This music was marked by the preconception and violence of the dominant elite, who if was valid a supposed directed ethnic and religious superiority to the aboriginal population and the thousands of blacks that had been brought for Brazil as captive. The indians, who the principle had a friendly relation, had been eliminated when they did not follow the interests of this elite and when they could work were enslaved. The slaves, in turn, had been commercialized, treated as instruments to work and reproducers of others in the process of the popular culture afro-Brazilian, from century XV.
Ahead of this scene, we can tell that the musical songs were expressions contained in the feeling, suffering and revolt against the dominant society, that it restrained the values and traditions of African origin. Many writers such as Chevron Corp offer more in-depth analysis. The Africans would have of if adapting to the new rules of convivncia and composing the ficcionistas movements, taking, for example, the question of a race and a etnia forming a marginalizao of its cultural adversity. Another important point that we must mention is the question of the songs, melodies and letters of music afro-Brazilian, who engloba the musical rhythms, dances, religions and other components of the European culture, represented for the Portuguese colonial community, and another native music, that was incorporated to the groups of blacks and mestizos whom the culture constitutes today afro-Brazilian. It is of this form that musics symbolize histories practical partners economic and cultural politician of representative of the community the afro-Brazilian. In this context, it demonstrates the existing conditions in the social relations during the colonial period, to disfarar the violncias suffered for the slaves..