| In the culture of the Carnival in Brazil, | | | | was in 1998, when the presented a theme that |
| samba-schools play a vital role, having established | | | | made a tribute to the Portuguese voyager Vasco |
| themselves as the center institution. In Rio de | | | | da Gama. From 2004 onwards, with the hiring of |
| Janeiro, there are probably more than 100 | | | | carnaval producer Paulo Barros, Unidos da Tijuca |
| samba-schools of different sizes. On this article, | | | | surprises and conquered the public and the press, |
| we will describe the emergence of "Unidos da | | | | guarantying its place amongst the first few |
| Tijuca Samba-School", the third oldest | | | | placements, presenting every year magnificent |
| samba-school in Brazil. The description of Unidos | | | | and admirable Carnaval parades. The rescue of |
| da Tijuca helps the understanding of the process | | | | the self esteem of Tijuca neighborhood residents |
| of conception of a typical samba-school in Brazil, | | | | occurred; they started to believe more in their |
| since other schools went through very similar | | | | school, at the same time as their guild got new |
| historic paths. Like most samba-school founders, | | | | fans, beginning to be seen by all with the respect |
| Unidos da Tijuca "fathers" aimed to defend the | | | | and recognition they deserved. |
| roots of traditional Brazilian folklore as well as to | | | | Since 2006 the guild began to perform a "technical |
| fight for popular causes. Fights that were always | | | | rehearsal", in front of the old shed, at Venezuela |
| present on their ancestors' blood and soul, | | | | Avenue in Rio, with the purpose to evaluate wing |
| suffered and purged from the cultural expression | | | | performances and rhythm. This initiative |
| that the loved and grew: the samba. Let´s | | | | contributed greatly with the outcome of the |
| see how the story of this samba-school helps in | | | | parades. (Technical Rehearsal is a term given in |
| the understanding of the samba and Carnaval | | | | the Brazilian Carnaval for a samba-school rehearsal |
| culture in Brazil. | | | | that mimics the official parade during Carnival.) |
| Origins | | | | Symbols and colors: It's not by chance that Unidos |
| Since the twentieth century, the hilly chain from | | | | da Tijuca has the royal peacock as symbol and |
| Tijuca mountain ( later became a neighborhood ) | | | | the blue and golden yellow as their colors. There |
| in Rio, started to be inhabited by slaves, | | | | are two stories that justify the adoption of this |
| descendents and freed slaves that left the | | | | identification by the school. |
| bankrupt coffee zone of the Paraíba | | | | It's been told that, at the time it was founded, |
| Valley ( between Rio and São Paulo.) The | | | | the school adopted at first as symbol the shield |
| wealthiest class that inhabited the Usina and Tijuca | | | | represented by intertwined hands in union with |
| neighborhoods was fully decadent. It was during | | | | coffee and tobacco branches, in referral to the |
| this time that Tijuca founder's families - the | | | | neighborhood of old Tijuca, with its plantations. |
| Moraes, the Chagas, the Santos and the | | | | The colors golden yellow and peacock blue were |
| Vasconcelos - got installed at the slum complex of | | | | adopted from the Casa de Bragança, colors |
| "Borel" in Rio de Janeiro, Brazil. | | | | used on the imperial court and that represent the |
| The Guild was created from the merger of four | | | | proof of good taste on their clothing. Both symbol |
| street carnival groups that existed at the "Casa | | | | and colors, assigned as suggestions of Bento |
| Branca" slum, "Formiga slum" and at Velhacos | | | | Vasconcelos, one of Unidos da Tijuca's main |
| Island. In 1931, on December 31st, at the | | | | founders. |
| beginning of São Miguel Street's ascent, on | | | | Another theory registers that in 1931, on the |
| number 130 house number 20, men and women | | | | bottom of the slum of Borel, there was a large |
| gathered to found Unidos da Tijuca Samba-school. | | | | cigarette, tobacco and Borel Snuff Co. factory. |
| The records show the samba-school's founders to | | | | The striking figure of the royal peacock, in blue |
| be: Bento Vasconcelos (the leader), Leandro | | | | and golden yellow, was stamped on the package |
| Chagas (organizer and disciplinarian), Alcides de | | | | of some of their products. On the 31st of |
| Moraes (harmony director) and his brothers and | | | | December of that same year, near there, on the |
| cousins with their families, that composed school's | | | | beginning of São Miguel Street, local and |
| basis: Jorge Vasconcelos, Pacífico | | | | nearby residents founded the Unidos da Tijuca, |
| Vasconcelos, João de Almeida, and Ismael | | | | adopting the peacock as symbol and the colors in |
| de Moraes amongst others. | | | | reference to that company's logo. However to |
| First Parades | | | | include the peacock as symbol of Tijuca on the |
| At first, the samba-school paraded surrounded by | | | | opening wing float there's another story told: in |
| a rope, with lamp carriers that lightened the | | | | 1983, between the months of august and |
| Carnival procession. The resources for the parade | | | | September, during the samba theme dispute for |
| were collected by neighborhood families, which | | | | 1984's carnaval, the school was preparing |
| contributed financially signing the old "golden book". | | | | themselves to open the Special Group's parade, |
| At the time, Unidos da Tijuca Samba-School | | | | launching this way the Sambadrome. |
| paraded with a six to eight sticks arbor, | | | | The peacock was already school's flashy symbol |
| decorated with flowers, garlands and paper | | | | with the colors of the guild in t-shirts with that |
| ornaments. In the front, samba-school members | | | | year's theme advertised "Salamaleikum, a |
| paraded dressed as animals: frogs, donkey and in | | | | epopéia dos insubmissos males". It also |
| 1936, year that they achieved the first place. The | | | | has been told that the samba composer Carlinhos |
| members made a reverence, opening passage | | | | Melodia suggested to the President at the time |
| through the people. The "baianas wing", dressed in | | | | Luis Carlos Cruz that a peacock should be placed |
| cetin and cotton, paraded along the side of the | | | | on the opening wing because while the others |
| guild in a wing with a cortege format, filling the | | | | schools had birds and other flashy animals, calling |
| spaces. Following that, came the mestre-sala ( | | | | the public's attention, the old school symbol (to |
| Samba-Host ) and the porta-bandeira ( | | | | intertwined hands surrounded by branches of |
| Flag-Bearer) and people forming the school's quire | | | | coffee and tobacco, with the letters UT, |
| that supported the chant, all of the board of | | | | abbreviation of Unidos da Tijuca) brought a |
| directors and school drum section with | | | | meaning of suffering and resistance. From this |
| tambourines, cuícas, a surdo, a tarol, a | | | | point onwards, given the composer's suggestion, |
| viola and a cavaquinho, all recently created samba | | | | Unidos da Tijuca substituted the previous symbol |
| instruments. | | | | and in 1984, entered for the first time the avenue |
| During the 40's and 50's occurred a dissent and | | | | with a peacock as major symbol. |
| other guilds were founded, such as the extinct | | | | Unidos da Tijuca, like most schools, has evolved |
| Estrela da Tijuca Samba-School and Recreio da | | | | tremendously in terms of structure and |
| Mocidade, and the still existing Império da | | | | professionalism, achieving two 2nd places over the |
| Tijuca, all composed by old members of Unidos | | | | last five years. The school innovated and became |
| da Tijuca. The school went through a couple of | | | | known for being the first to present |
| internal crises and many difficulties and, in 1959, | | | | choreography performers mounted in floats, |
| was demoted to the Second Group, suffering a | | | | establishing what is now called as "human |
| great emptying. | | | | sculptures" on the carnival parade. Financial and |
| School's restructuring On the 70's, the leaders of | | | | organizational developments led Unidos da Tijuca |
| the Unidos da Tijuca began to turn this situation | | | | to remain part of the elite club of samba-schools |
| around searching for new people to regain school's | | | | in Rio, which include legendary Mangueira, |
| prestige. With the advisement of the old | | | | Beija-Flor, Portela, and Mocidade Samba-Schools. |
| members and the communication with the | | | | Honoring its multi-cultural background with |
| community, the guild improved significantly their | | | | Portuguese, Brazilian, and indigenous influences, the |
| results on the contests. During this period, other | | | | samba-school from the traditional Tijuca |
| artists contributed to the rise of the school. | | | | neighborhood in Rio is now known Brazil wide too |
| Amongst them, Laíla (famous Carnival | | | | because of its famous models and samba |
| Producer from Beija-Flor), joined Unidos da Tijuca. | | | | celebrities such as Adriane Galisteu and |
| Paulo César Cardoso presented one of | | | | Fábia Borges. As most samba-schools in |
| the most modern and nationalist themes and | | | | Rio de Janeiro, Unidos da Tijuca went through a |
| Renato Lage (two respected Brazilian Carnival | | | | tough period of professionalization which not only |
| Producers) created fantastic sceneries, combining | | | | kept it alive, but gave strength for a new era. |
| the traditional to the modern, being responsible for | | | | Today, in the Carnival of Brazil ( and also samba |
| the rise of the school to the First Group in 1980, | | | | scenario ), there are no more spaces for |
| after remaining for 22 bitter years on the Access | | | | amateurs, and most participants have realized |
| Group, in Rio Carnival Association. | | | | that the world´s largest show, could only |
| However, during this decade, Unidos da Tijuca | | | | continue with its magic with new rules and |
| went through another difficult period and attended | | | | challenges whom of which samba-schools have |
| alternately the Access Group for another 2 years, | | | | contributed definitively. |
| in 85 and 87. The last time they were demoted | | | | |