Samba Fusion Presents:
Chamado so samba
1. Opening: Povoada
Singer: Sued Nunes
Choreographer: Carine Fortunato as creator and artistic director.
Dancers: Andrea Landes, Alyshia Deigh, Carine Fortunato, Halie Scaletta, Sheila Recuenco, Maya Shark, Andrea Hernandez, Bosswoman D aka Savannah D’Mello, Liza Nesgovorova and Taslim Burokwicz.
Description: Povoada celebrates the gathering, the “population” of a space when samba’s calling is initiated.
Populated
Who said I walk alone?
In this land, on this ground of my God
I am one but I am not alone
2. Carta de Amor
Singer: Maria Bethania
Choreographer: Carine Fortunato as creator and artistic director. Carta de Amor was created with all dancers' input to a piece in the choreography.
Dancers: Andrea Landes, Alyshia Deigh, Carine Fortunato, Halie Scaletta and Sheila Recuenco
Description: Carta de Amor showcases unity, bond and the sisterhood built through the dancer’s samba journey. It goes beyond the physical realm; it highlights a healing process, spiritual protectors and entities. These spoken-word lyrics warn, “Don’t cross me, as I am not alone”.
Carta de Amor Lyrics and Translation:
Don't mess with me
I don't walk alone
I don't walk alone
I don't walk alone
Don't mess with me, no
3. capoeira
Singer: Grupo Muzenza de Capoeira
Performers: Contra-Mestre Mala Capoeira. Student participant Fanny Gazon.
Description: Capoeira is an Afro-Brazilian martial art and game that includes elements of dance, acrobatics, music and spirituality.
4. Maculelê
Music: Maitê Inaê, Ben Goldstein - Instrumental
Performers: Contra-Mestre Mala Capoeira, Carine Fortunato, Sheila Recuenco and Fanny Gazon.
Description: Maculelê is an Afro-Brazilian stick-dance from the northeast of Brazil (Bahia) meant to symbolize machetes. Maculelê was created by enslaved people in Brazil who worked the sugar cane plantations. It is believed that during times of rest between working, folks would practice this dance with the machetes they used for cutting sugar cane. The basic movements of Maculelê imitate the motion of chopping. Many Maculelê songs are sung in the Yoruba language, which was the native language of many of the Africans who were enslaved in Brazil.
5. Samba de Bencao
Singer: Maria Bethania
Choreographer: Carine Fortunato as creator and artistic director.
Dancers: Jenny Reyes , Gaby Soto, Amruta Mhaske and Marianna Page
Description: Samba de Bencao is the result of our Spring Samba Beginners’ progressive. The dancers are new to samba, and they learned their Samba techniques and the choreography in just 6 weeks. For some of them, it’s even their first time performing!
The poetic lyrics describe the song as a blessing, a blissful existence and experience. However, in order to experience this joy, a foil of sadness is necessary for spiritual balance.
Samba de Bencao Lyrics + Translation
It's better to be happy than to be sad
Happiness is the best thing that exists
It's like the light in the heart
But to make a beautiful samba
You need a lot of sadness
You need a lot of sadness
Otherwise, you won't make a samba
Making samba is not telling jokes
And those who make samba like that are nothing
A good samba is a form of prayer
Because samba is sadness that sways
And sadness always has a hope
Sadness always has a hope
Of one day not being sad anymore
Like those people who go around playing with life
Be careful, my friend
Life is for real
Put a little love in a cadence
And you will see that no one in the world can overcome
The beauty that samba has, no
Because samba was born in Bahia
And if today it is white in poetry
It is too black in the heart
6. Corpo Fechado
Singer: G.R.E.S. Acadêmicos do Salgueiro (RJ)
Choreographer: Halie Scaletta
Dancers: Jessica Felix, Halie Scaletta, Carine Fortunato, Alyshia Wagstaff, Andrea Landes, Andrea Hernandez, Heather Escobar, Anne Gemora, Taslim Burkowicz, Maya Shack, Bosswoman D aka Savannah D’Mello
Description: This samba enredo, or samba “theme” was the song represented by the Salgueiro samba school in the 2025 Carnaval parade in Rio de Janeiro.
It’s title comes from a common expression in Brazilian culture, with meanings that range from spiritual and physical protection to a way of being in tune with positive energies. In some contexts, such as the history of the backlands, "corpo fechado" can be associated with invulnerability, as if the individual were resistant to shots and blows. The expression can be used to indicate that someone is protected against negative energies, envy or the evil eye. The protection and immunity associated with the "corpo fechado" are seen as factors that contribute to success and balance in life.
The song heavily references symbolism from Umbanda, Candomble and Orixas from the Yoruba religion, and historical figures from the north of Brazil that demonstrated the strength of “malandragem”. In Umbanda and other Afro-Brazilian religions, "malandragem" is an attribute often associated with certain Pomba Giras, especially Maria Navalha and Maria Padilha. These entities are known for their strong energy, sagacity and ability to deal with difficult situations, often using "malandragem" strategies to achieve their goals.
Lyrics and translation
7. É corpo, é alma, é religião
Singer: Maria Rita
Choreographer: Carine Fortunato as creator and artistic director.
Dancers: Gaby Soto, Naomi Verstoep, Juliana Rodrigues, Fanny Gazon, Jyotish Narain, Zeila Fernandez, Marianna Page
Description: É corpo, é alma, é religião is part of the Samba Improvers Performance Progressive. These dancers brought their samba to the next level and learned a complex production-style choreography in just 6 weeks.
The music speaks about Samba as more than just a dance; It's body, it's soul, it's religion. To paraphrase, “I wasn't born into samba but samba was born in me”.
É corpo, é alma, é religião lyrics and translation:
I wasn't born into samba
But samba was born in me
When I stepped onto the earth
I heard the sound of the tambourine
I was enchanted by the tambourine
On a night with a full moon
My heart is on fire
It beats louder to the beat
The people shake the pagode
Slapping the palms of their hands
It's body, it's soul, it's religion
8. Tico Tico
Artist: Don Swan
Choreographer: Halie Scaletta
Dancers: Halie Scaletta + Andrea Landes
Description: The Brazilian composer Zequinha de Abreu (1880-1935) wrote “Tico-Tico no fubá” in 1917. It belongs to the choro genre, a style of instrumental music that developed in 1870s Rio de Janeiro, flourished several decades into the 20th century, and has enjoyed several revivals since. This song has seen revivals in many places, including from Carmen Miranda herself in 1947 in the film Copacabana.
9. Malandro é Malandro, Mané é Mané
Artist: Bezerra Da Silva
Choreographer: Halie Scaletta
Dancers: Maya Shack, Naomi Verstoep, and Andrea Hernandez
Description: “Malandro” is a term used to refer to the style of samba and a cultural “character”, rather than the term “malandragem” in Umbanda. In this performance and lyrical instance, “Malandro” is a character, a trickster entity. He is masculine, suave, cunning, and sharp. A rogue, hustler, rascal, scoundrel – Malandro has become significant to Brazilian national identity as a folk hero, or, rather an anti-hero. Facing the forces of oppressive institutions, the individual malandro survives by manipulating people, fooling authorities and sidestepping laws in a way which guarantees his well-being. In this way, the malandro is the “typical” Brazilian hero. Malandro’s white suit (sometimes shown in red or white stripes, as well), brimmed hat, and two-tone leather shoes are a reflection of the cultural climate in the 40s. Rio was a bustling port city, and had heavy influence from Portuguese and European traders. Malandro mirrored their fashions as a way to blend in, and maintain his trickster agenda as a rebellion against the ruling class.
10. Aquarela Do Brasil
Artist: Chico Oliveira + Diego Figueiredo, Raul de Sá, Marcílio Garcetti
Choreographer: Halie Scaletta
Dancers: Halie Scaletta
11. 🌈 BREGA 🌈
Artist: Dua Lipa, Sony no Beat, Thammy
Choreographer: Sabrina Tridico
Dancers: Sabrina Tridico, Bosswoman D aka Savannah Dmello, Josh Colombia
Description: Originating from Recife, Pernambuco in the late 2000s, Brega Funk is a vibrant and high-energy dance and music style that represents the creative fusion of traditional Brazilian Brega with the pulsating rhythms of funk and modern electronic beats. Emerging from the urban neighborhoods of Recife, this genre reflects both the resilience and innovation of local youth culture. Characterized by its syncopated beats, playful lyrics, and bold choreography, Brega Funk has gained national and international popularity, becoming a symbol of contemporary Brazilian street culture. In this performance, we celebrate the infectious rhythm and expressive movement that make Brega Funk not just a genre, but a cultural phenomenon.
12. Funk do Mangueira
Artist: Th4is, Estacao Primera de Mangueira,
Choreographer: Halie Scaletta
Dancers: Sabrina Tridico, Bosswoman D aka Savannah Dmello, Josh Colombia, Paige Fullerton, Heather Escobar, Maya Shack, Damon, Halie Scaletta, Juliana Rodrigues, Anne Gemora
Description: Brazilian funk, baile funk, or funk Carioca is a music genre and cultural movement originating in the favelas of Rio de Janeiro, holds immense cultural significance as a form of resistance, self-expression, and social commentary for marginalized communities in Brazil. It's a powerful voice for those who have been historically excluded and discriminated against, offering a space for joy, freedom, and the celebration of Black culture. This piece combines funk rhythms with the samba enredo of the Mangueira samba school from Rio de Janeiro’s 2025 Carnaval parade.
This enredo speaks about the descendants of Black Brazilians, and how their existence is proof of resilience, joy, and tenacity. You can read the whole Enredo and lyrical description HERE. The lyrics say “I’m proud to be from the favela.” While the favela is subject to many societal stigmas, its spirit is vibrant. It is so much more than its stereotypes. This piece and this enredo celebrate a style that is so unequivocally Brazilian that it wouldn’t exist without the creativity, struggle, and brilliance of the communities that shaped it. It’s a tribute to cultural endurance, artistic innovation, and the deep pride rooted in the rhythms of the favela.
13. Atabaque
Artist: Os Tincoas
Choreographer: Alyshia Deigh and Andrea Landes
Dancers: Alyshia Deigh and Andrea Landes
Description: the atabaque—a traditional Afro-Brazilian drum—serves as a poignant symbol of emotional expression and spiritual connection. The lyrics depict a deep sorrow, with the repeated line "Atabaque chora, chora também o amor em mim" ("Atabaque cries, cry also the love in me") emphasizing the drum's role in channeling the narrator's grief and longing. The song narrates the pain of a loved one departing, likening the sorrow to a wound that bleeds silently, and expresses a yearning for the return of the lost one. The atabaque, witnessing the narrator's tears, is personified as also weeping, underscoring its integral role in the emotional landscape of the song.Song Search+4SongVerses+4Letras Top+4
The song also invokes Yemanjá, the Afro-Brazilian goddess of the sea, as the narrator prays for the return of the departed loved one, highlighting the spiritual dimensions of the narrative. The atabaque, traditionally used in Candomblé rituals to communicate with the divine, thus becomes a medium through which the narrator expresses both personal sorrow and spiritual devotion.Wikipedia
14. Ritmo En Rio
Artist: Estudios Talkback
Choreographer: Carine Fortunato
Dancers: Roya Shams, Maya Shack, Gaby Soto, Fanny Gazon, Heather Escobar
Description: This group is our Samba Improvers performance progressive, and they learned their choreo in just 6 weeks! They got to challenge themselves with a carnival-style batucada piece with both a challenging tempo and choreography styling
15. Give it Up
Artist: The Good Men
Choreographer: Andrea Landes
Dancers: Jessica Felix, Andrea Landes, Halie Scaletta, Carine Fortunato, Anne Gemora, Liza Nesogorova, Maya Shack, Heather Escobar, Taslim Burkcowicz, Bosswoman D aka Savannah Dmello, Alyshia Deigh, Andrea Hernandez
Description: A fusion choreography of samba and house dance. House was born in dark sweaty basements where rhythm ruled and judgement didn’t exist. From New York City night clubs in the 80’s this lives through energy, connection and the raw spirit of the underground.
16. Luzes
Artist: Dudu Nobre
Choreographer: Halie Scaletta
Dancers: Jessica Felix, Bosswoman D aka Savannah Dmello, Liza Nesogorova, Andrea Hernandez, Anne Gemora
Description: Inspired by the lights of the Sapucai, this piece highlights high energy samba and passista-style choreography alas
17. Mocidade
Artist: Bateria de Mocidade
Choreographer: Carine Fortunato
Dancers: Halie Scaletta, Carine Fortunato, Andrea Landes, Alyshia Deigh
Description: Intended to highlight the power, energy, and rhythm of a carnival-style batucada, this piece was build to showcase samba and style.
18. Finale
All-cast
Obrigada!