Editing Samba (section)

== Etymology and definition ==
[[File:Batuque.jpg|thumb|"Batuque" (1835), a painting by the German [[Johan Moritz Rugendas]].{{sfn|Itaú Cultural|2020}}|alt=]]

There is no consensus among experts on the [[etymology]] of the term "samba". A traditionalist view that defends that the etymon comes from the [[Bantu languages|Bantu]] was in the ''Diário de Pernambuco'' in 1830.{{sfn|Diário de Pernambuco|1830|pp=2098–2099}} The term was documented in the publication in a note opposing the sending of soldiers to the ''c''ountryside of [[Pernambuco]] State as a disciplinary measure, as there they could be idle and entertained with "fishing of corrals [traps to catch fish], and climbing coconut trees, in whose hobbies viola and samba will be welcomed ".{{sfn|Diário de Pernambuco|1830|pp=2098–2099}} Another old appearance was recorded in the humorous [[Recife]] newspaper ''O Carapuceiro'', dated February 1838,{{sfn|Lopes da Gama|1838|p=1}} when Father Miguel Lopes Gama of Sacramento wrote against what he called "the samba d'almocreve" – not referring to the future musical genre, but a kind of merriment (dance drama) popular for black people of that time. According to Hiram Araújo da Costa, over the centuries, the festival of dances of enslaved people in Bahia were called samba.{{sfn|Klein|2007}} In [[Rio de Janeiro]], the word only became known at the end of the 19th century, when it was linked to rural festivities, to the area of Black people and to the "north" of the country, that is, the [[Northeast Region, Brazil|Brazilian Northeast]].{{sfn|Neto|2018}}

For many years of the Brazilian [[Colonial Brazil|colonial]] and [[Empire of Brazil|imperial]] history, the terms "batuque" or "samba" were used in any manifestation of [[African Origins|African origins]] that brought together dances (mainly [[umbigada]]), songs and uses of [[Afro-Brazilians|Black people]] instruments.{{sfn|Lopes|Simas|2015|p=247}} At the end of the 19th century, "samba" was present in the [[Portuguese language]], designating different types of popular dances performed by [[Slavery in Brazil|African slaves]] (xiba, [[fandango]], catereté, candomblé, [[Baião (music)|baião]]) that assumed its own characteristics in each [[Federative units of Brazil|Brazilian state]], not only by the diversity of the ethnic groups of the [[African diaspora in the Americas|African diaspora]], but also the peculiarity of each region in which they were settlers.{{sfn|Lopes|Simas|2015|p=247}} In the twentieth century, the term was gaining new meanings, as for a "circle dance similar to batuque" and a "genre of popular song".{{sfn|Frugiuele|2015|p=105}}

The use of the word in a musical context was documented as early as 1913 in the "Em casa de baiana", registered as "samba de partido-alto".{{sfn|Moura|1983|p=77}}{{sfn|Silva|2016}} Then, the following year, for the works "A viola está magoada"{{sfn|Silva|2016}}{{sfn|Vasconcelos|1977|p=25}} and "Moleque vagabundo".{{sfn|IMS|2019c}}{{sfn|Mello|Severiano|1997|p=41}} And, in 1916, for the famous "[[Pelo Telefone]]", released as "samba carnavalesco" ("carnival samba"){{sfn|IMS|2019a}}{{sfn|IMS|2019b}} and regarded as the founding landmark of the Modern Carioca Samba.{{sfn|Lopes|Simas|2015|p=254}}{{sfn|Lira Neto|2017|p=90}}