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• Samba is a broad term for many of the rhythms that compose the better known Brazilian music genres that originated in the Afro-Brazilian communities of Bahia in the late 19th century and early 20th century, having continued its development on the communities of Rio de Janeiro in the early 20th century.
• The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes samba and bossa nova.
• Drums similarly shaped to the ashiko - including the "truncated cone" form - can also be found in Afro-Colombian music (the Tambor Alegre in the Caribbean region of Colombia), as well as in Afro-Brazilian music, such as the Timbau.
• Yoruba vocabulary is also used in African diaspora religions such as the Afro-Brazilian religion of Candomblé, the Caribbean religion of Santería in the form of the liturgical Lucumí language, and various Afro-American religions of North America.
• Deriving largely from Spiritism, it also combines elements from Afro-Brazilian traditions like Candomblé as well as Roman Catholicism.
• Samba de Roda was the main form of circle dance, provenient from the Candomblé Afro-Brazilian Tradition.
• Another word sometimes applied to Candomblé is macumba; this generic term can be applied to Afro-Brazilian religions as a whole but is especially associated with sorcery or black magic, and thus some Candomblécistas distance themselves from it.
• When a few people finally uncover who Arcanjo was and what he espoused, media barons and advertisers are horrified to discover that he was an Afro-Brazilian social critic, womanizer and heavy drinker who died penniless in the gutter.
• Other noteworthy religions include Spiritism and Afro-Brazilian ritualism (such as Umbanda and Candomblé).
• In a broader sense, the term Macumba is used for most Afro-Brazilian religious traditions, including Candomblé and Umbanda.
• Although bossa nova was the prevailing sound at the time, Baden and Vinicius wanted to combine samba with Afro-Brazilian forms such as candomblé, umbanda, and capoeira.
• Meanwhile, having achieved personal political prominence in the late 1980s, Maia broke with Brizola and the PDT, affiliating with the Party of the Brazilian Democratic Movement (PMDB) in 1991, being elected mayor of the city of Rio de Janeiro for the first time in 1992, defeating the Workers' Party candidate, Afro-Brazilian Benedita da Silva in a run-off election, in a campaign that was regarded by some as being driven by racist ideology.
• He was also the last of the kings of the Quilombo dos Palmares, a settlement of Afro-Brazilian people who liberated themselves from enslavement in the present-day state of Alagoas, Brazil.
• 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.
• The atabaque is used in Capoeira, Maculelê and the Afro-Brazilian religions of Candomblé and Umbanda.
• Maracatu nação (also known as maracatu de baque virado: "maracatu of the turned-around beat"), the most well-known of the maracatu genres, is an Afro-Brazilian performance genre practiced in the state of Pernambuco, mainly in the cities of Recife and Olinda.
• Jelon Vieira is a Brazilian choreographer and teacher who, in 2000, achieved recognition by New York City's Brazilian Cultural Center as a pioneer in presenting to American audiences the Afro-Brazilian art and dance form, Capoeira.
• Capoeira music is the traditional musical accompaniment used in Afro-Brazilian art capoeira, featuring instruments like berimbau, pandeiro, atabaque, agogô, and reco-reco.
• A marble Greek bas-relief explodes, revealing Afro-Brazilian men dancing the samba to drums in a favela.
• By integrating the music of the older choro composers of the 19th century with contemporary jazz-like harmonies, Afro-Brazilian rhythms, and sophisticated arrangements, he introduced choro to a new audience and helped to popularize it as a uniquely Brazilian genre.
• Capoeira is an Afro-Brazilian martial art that combines elements of dance and music, and is marked by deft, tricky movements that are often played on the ground or completely inverted.
• According to this theory, some people believe Jailhouse Rock may be a modern American manifestation of the many African martial arts that were disseminated throughout the African diaspora, comparable to martial arts including Afro-Brazilian Capoeira, Cuban Mani and Martiniquese Ladja.
• As a religion, it has been described as taking influences from Kardecist Spiritism, folk Catholicism, and Afro-Brazilian religions like Candomblé.
• Brazil has a gigantic religious variety with Catholics, Protestants, Muslims, Jews, Kardecist Spiritism, afro-Brazilian religions, Brazilian animist religions, Brazilian Syncretic Religions, but in the Brazilian Armed Forces only Catholics and Protestants have chaplains.
• Male Homosexualities and World Religions; Pierre Hurteau; Publisher: Palgrave Macmillan, 2013, chapter 6: Afro-Caribbean and Afro-Brazilian Religions pp.

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