The title simply means everyone working together to create carnival, the word “bloco” means: a large “block” of people! Our Performance Directors Hej Jones which translates as “Carnival Block”) in 2010 to mark our 10 th anniversary. Norwich Samba was given the title “Bloco Carnavalesco” (B.C. Today, Norwich Samba’s Bateria is led by Hej Jones who puts the Bateria through its paces for shows and carnivals, Hej also teaches beginners the basics in samba percussion. Our inaugural workshop was on 5th April 2000 and we are still going strong over 20 years later. With Marcus studying on Dudu’s Roots of Brazil course, Dudu provided many of the pieces we played (and still play), alongside our own compositions, though we now draw in material from Monobloco (Rio de Janeiro) and many other sources. The biggest influence on our early years was Brazilian legend, Dudu Tucci, who we first met at Leiston Abbey, on the Samba Fever course set up by Suffolk School of Samba (also the first time we met our neighbours and good friends based in Ipswich). It was working with Fiona at Dance Camp East 1999 that inspired Marcus to bring the energy of Samba to Norwich, having first experienced the magic of Samba on the Access to Music IMF course where Paul and Marcus first met. Norwich Samba was set up by Paul Weston and Marcus Patteson in 2000 following workshops with Nick Scarr and Fiona Lidgey-Hutt of the Peterborough Community Samba Band (now defunct). Our mission is to bring a flavour of Samba and Brazilian Carnival music and dance to any event or parade we attend. Ainda assim, a representação do Brasil feito pela Casa Samba é importante na construção de uma identidade brasileira híbrida em New Orleans.Norwich Samba has been doing workshops and performances for over 20 years in Norwich. Imigrantes brasileiros, a maioria chegando a New Orleans depois de Katrina para trabalhar na reconstrução, raramente são membros de Casa Samba porque vem de áreas no Brasil onde samba não representa cultura local. O diretor Curtis Pierre chama esse processo de uma experiência "Ameriziliana." Essa pesquisa também destaca o papel do imigrante brasileiro na organização e nas apresentações do Casa Samba. Esse trabalho explora como o Casa Samba, a mais velha e mais estabelecida representação da cultura brasileira em New Orleans, destaca imagens globais do Brasil no palco local de New Orleans. I argue, however, that whether or not they participate directly in Casa Samba as members, Casa Samba is crucial to the construction of a Brazilian identity in New Orleans. Brazilian immigrants who relocated to New Orleans after Hurricane Katrina to work in construction are rarely performers with Casa Samba, as they tend to come from areas of Brazil where samba is not representative of local identity. I also examine Brazilian immigrants' relationship, or lack thereof, to Casa Samba. I explore how the image of Brazil projected by Casa Samba performances inevitably becomes mediated through a New Orleanian worldview in what director Curtis Pierre terms an "Amerizilian" experience. In this article I explore how Casa Samba, the oldest and most established cultural organization representing Brazilian culture in New Orleans, performs global images of Brazil on the local stage of New Orleans.
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