Henrique Sodré: Selected Photographs

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.

1977

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.

1978

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.

1970s

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

1977

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).

1984

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.

ca. 1975

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.

1970s

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.

1978

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.

1970s

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.

1983

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

1982

A section inspired by eighteenth-century French attire.

1983

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

1983

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

1982

1973

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.

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.

ca. 1977

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.

1990-2009

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

1994

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

1996

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.

1992

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).