Through Pravaz’s discussion on the Globalization of Musics in Transit with specific detail of the Transnational Samba, we can learn a lot about how an art form rooted so strongly in one culture can have such a profound presence in another. The Brazilian samba traveled with the migrants as they moved to Canada. The Brazilian music genre has been gaining worldwide popularity since the early 1900’s, but it was in Toronto, Canada that capoeira and samba are especially celebrated. For that reason, Pravaz welcomes native Canadians in her definition of the diasporic musical space. By properly appreciating the culture of Brazilian migrants, Canadians work with all members of their community to create a place that can be considered home. The first aspect of Pravaz’s research that I found to be particularly interesting was how she argued that the diasporic musical space should includes both those from Brazil and those who have a profound …show more content…
Brazilian samba musicians are recruited at a very young age to become members of an escola de samba. While these members of the community are praised for that quintessential part of their identities, the fact that most percussionists hail from a black middle class background causes disputes regarding the importance of Afro-Brazilian heritage in defining samba. Percussionists in Canada begin playing out of free will in groups - there is no extreme recruiting, and their practices are a bit more modest than the traditional Brazilian samba parades. With that being said, the natives do have percussion groups that are just as committed to the drums as the most fervent of escola de samba percussionists in Brazil [Pravaz 275]. Consequently, while samba pieces are very popular among the Canadians, percussionists do not receive the amount of public recognition that they would had they been in