In November 1916, a young Afro-Brazilian musician named Donga
registered sheet music for the song "Pelo telefone" ("On the
Telephone") at the National Library in Rio de Janeiro. This
apparently simple act--claiming ownership of a musical
composition--set in motion a series of events that would shake
Brazil's cultural landscape. Before the debut of "Pelo telephone,"
samba was a somewhat obscure term, but by the late 1920s, the
wildly popular song had helped to make it synonymous with Brazilian
national music.
The success of "Pelo telephone" embroiled Donga in controversy.
A group of musicians claimed that he had stolen their work, and a
prominent journalist accused him of selling out his people in
pursuit of profit and fame. Within this single episode are many of
the concerns that animate "Making Samba," including intellectual
property claims, the Brazilian state, popular music, race, gender,
national identity, and the history of Afro-Brazilians in Rio de
Janeiro. By tracing the careers of Rio's pioneering black musicians
from the late nineteenth century until the 1970s, Marc A. Hertzman
revises the histories of samba and of Brazilian national
culture.
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