O samba de sambar de Ismael Silva e o baião de Luiz Gonzaga (1925-1945): uma perspectiva comparada

Abstract

This study explores, from a comparative perspective, the trajectories of Ismael Silva and Luiz Gonzaga. The first, Ismael Silva, was one of the key figures in shaping samba as a dance genre, distinct from the maxixe and played in carnival associations. He also founded "Deixa Falar," which later became the Grêmio Recreativo Escola de Samba (GRES) Estácio de Sá, the first samba school in Rio de Janeiro. Luiz Gonzaga, on the other hand, was a pioneer of Northeastern Brazilian culture, who developed the rhythm known as baião, earning him the historical title of the "King of Baião." Both musicians were pioneers and protagonists in their musical realms, transforming music into a profession and benefiting from the burgeoning cultural industry. By analyzing their trajectories, we identify several commonalities and differences. Both Ismael Silva and Luiz Gonzaga were responsible for the rise of their respective musical styles. They proposed new ways of thinking about samba and Northeastern music, in addition, he was present during the rise of radio. However, our objective is to go beyond these similarities and delve into the contradictions in which our subjects are embedded, each with their unique circumstances, despite a similar context. Throughout the study, we observe that Luiz Gonzaga achieved greater national prominence and social recognition not only in his hometown of Exu but also in Rio de Janeiro, directly impacting the lives of the Northeastern people of Exu and the migrants living in the Brazilian capital at the time. His music brought him not only recognition and fame but also provided financial support for himself, his family, and those around him, leading to social mobility. On the other hand, Ismael Silva, although he achieved a brief and limited social mobility by selling his compositions and frequenting the intellectual elite circles of Rio de Janeiro, was unable to secure a lasting presence in the market and ultimately passed away without significant financial resources, often suffering neglect from public institutions. Additionally, our research reveals that Ismael Silva does not receive the recognition he deserves for his contributions to Carioca culture. Despite some tributes, such as a plaza, a bust, or even a street named after him, we do not consider these efforts effective in preserving his legacy. What value do such honors hold if there is no substantial effort to maintain his memory? As the study aims to address the trajectories of two musicians from different genres and realities, yet who coexisted in the same timeframe, we opted for a comparative analysis. This approach is not intended for mere comparison but to understand the influence of the contexts in which both musicians were situated. A comparative analysis allows for a deeper discussion on the new socioeconomic relationships within Carioca society from the first half of the 20th century. To this end, we employ the concept of Cross-History, as we are discussing figures who, besides having something in common, had their lives intertwined by music as a means of economic survival.