In the Eighties, Blocos afros
will play an increasingly important part in the social and political life
of Nordeste : the topics speak about racism and the socio-economic
inequality (which touches especially black people since the end of slavery).
It is the case in particular of Olodum, Bloco created by former members
of Ilê Aiyê in 1979.
On the musical level, the influences will extend in the afro-caribbean world, with the fusion of Brazilian with rhythms from Cuba (like Carlinhos Brown's Timbalada, founded on the clave of Rumba) or Jamaïca (which will give rise to the Reggae Samba).
Many other Blocos afros were born like Bloco Muzenza created in 1981 in spiritual osmosis with Bob Marley, died this same year, Bloco Dida, an entirely female band, Tupi Nagô or Banda Mel, which derived towards a more commercial exploitation at the end of the Eighties.
Since the Nineties, music of Blocos afros influence, generally directly, all styles emerging of the Brazilian musical scene, like the Fernanda Abreu's "Axê Music", the "Samba Rap" of Moleque de Rua, the Chico Science's "Mango Beat" or the Lenine's "Samba Funk".
On a purely rhythmic level, the instrumentarium of Blocos afros is mainly represented by the surdos, the caixas (snaredrums), xekerés and the timbaùs. You may also hear the zabumba (bassdrum), the pandeiro and the triangle.
Influenced by the Reggae, the music is played on a relatively slow and "heavy" tempo, while keeping the same rhythmic root as the Samba. The song holds a dominating place, based on the questions/answers between the singer soloist and the musicians.
The bonds with Africa are always omnipresent, even if distances are taken with Candomblé : the topics of the songs are less religious, more political, the leader is not the "Pai de Santos" of the ceremonies anymore and the atabaque was replaced by a more urban version, the timbaù.
The percussions of Blocos afros also marry with the electric sound in the Trios Eléctricos, groups with a now irrationally loud sound, standing on enormous trucks during the Carnival.
In spite of a growing commercial influence (that also exists in Europe), the music of Blocos afros is very present in the everyday life and the festivals of Nordeste, and the new concerns and influences do not occult filiation with the African ancestors.
Profiting from the current of World Music, the music of Blocos afros is listened today in the whole world, testifying to the extraordinary vitality of the afro-Brazilian musical genius.
