Henrique Sodré: Selected Photographs

Leon Robbin Gallery
Black and white photograph of a dark skinned man in profile, shoulder length. He wears large sunglasses and rests against a well with one arm on his knee.

Henrique Sodré was born in 1942 in a small town in the state of Minas Gerais, which borders the state of Rio de Janeiro, Brazil. Sodré eventually moved to the city of Rio de Janeiro, where he became a teller within the state bank. His real passion, however, involved music and photography. A samba enthusiast and a fan of graphic arts, Sodré took courses in both, while continuing working at the bank. He had a special interest in Black performers of samba, many of whom he became acquainted with. Sodré was also very interested in Brazilian politics, a theme that is also present in his work. Retired today, he has four sons and two grandsons. One of his sons, João Gabriel Rabello Sodré, is a graduate student at Georgetown University.

In this exhibition, João Sodré curates a selection of photographs from Sodré’s 40-plus years of photographing Carnival, Samba, politics, and his city of Rio de Janeiro. In connection with the exhibition, Georgetown’s Department of Performing Arts will present a Friday Music Series event on September 30 featuring Samba performers Rogério Souza (7-string guitar), Stephen Guerra (6-string guitar), and Gigi Maclaughlin (percussion).

For more information on the Friday Music Series, see:

https://performingarts.georgetown.edu/events-and-tickets/friday-music-series/

Color scan of Sodre's idenitification card for photography work in Rio.

Photography Authorization

1974

This document permitted Sodré to take photographs on the premises of his employer, the state-run bank Banco de Estado da Guanabara S.A.

 

Performances and Everyday Life in Rio

Black and white photograph of a group of four men playing different instruments inside a small room. The most forward man is in profile and playing the guitar.

Musicians

1977
2020.20.4856

The 1970s saw the revival and professionalization of Brazilian instrumental genre choro, which emerged in the nineteenth century and gained new contours in the decade. In the picture, Luciana and Raphael Rabello among others.

Black and white photo of a kid holding one side of a big banner in a street parade.
Blurry black and white photo of people wearing white and dancing in the street. The two main subjects are young women. One smiles and is turned towards the camera and the other (to the right) is looking away, focused on her dance.

Quilombo Samba School

1978
left: 2020.20.1888 ; right: 2020.20.1902

The Quilombo samba school is an alternative samba association that sought to question the commodification of carnival in the mid-1970s, and to re-center debates around racial justice. Here the group is commemorating the 90th anniversary of the abolition of slavery in Brazil.

Black and white photo of a stretch of Ipanema Beach full of swimmers and people on the sand. There are some beach umbrellas and a pier in the background.

Ipanema Beach

1970s
2020.20.4807

Ipanema beach and its enthusiasts, overlooking a now demolished pier.

Black and white photo of a group of dancers intertwined and leaning over each other on stage.

Dancers

1977
2020.20.4256

Nina Verchinina (1910-1995) was a prominent Russian-Brazilian modern dance choreographer. Pictured here is a performance of her ballet "O barroco na dança" (The Baroque in Dance).

Black and white photo of the backs of people holding banners and walking in a street parade.

Political Parade

1984
2020.20.4736

With the success of Brazil's first open gubernatorial elections since the early 1960s, the Brazilian people called for a complete return to democracy. The Diretas Já (Direct Now) protests (1984) demanded direct presidential elections (rather than the indirect system the military regime had used to hand-pick candidates). The picture shows a group parading by Avenida Presidente Vargas, a major avenue in Rio de Janeiro.

Black and white image of five full bodied shirtless men playing a game of soccer.

Soccer at Ipanema Beach

ca. 1975
2020.20.4821

In an extremely unequal society, this soccer scene stands out. Ipanema beach was often a space for the leisure of the wealthy, but could also be a place of interaction among social classes and people from different racial backgrounds.

 

 

Black and white photo of a man standing in a construction site. He is turned away from the camera towards a decrepit building and some of Rio's skyline.

Largo da Carioca

1970s
2020.20.2186

Since colonial times, the area known as Largo da Carioca has played an important role in Rio's life. The proliferation of late modernist office buildings in the mid-20th century evoked a path towards modernity that contrasted with the difficult lives of cariocas (natives and residents of Rio de Janeiro) and with the surrounding colonial-era buildings. This picture shows Rio's Carioca subway station under construction.

Black and white photo of a man walking on cobblestones in front of a towering old aqueduct

Lapa

1978
2020.20.2358

Rio's bohemian neighborhood of Lapa and the colonial-era Carioca aqueduct. Long after losing its primary function, the structure was converted into a tram bridge.

Black and white photo of a group of people crossing the street in downtown Rio during the day. Their backs are to the camera.

Street Scene

1970s
2020.20.2182

A group of people crossing the street in downtown Rio, during the military dictatorship (1964-1985). Sodré's photograph emphasizes the rigorous march of civilians and a military officer, all covered by the anonymity of an undemocratic society.

Carnival

Color photo of a middle aged woman wearing a costume that is big white dress, gold beads, and a white headpiece. Photo includes her side profile, body from the torso up, and a white car in the background.

Member of the Ala das Baianas

1983
2020.20.2811

All samba schools have an ala das baianas, a section of the carnival parade reserved for women above a certain age.

Color photo of men dressed up as French nobility in a carnival event. They are in profile, and the costumes include white, green, and a gray wig.
Color profile photo of a woman crouched in a dance during carnival. She wears a costume of a headpiece, sparkly frayed top, and tights.

Samba School Imperio Serrano

1982
left: 2020.20.1507 ; right: 2020.20.2112

A section inspired by eighteenth-century French attire.

Color photo of three musicians playing hand held drums while wearing green, yellow, and white feathery costumes. They are also saying something and positioned in semi-profile with other similar people in the background.

Mocidade Musicians

1983
2020.20.2070

Musicians' section in the parade of samba school Mocidade, inspired by the indigenous mythology and contemporary struggles of the Xingu people.

Color photo of officer on horse in front of a large, tropical float. The officer has extended his arm, only the back of his body and a semi profile of the horse are visible.

Mocidade Independente (Independent Youth)

1983
2020.20.2699

Samba school Mocidade Independente's parade inspired by indigenous mythology.

Color photo of an older woman in a white costume sitting on the ground and leaning against a blue car with its door open. Erect beer bottles litter the foreground in front of her skirt.

Outside Carnival Parades

1982
2020.20.1477

Portraits

Black and white photo of a man sitting on the sidewalk wearing dark sunglasses. He is in semi profile and shown from the torso up shirtless.

Cartola (1908-1980)

1973
2020.20.2140

Cartola, born Agenor de Oliveira, was one of the founders of the samba school Mangueira. In the 1930s and 1940s his songs were broadcast on national radio. In the 1960s, his restaurant Zicartola became a stage for new samba talents.

Image of a newspaper article that gives credit to Sodre for the previous use of his photos.

Notice in O Globo newspaper

2013

O Globo published one of Sodré's photos of Cartola in 2013, but neglected to credit him as the photographer. This notice corrected the oversight.

Color photographic portrait of woman standing in front of building corner. She wears a green long sleeve dress which echoes the green tint of the closed shop or garage around the corner.

Clementina de Jesus (1901- 1987)

ca. 1977
2020.20.2599

Clementina de Jesus was born only thirteen years after the abolition of slavery in Brazil, and grew up with the music of her enslaved forebears. Her extraordinary talent was "discovered" by music producers when she was over 60. Her recording of traditional Afro-Brazilian songs shed light on the legacy of slavery and resistance.

Black and white headshot of a woman (presumably standing) in front of a brick wall and wearing glasses. She holds a piece of paper in front of her chest, but tilts her head to the side.

Dona Ivone Lara (1922-2018)

1990-2009
2020.20.400

Dona Ivone Lara, performer and composer, gained prominent space as a Black female artist amidst male-dominated spaces.

Black and white portrait of an old man wearing a hate and a crisp white suit. He is standing semi profile and from the chest up so that only a little bit of his crossed arms are visible.

Nelson Sargento (1924-2021)

1994
2020.20.1687

Nelson Sargento was a samba composer and performer best known for his lyric "samba agonizes but does not die."

Black and white profile headshot of a middle aged man resting his chin on the headstock of a guitar while looking up with a slight smile.

Paulinho da Viola (b.1942)

1996
2020.20.2443

Paulinho da Viola is a samba and choro composer and performer. From the beginning of his career in the mid-1960s, he has put his own stamp on music deeply rooted in local traditions. He is a two time Latin Grammy Award winner, with past performances worldwide, including at Carnegie Hall.

Black and white portrait of an older man sitting in semi profile. He wears a striped polo shirt and holds one hand to his temple.

Babaú da Mangueira (1914-1993)

1992
2020.20.215

Babaú da Mangueira was a member of a prominent samba school in Rio de Janeiro. He recorded with several Brazilian popular music artists, including Cartola, whose portrait is also part of the exhibition. This is a set picture from the movie Babaú na casa do cachaça: verde e rosa blues (Babaú in the Cachaça House: Green and Pink Blues).

Acknowledgments

João Sodré, PhD Candidate, Department of History: exhibition curator

Christen Runge, Art Collection Assistant Curator: exhibition liaison

The curator wishes to acknowledge his former collaborator Vítor Atunes and his brother Ricardo do Amaral for their inspiration and contributions, as well as Professor Bryan McCann, LuLen Walker, and Christen Runge for their support and guidance.