==
Numerous different African cultures were brought to Brazil due to slavery, which lead to the creation of the vibrancy and complexity of Brazil and its culture. Therefore, several of Brazil’s popular music styles have derived from African cultures and African diasporic influences, including samba, lambada, funk and axé. There is a tendency by Brazilian musicians to draw inspiration and utilize themes, imagery and symbolic symbols from the Candomblé religion and its African roots.<ref name=":3" /> Artists such as Gilberto Gil, Vinicius de Moraes, Caetano Veloso, Sergio Mendes, Daniela Mercury, Carlinhos Brown, among others, have all used African culture, religion and symbols as inspirations and lyrics of their songs.<ref name=":3" /> Numerous different African cultures were brought to Brazil due to slavery, which lead to the creation of the vibrancy and complexity of Brazil and its culture. Therefore, several of Brazil's popular music styles have derived from African cultures and African diasporic influences, including samba, lambada, funk and axé. There is a tendency by Brazilian musicians to draw inspiration and utilize themes, imagery and symbolic symbols from the Candomblé religion and its African roots.<ref name=":3" /> Artists such as ], ], ], ], ], ], among others, have all used African culture, religion and symbols as inspirations and lyrics of their songs.<ref name=":3" />


Following the ] in 1888, the celebration of ] was used similarly to Candomblé religion as it celebrated the African heritage, honoring the ancestral spirits and African royalty. Even before this, Catholicism had its roots embedded in Carnival. For example, the Bahian Carnival focuses on specifically celebrating the death and resurrection of Jesus as it leads to the ]en season in the Roman Catholic calendar. Along with this, Catholic Masses are given ahead of the carnival to wish people positive axé spirit throughout the lenten season. While some perform in Catholic traditions, Candomblé rituals are done as well. They offer foods and liquids as a gift for the ]s for good tidings and a fortunate Carnival season. Another example of Catholic ties to Candomblé is in the early nineteenth century, pre-Lenten celebrations including formal dances for the rich and celebrations with dancing in the streets for the lower class occurred. These actions were prominent in the forming of Carnival as authorities eventually banned the separate types of celebrations having Carnival take its place where both sides of society participated in their own ways.<ref name=":3" />
⚫ Axé was a fusion of African and Caribbean styles such as merengue, salsa and reggae, as well as being influenced by other Afro-Brazilian musical styles such as frevo and forró. Axé music was labeled in 1980s, but it was already noticeable in the 50s with the incorporation of the “guitarra baiana” (guitar from Bahia).<ref name=":1" /> This genre was purely instrumental, and remained so until the 1970s, when Moraes Moreira (of the band ]) went solo.] women symbolic of the Afro-Brazilian culture and community in ].|334x334px]]In 1974, ] in ] began taking shape. A group of ] civil rights activists formed ], a music ensemble that derived their heavy rhythm from ]’s religious ceremonies. Quickly, ] gained a huge following, allowing them to influence other artists to incorporate the samba-reggae style and the heavy beats to their music.<ref name=":1">{{Cite web|url=http://riotimesonline.com/brazil-news/rio-entertainment/the-story-of-axe-music-in-brazil/|title=The Story of Axé Music in Brazil|last=Hurrell|first=Fiona|date=6 March 2012|website=The Rio Times|publisher=The Rio Times|access-date=10 October 2016}}</ref> Groups such as ], ] and Filhos de Gandhi also shared the heavy beats and rhythms with ], as well as utilizing African symbols such as typical outfits and instruments that all these bands use to perform. ]'s rehearsals soon became a starting point for up and coming artists, composers, and music. In these rehearsals, artists presented and experimented with their music, in search for legitimacy from the population.<ref name=":4">{{Cite web|url=http://www.scielo.br/pdf/pm/n22/n22a17.pdf|title=Axé music: mitos, verdades e world music|last=Amado|first=Armando Alexandre|date=20 March 2010|publisher=Universidade Federal da Bahia|access-date=10 October 2016}}</ref>


Axé was a fusion of African and Caribbean styles such as ], ] and ], as well as being influenced by other Afro-Brazilian musical styles such as ] and ]. Axé music was labeled in 1980s, but it was already noticeable in the 50s with the incorporation of the "guitarra baiana" (guitar from Bahia).<ref name=":1" /> This genre was purely instrumental, and remained so until the 1970s, when Moraes Moreira (of the band ]) went solo.], women symbolic of the Afro-Brazilian culture and community in ].]]
⚫ In 1985 Luiz Caldas released his ] called ''Magia'', which included the track ''Fricote''. Although the lyrics were not complex, the rhythm was perfect for the climate in ]. The song became the representation of the entertainment of Bahia's musicality.<ref name=":4" />
⚫ In 1974, ] in ] began taking shape. A group of ] civil rights activists formed ], a music ensemble that derived their heavy rhythm from ]'s religious ceremonies. Quickly, ] gained a huge following, allowing them to influence other artists to incorporate the samba-reggae style and the heavy beats to their music.<ref name=":1">{{Cite web|url=http://riotimesonline.com/brazil-news/rio-entertainment/the-story-of-axe-music-in-brazil/|title=The Story of Axé Music in Brazil|last=Hurrell|first=Fiona|date=6 March 2012|website=The Rio Times|access-date=10 October 2016}}</ref> Groups such as ], ] and Filhos de Gandhi also shared the heavy beats and rhythms with ], as well as utilizing African symbols such as typical outfits and instruments that all these bands use to perform. ]'s rehearsals soon became a starting point for up and coming artists, composers, and music. In these rehearsals, artists presented and experimented with their music, in search for legitimacy from the population.<ref name=":4">{{Cite web|url=http://www.scielo.br/pdf/pm/n22/n22a17.pdf|title=Axé music: mitos, verdades e world music|last=Amado|first=Armando Alexandre|date=20 March 2010|publisher=Universidade Federal da Bahia|access-date=10 October 2016}}</ref>


As axé has developed over time, all axé ensembles have had one thing in common: structure. Axé music ensembles usually consist of a lead singer, backup singers, an electric guitar, bass, drum set, keyboards, a percussion section, and sometimes even a horn section. As expressed in the earlier parts of this section, a driving beat, which carries out the dancing aspect of the music, also brings with it lyrics that invite those from mass who want to join these carnival parades.<ref name=":5">{{Cite journal |last=Packman |first=Jeff |title=Musicians' Performances and Performances of "Musician" in Salvador da Bahia, Brazil |url=https://www.jstor.org/stable/10.5406/ethnomusicology.55.3.0414 |journal=Ethnomusicology |year=2011 |publisher=University of Illinois Press |volume=55 |issue=3 |pages=414–444 |doi=10.5406/ethnomusicology.55.3.0414 |jstor=10.5406/ethnomusicology.55.3.0414 |access-date=2022-09-19}}</ref> Used as a template of originality in the mid 1980s, axé didn't completely come together until there was a mix of music genres developed by Bahian musicians. For example, ], the local rhythm of Salvador's was a prominent example of this combination. The blocos Afro group was formed to oppose prejudice that struck many poor dark-skinned people from several carnival clubs in Salvador in the 1970s. Opposing this prejudice, the signature music style of the blocos Afro gave a valuable meaning to axé and how it is shaped today.<ref name=":5" />
⚫ ==Popularity==

⚫ When ] released '']'' in 1992, axé entered the mainstream pop music scene and became one of the most popular genres in Brazil. The song remained in the first position in the charts for months and ended up becoming an anthem for the people in Brazil. ] opened doors for artists and bands such as Cheiro de Amor, ], ] and ], who launched ] and lead her to embark in her solo career. These bands are still relevant in Brazilian music scene, and still spreads the axé genre across the country and throughout the world.
⚫ Another example is in 1985, Luiz Caldas released his ] called ''Magia'', which included the track ''Fricote''. Although the lyrics were not complex, the rhythm was perfect for the climate in ]. The song became the representation of the entertainment of Bahia's musicality.<ref name=":4" />

== Candomblé Beads ==
These Candomblé beads being made up of either plastic, glass, or clay, mimic emblems of status, protection, and affiliation with ] in both secular and religious spaces. The beads acquire axé and form a materialistic representation of their God when they are made sacred by being bathed in sacred herbs and blood.<ref name=":0">{{Cite journal |last=Shirey |first=Heather |title=Candomblé Beads and Identity in Salvador da Bahia, Brazil |url=https://www.jstor.org/stable/10.1525/nr.2012.16.1.36 |journal=Nova Religio: The Journal of Alternative and Emergent Religions |year=2012 |publisher=University of California Press |publication-date=August 2012 |volume=16 |issue=1 |pages=36–60 |doi=10.1525/nr.2012.16.1.36 |jstor=10.1525/nr.2012.16.1.36 |access-date=2022-09-19}}</ref> Through these beads, they have a variety of functions in the life of persons who give them authority and regard them as essential to their spiritual well-being.

=== Status ===
When the Candomblé beads are used, in the sacred context, status is indicated by the type and color of the beads. For example, to employ items like dress, color, beads, and jewelry, you must be in a position of status. The beads will increase in size as the owner of the beads moves forward, carrying out their duties over many years, and they'll add valuable items to them. Anyone who is aware of this demonstrates their standing within the Candomblé hierarchy.<ref name=":0" />

=== Protection ===
When the Candomblé beads are used, they bring one into contact with the axé and enable the beads to withstand strong, possibly harmful forces. Empowerment gives beads the ability to guide and protect as well as harm their owners. For example, as they move through city streets, people frequently wear beads, which serve as representations for their ]. They rely on these beads for protection in the most trying of circumstances.<ref name=":0" />

=== Affiliation with Candomblé ===
When the Candomblé beads are used, in the public context, beads serve as a symbol of one's pride in African Brazilian culture and religious affiliation. When Candomblé is viewed unfavorably, this awareness of identification can either be empowering and desirable or it can be potentially deadly.<ref name=":0" />

=== Association with Orixás ===
When the Candomblé beads are used, in the sacred context, status is indicated by the type and color of the beads<ref name=":0" /> People may decorate themselves with bead strands during specific public festivities to express pride as well as express the affiliation with African Brazilian culture.

⚫ == Popularity ==
⚫ When ] released '']'' in 1992, axé entered the mainstream pop music scene and became one of the most popular genres in Brazil. The song remained in the first position in the charts for months and ended up becoming an anthem for the people in Brazil. ] opened doors for artists and bands such as Cheiro de Amor, ], ] and ], who launched ] and led her to embark in her solo career. These bands are still relevant in Brazilian music scene, and still spreads the axé genre across the country and throughout the world.


Two years prior to ]'s success, the ] and ]an released ]' ''Elegibô,'' which took the style to international audiences. Two years prior to ]'s success, the ] and ]an released ]' ''Elegibô,'' which took the style to international audiences.


==Notable Artists==
] as she performs in Salvador's Carnaval in 2012.]] ] as she performs in Salvador's Carnaval in 2012.]]
*]
*]
*]
*]
*Margaret Menezes
*]
*Dodô e Osmar
*]
*]
*]
*Banda Eva


==Axé Today== ==Axé Today==
Currently, the biggest axé music stars are ] and ]. Currently, the biggest stars of axé music are ] and ]. Claudia is known in Latin America for hits like "Beijar na Boca", and was also extremely popular on the Spanish version, "Beso en la Boca", as well as Baldin de Gelo, Carnaval ft. Pitbull and Corazon ft. Daddy Yankee.


⚫ ==Axé International Exhibition==
] is a six-member eurodance/axé music group from Brazil. They achieved fame in South America with their single "Beijo na Boca", and was also extremely popular in the Spanish-language version, "Beso en la Boca".
⚫ ] drummers playing their instruments like in the video clip ''They Don't Really Care About Us''.]]
⚫ Two great moments in the history of axé were the success of Ivete Sangalo and Claudia Leitte in the United States. Both singers sell out shows wherever they go, Ivete Sangalo sold out Madison Square Garden in 2010. In an interview before her show at MS, she stated: "When I was recognized in Brazil, I was also known, and Brazil is a gigantic place with a lot of talent. I didn't come here with the intention of being known, but what I came here to do, I came to do right". In that show, she managed to bring to the United States a "mini-version of Carnival". Claudia Leitte, on the other hand, gained international prominence when she appeared on Billboard's Social 50 for 8 weeks after collaborating on "We Are One", the 2014 World Cup theme song. Pitbull, Daddy Yankee and Jennifer Lopez.<ref name=":2">{{Cite web|url=http://www.washingtontimes.com/news/2010/sep/5/brazilian-superstar-ivete-sangalo-plays-ny-arena/|title=Brazilian superstar Ivete Sangalo plays NY arena|last=Astor|first=Michael|date=September 5, 2010|website=The Washington Times |access-date=October 10, 2016}}</ref> Ivete Sangalo is the only artist to have participated in all editions of the Rock in Rio Lisboa show, in addition to having participated in Rock in Rio Brasil, Spain and the United States.


⚫ Another notable example for axé music was when Michael Jackson recorded his 1996 hit '']'' in ]. ] and directed the music video for this song, the music video was shot in the historic district of Pelourinho in Salvador and in a favela in Rio de Janeiro. Michael Jackson collaborated with Olodum in this video, which featured 200 members of the band playing their different types of drums to the sound of samba-reggae from Salvador. Due to this video, Olodum was exposed to 140 countries, increasing the reach of Afro-Brazilian samba-reggae.
⚫ ==International Exposure of Axé==
⚫ ] drummers playing their instruments just like they did in the video clip ''They Don't Really Care About Us''.]]
⚫ A notable moment in axé's history was Ivete Sangalo's success in the United States. After selling out 70,000 capacity soccer stadiums in Brazil, Ivete Sangalo sold out Madison Square Garden in 2010. In an interview before her MSG concert, she affirmed that, "When I started in Brazil, I was also unknown, and Brazil is a gigantic place with lots of talent. I haven't come here with the pretension of being well known, but what I've come do to here, I've come to do right". In this concert, she was able to bring to the United States a "mini-version of Carnaval".<ref name=":2">{{Cite web|url=http://www.washingtontimes.com/news/2010/sep/5/brazilian-superstar-ivete-sangalo-plays-ny-arena/|title=Brazilian superstar Ivete Sangalo plays NY arena|last=Astor|first=Michael|date=5 September 2010|website=The Washington Times|publisher=The Washington Times|access-date=10 October 2016}}</ref> Ivete Sangalo is the only artist to have participated in all editions of the concert Rock in Rio Lisbon, as well as participating in Rock in Rio Brazil, Spain and United States.

⚫ Another remarkable instance for axé music was when Michael Jackson recorded his 1996 hit '']'' in Bahia. Spike Lee directed the video clip for this song, and the video clip was filmed in the historical neighborhood of Pelourinho in Salvador, Bahia, and in a favela in Rio de Janeiro. Michael Jackson collaborated with Olodum in this video, which featured 200 members of the band playing their different kinds of drums to Salvador's samba-reggae music. Due to this video, Olodum was exposed to 140 countries, increasing the outreach of the Afro-Brazilian samba-reggae music.


==References== ==References==
Line 45: Line 62:


==External links== ==External links==
* *
* *
* *

{{Lusophonemusic}}


{{DEFAULTSORT:Axe music}}
] ]
] ]

Latest revision as of 14:22, 25 December 2024

Afro-brazilian popular music genre
Axé
Native nameÀṣẹ
Stylistic origins
Cultural origins1980s, Salvador, Bahia, Brazil
Typical instruments
Woman characterized as a "baiana", costume derived from connections to the predominant African culture in Bahia.

Axé (Portuguese pronunciation: [aˈʃɛ]) is a popular music genre originated in Salvador, Bahia, Brazil in the 1980s, fusing different Afro-Caribbean genres, such as marcha, reggae, and calypso. It also includes influences of Brazilian music such as frevo, forró and carixada. The word Axé comes from the Yoruba term àṣẹ, meaning "soul, light, spirit or good vibrations". Axé is present in the Candomblé religion, as "the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás". It also has ties with the Roman Catholic Church and the Lenten season, which represents the roots of Bahian Carnival.

Roots and History of Axé

Numerous different African cultures were brought to Brazil due to slavery, which lead to the creation of the vibrancy and complexity of Brazil and its culture. Therefore, several of Brazil's popular music styles have derived from African cultures and African diasporic influences, including samba, lambada, funk and axé. There is a tendency by Brazilian musicians to draw inspiration and utilize themes, imagery and symbolic symbols from the Candomblé religion and its African roots. Artists such as Gilberto Gil, Vinicius de Moraes, Caetano Veloso, Sergio Mendes, Daniela Mercury, Carlinhos Brown, among others, have all used African culture, religion and symbols as inspirations and lyrics of their songs.

Following the abolition of slavery in 1888, the celebration of Bahian Carnival was used similarly to Candomblé religion as it celebrated the African heritage, honoring the ancestral spirits and African royalty. Even before this, Catholicism had its roots embedded in Carnival. For example, the Bahian Carnival focuses on specifically celebrating the death and resurrection of Jesus as it leads to the Lenten season in the Roman Catholic calendar. Along with this, Catholic Masses are given ahead of the carnival to wish people positive axé spirit throughout the lenten season. While some perform in Catholic traditions, Candomblé rituals are done as well. They offer foods and liquids as a gift for the orixás for good tidings and a fortunate Carnival season. Another example of Catholic ties to Candomblé is in the early nineteenth century, pre-Lenten celebrations including formal dances for the rich and celebrations with dancing in the streets for the lower class occurred. These actions were prominent in the forming of Carnival as authorities eventually banned the separate types of celebrations having Carnival take its place where both sides of society participated in their own ways.

Axé was a fusion of African and Caribbean styles such as merengue, salsa and reggae, as well as being influenced by other Afro-Brazilian musical styles such as frevo and forró. Axé music was labeled in 1980s, but it was already noticeable in the 50s with the incorporation of the "guitarra baiana" (guitar from Bahia). This genre was purely instrumental, and remained so until the 1970s, when Moraes Moreira (of the band Novos Baianos) went solo.

Ilê Aiyê, women symbolic of the Afro-Brazilian culture and community in Salvador, Bahia.

In 1974, carnival in Salvador, Bahia began taking shape. A group of Afro-Brazilians civil rights activists formed Ilê Aiyê, a music ensemble that derived their heavy rhythm from Candomblé's religious ceremonies. Quickly, Ilê Aiyê gained a huge following, allowing them to influence other artists to incorporate the samba-reggae style and the heavy beats to their music. Groups such as Timbalada, Olodum and Filhos de Gandhi also shared the heavy beats and rhythms with Ilê Aiyê, as well as utilizing African symbols such as typical outfits and instruments that all these bands use to perform. Olodum's rehearsals soon became a starting point for up and coming artists, composers, and music. In these rehearsals, artists presented and experimented with their music, in search for legitimacy from the population.

As axé has developed over time, all axé ensembles have had one thing in common: structure. Axé music ensembles usually consist of a lead singer, backup singers, an electric guitar, bass, drum set, keyboards, a percussion section, and sometimes even a horn section. As expressed in the earlier parts of this section, a driving beat, which carries out the dancing aspect of the music, also brings with it lyrics that invite those from mass who want to join these carnival parades. Used as a template of originality in the mid 1980s, axé didn't completely come together until there was a mix of music genres developed by Bahian musicians. For example, samba-reggae, the local rhythm of Salvador's blocos Afro was a prominent example of this combination. The blocos Afro group was formed to oppose prejudice that struck many poor dark-skinned people from several carnival clubs in Salvador in the 1970s. Opposing this prejudice, the signature music style of the blocos Afro gave a valuable meaning to axé and how it is shaped today.

Another example is in 1985, Luiz Caldas released his LP record called Magia, which included the track Fricote. Although the lyrics were not complex, the rhythm was perfect for the climate in Bahia. The song became the representation of the entertainment of Bahia's musicality.

Candomblé Beads

These Candomblé beads being made up of either plastic, glass, or clay, mimic emblems of status, protection, and affiliation with Candomblé in both secular and religious spaces. The beads acquire axé and form a materialistic representation of their God when they are made sacred by being bathed in sacred herbs and blood. Through these beads, they have a variety of functions in the life of persons who give them authority and regard them as essential to their spiritual well-being.

Status

When the Candomblé beads are used, in the sacred context, status is indicated by the type and color of the beads. For example, to employ items like dress, color, beads, and jewelry, you must be in a position of status. The beads will increase in size as the owner of the beads moves forward, carrying out their duties over many years, and they'll add valuable items to them. Anyone who is aware of this demonstrates their standing within the Candomblé hierarchy.

Protection

When the Candomblé beads are used, they bring one into contact with the axé and enable the beads to withstand strong, possibly harmful forces. Empowerment gives beads the ability to guide and protect as well as harm their owners. For example, as they move through city streets, people frequently wear beads, which serve as representations for their orixá. They rely on these beads for protection in the most trying of circumstances.

Affiliation with Candomblé

When the Candomblé beads are used, in the public context, beads serve as a symbol of one's pride in African Brazilian culture and religious affiliation. When Candomblé is viewed unfavorably, this awareness of identification can either be empowering and desirable or it can be potentially deadly.

Association with Orixás

When the Candomblé beads are used, in the sacred context, status is indicated by the type and color of the beads People may decorate themselves with bead strands during specific public festivities to express pride as well as express the affiliation with African Brazilian culture.

Popularity

When Daniela Mercury released O Canto da Cidade in 1992, axé entered the mainstream pop music scene and became one of the most popular genres in Brazil. The song remained in the first position in the charts for months and ended up becoming an anthem for the people in Brazil. O Canto da Cidade opened doors for artists and bands such as Cheiro de Amor, Asa de Águia, Chiclete com Banana and Banda Eva, who launched Ivete Sangalo and led her to embark in her solo career. These bands are still relevant in Brazilian music scene, and still spreads the axé genre across the country and throughout the world.

Two years prior to Daniela Mercury's success, the American and European released Margareth Menezes' Elegibô, which took the style to international audiences.

Ivete Sangalo as she performs in Salvador's Carnaval in 2012.

Axé Today

Currently, the biggest stars of axé music are Ivete Sangalo and Claudia Leitte. Claudia is known in Latin America for hits like "Beijar na Boca", and was also extremely popular on the Spanish version, "Beso en la Boca", as well as Baldin de Gelo, Carnaval ft. Pitbull and Corazon ft. Daddy Yankee.

Axé International Exhibition

Olodum drummers playing their instruments like in the video clip They Don't Really Care About Us.

Two great moments in the history of axé were the success of Ivete Sangalo and Claudia Leitte in the United States. Both singers sell out shows wherever they go, Ivete Sangalo sold out Madison Square Garden in 2010. In an interview before her show at MS, she stated: "When I was recognized in Brazil, I was also known, and Brazil is a gigantic place with a lot of talent. I didn't come here with the intention of being known, but what I came here to do, I came to do right". In that show, she managed to bring to the United States a "mini-version of Carnival". Claudia Leitte, on the other hand, gained international prominence when she appeared on Billboard's Social 50 for 8 weeks after collaborating on "We Are One", the 2014 World Cup theme song. Pitbull, Daddy Yankee and Jennifer Lopez. Ivete Sangalo is the only artist to have participated in all editions of the Rock in Rio Lisboa show, in addition to having participated in Rock in Rio Brasil, Spain and the United States.

Another notable example for axé music was when Michael Jackson recorded his 1996 hit They Don't Really Care About Us in Bahia. Spike Lee and directed the music video for this song, the music video was shot in the historic district of Pelourinho in Salvador and in a favela in Rio de Janeiro. Michael Jackson collaborated with Olodum in this video, which featured 200 members of the band playing their different types of drums to the sound of samba-reggae from Salvador. Due to this video, Olodum was exposed to 140 countries, increasing the reach of Afro-Brazilian samba-reggae.

References

  1. ^ Henry, Clarence Bernard (August 2008). Let's Make Some Noise : Axé and the African Roots of Brazilian Popular Music. University Press of Mississippi.
  2. Adeoye, C. L. (1989). Ìgbàgbọ́ àti ẹ̀sìn Yorùba (in Yoruba). Ibadan: Evans Bros. Nigeria Publishers. p. 11. ISBN 9781675098.
  3. ^ Hurrell, Fiona (6 March 2012). "The Story of Axé Music in Brazil". The Rio Times. Retrieved 10 October 2016.
  4. ^ Amado, Armando Alexandre (20 March 2010). "Axé music: mitos, verdades e world music" (PDF). Universidade Federal da Bahia. Retrieved 10 October 2016.
  5. ^ Packman, Jeff (2011). "Musicians' Performances and Performances of "Musician" in Salvador da Bahia, Brazil". Ethnomusicology. 55 (3). University of Illinois Press: 414–444. doi:10.5406/ethnomusicology.55.3.0414. JSTOR 10.5406/ethnomusicology.55.3.0414. Retrieved 2022-09-19.
  6. ^ Shirey, Heather (2012). "Candomblé Beads and Identity in Salvador da Bahia, Brazil". Nova Religio: The Journal of Alternative and Emergent Religions. 16 (1). University of California Press (published August 2012): 36–60. doi:10.1525/nr.2012.16.1.36. JSTOR 10.1525/nr.2012.16.1.36. Retrieved 2022-09-19.
  7. Astor, Michael (September 5, 2010). "Brazilian superstar Ivete Sangalo plays NY arena". The Washington Times. Retrieved October 10, 2016.

External links

Music from Lusophone countries
Angola
Brazil
Samba
Rio urban samba
Main subgenres
Fusion genres of Samba
Ballroom dance
Bahian samba
Rural sambo
Urban sambo
Cape Verde
Mozambique
Portugal
Other
Related
Categories:
Axé: Difference between revisions Add topic