Rua Santa Luzia

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I was looking at a large number of Fon Fon magazine covers from the 1920s when I came across this one from November of 1921. I didn’t recognize the street, which is odd, but I did recognize the name at the bottom – Praia de Santa Luzia. Still, a beautiful tree-lined street near the beach? So I did what any armchair historian would, and pulled the thread, as it were. Here’s what unraveled.

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It seems quite likely that street in question, Rua Santa Luzia, is the one on the left of the photo above, beside the Hospital da Misericórdia, which dates back to 1582. There was, of course, a time when there were no trees (1856) and a time when the trees were starting to grow (1895).

Regarding the trees themselves, a blog with an even more narrow topic than mine called Árvores Cariocas, says the following:

“Originally from India, the Figueira-religiosa (Ficus religiosa) was introduced in Brazil by the French landscape artist Glaziou, in the second half of the 19th century. The tree impresses with its size, which can reach 30m high, but also by the sculptures formed by its adventitious roots. In Buddhist culture it is considered a sacred tree, being that under its canopy, Buddha discovered the secrets of life.

Although exotic, the species acclimated well here, being found in several points in the city. A highlighted collection is located on Rua Santa Luzia, in downtown, in front of Santa Casa de Misericórdia. The seedlings were planted in November 1873, by the botanist Francisco Freire Alemão (possibly a German preist).”

Here’s a 1950’s photo of the street:

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These days, you’ll find that the street still exists, located near Rio’s domestic airport, Santos Dumont. There are less trees now but you can still get a feel for what it was. And when you try to look to the edge of the city, like so many must have done hundreds of years ago, at the water’s edge, the image is no longer that of man versus the sea, but rather of people spreading their wings.

 

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Documenting Rio’s development

“Researchers of the Swiss Federal Institute WSL in Cadenazzo have developed a software tool which uses historical photographs to trace the development of a landscape over time. This solution has attracted the interest of a cultural institute in Brazil (IMS) which invited the program’s developers to Rio de Janeiro.” – Source

The video above is way longer than it needs to be but very cool to watch (fast-forwarding to the overlays). It reminds me of the Rice University project.

The Story of Samba’s Praça XI

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Note: The following is almost entirely translated (by myself) from Wikipedia, partly due to Brazil’s National Library online archives being temporarily unavailable.

Intro

Praça Onze (Plaza Eleven) is a sub-region of downtown Rio, whose name was inherited from the old plaza that once existed there. The original Praça 11 de Junho (the date of the Battle of Riachuelo) existed for more than 150 years prior to its destruction in the 1940s. Initially called Largo do Rocio Pequeno (Little Rocio Square), it became in the first decades of the 19th century one of the most cosmopolitan places of the then Federal Capital, upon housing families of recently arrived immigrants. The most popular ethnicities around Praça Onze were blacks (mostly from Bahia), followed by Jews from several origins. Portuguese, Spanish and Italians were also numerous.

Preceding Events

The region where Praça 11 de Junho would later exist was uninhabited by the end of the 18th century, being that the land was inadequate for farming and building due to marshes. It was only after the arrival of the Portuguese Royal Family in Rio and their installation at the São Cristóvão Palace that the first access roads towards that area were built. In 1810, by order of King Dom João VI, Cidade Nova was created, which went from Campo de Santana to São Cristóvão. With rectilinear streets and extensive lots, it looked very different from downtown, overflowing with houses and narrow lots. At the same moment, the king created a plaza where the Mangue de São Diogo started: Largo do Rocio Pequeno.


Why Pequeno? Largo do Rocio Grande was already taken. Today, it’s Praça Tiradentes


Despite being the only commercial plaza in Cidade Nova, Rocio Pequeno continued almost deserted. It was only in 1842, during the second reign that the location began to receive attention from the city authorities. A cobblestone fountain, in neoclassical style, designed by Grandjean de Montigny, was installed in the middle of the square, serving as water supply for the surrounding homes and establishments .

In 1854, with the construction and inauguration of the Fábrica de Gás (Gas Factory), the Viscount of Mauá saw the need for canalizing the mangrove, sanitizing the road towards the Guanabara Bay, as well as allowing for a waterway connecting the suburb to downtown. In 1858, Mauá inaugurated the Estrada de Ferro Dom Pedro II (Railway), which cut through Cidade Nova, connecting it to several suburbs and to the provincial inland area.

With the emergence of the Paraguayan War, a wave of nationalism took hold of the empire. With the Brazilian victory at the Riachuelo Battle, the Largo do Rocio Pequeno was rebaptized with the date of the confrontation. It was also at this time, with the decline of the slave system, that Praça 11 de Junho started to be a good destination for immigrants, due to the proximity with the port and the varied types of commerce.

African Culture

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With Abolition, large masses of ex-slaves settled in the precarious “casas de cômodos” (single-room shacks) that abounded on streets adjecent to the Praça 11 de Junho. Soon, with space running out, these same blacks began to inhabit improvised huts on the sides of hills. One of these headlands near Praça 11 de Junho was baptized as Morro da Favela by soldiers returning from the Canudos War and resulted in contemporary international denomination of miserable urban clusters.

At the start of the 20th century, Praça 11 de Junho was the quintissential meeting point of Rio’s black residents. From batucadas brought by black Bahians, mixed with Rio’s lundu, samba was born. Scholars and contemporaries of those times are unanimous in pointing out the importance of the mythic “Casa da Tia Ciata” (119 Rua Visconde de Itaúna, pictured above before being demolished) for this cultural synthesis. Tia Ciata was a Bahian woman that moved to Rio and who undertook the profession of confectioner. Thus her house was famous in the plaza, and was transformed into a meeting place for musicians and residents. There, the rhythm of samba began to take shape.

Tia Ciata’s home was the main place where the community played music and african rhythms, from which historical sambas and talented composers came. In 1926, due to police persecution, some local composers founded a “samba school”, a euphemistic name for a recreational association that, in truth, was not educational in nature. The first was “Deixa Falar“, whose divisions, years later, would result in several other schools, such as Estácio de Sá, Mangueira and Portela. In 1933, mayor Pedro Ernesto organized the first offical samba school parade in Praça 11 de Junho, which Mangueira would win. The parades became an annual occurrence, with a huge public influx.

Jewish Neighborhood

Praça 11 de Junho also brang together the largest Jewish concentration in the city’s history. Jewish immigrants choose Praça 11 since the configuration of houses in the region, with space for stores and residences above them, was perfect for commerce. Hundreds of Jewish establishments, as well as clubs, political societies and sinagogues settled in the area, giving Praça 11 the appearance of a European village. [book]

The Shrinking of Praça 11

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In the 1930s, the government of the Federal District planned modernization works in the region, which included the construction of a new public transportation artery to improve access to the North Zone from downtown (and plans were drawn up, but thankfully never acted upon, to further modernize the area). With it, Praça 11 was notably reduced. Through the project, the blocks between Senador Eusébio and Visconde de Itaúna streets would be demolished to make way for the new Presidente Vargas Avenue (see before & after above). In 1941, the demolitions began, which dislodged hundreds of families and destroyed 525 buildings, among them some historic ones, such as the São Pedro dos Clérgios and São Joaquim churches.

Below is an image from late 1945 of an almost unrecognizable Praça Onze at the bottom and a view of the Canal do Mangue.

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Cultural References

Herivelton Martins & Grande Otelo – Praça 11

Chico Anysio & João Roberto Kelly – Rancho da Praça XI

Quatro Ases e Um Curinga – O Samba não morre (can’t find a link)

I also recommend reading through Daniella Thompson’s archives on Praça XI, focusing on music related to the location, which I sadly only discovered after completion of this post.

Present Day

Swallowed up by President Vargas Avenue, Praça 11 shrank in size, becoming a place for regular presentations for circus shows. In the 1970s, the Praça Onze metro station was inaugurated. Between 1983 and 1986, the State government of Leonel Brizola tried to transform the location into a legal spot for street vendors, but the project didn’t happen due to the distance in relation to downtown. The Zumbi dos Palmares monument currently there is located on a piece of land that was part of the old Praça 11. Nowadays, the plaza houses a space for popular music shows, called Terreirão do Samba. The Jewish presence remains near the plaza, in the traditional commercial region called SAARA.


Pasmado Hill – Making room for the rich

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The Pasmado Tunnel connects Botafogo with Copacabana and Urca, passing through Pasmado hill. Construction started in 1947 and ended in 1952. The city, at the time, had horrible transit problems due to a surge in car ownership, which resulted in traffic congestion and accidents. The Lacerda government decided to relieve some of the pressure by making the tunnel. What ended up shortening travel time for those with enough money also meant increasing travel time for those with no money.

Following the opening of the tunnel, a small slum on top of the hill, known as the Favela do Pasmado, began to really grow in size, but by early 1964 it was removed and the space would be turned into a park and lookout point (which still exists).

Once the forced removal was complete (see images below), firefighters lit a controlled fire to burn any semblance of what existed before (a “purification by fire”, if you will). In total, 3,900 residents – or 887 families – were forced out and moved to the “projects”, mostly to Bangu. What was promised to them by the government, as incentive to accept the move, hadn’t become reality in October of ’64, as can be seen in this image saying they merely went from one favela to another.

Keep in mind, the post-removal fire is the opposite of what happened a few years later at Praia do Pinto in Leblon, which first was burned to the ground, then the residents were removed.

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If you’re interested in a good academic read on this favela removal, go here (PT). For the general wave of removals that happened in the 60s, there’s a promising 2013 documentary called Remoção out there but it doesn’t seem like it’ll be released publicly at any point. Below is the trailer.

The Pasmado tunnel, by the way, is also famous for a 1968 film starring singer Roberto Carlos, in which he passes through in a small helicopter.

Documentary Series – Rio Por Eles

The documentary series Rio Por Eles is a different kind of historical and sentimental revival of the city of Rio. In it, viewers will discover how foreign documentarists, reporters and TV broadcasting station saw the city throughout the 20th century. It’s a mostly black & white record of Rio through the eyes of foreigners in different languages.

Directed and scripted by Ernesto Rodrigues, the series is the result of a two year research project through hundreds of foreign sources, in the Americas, Europe, Asia and Africa. Nine reporters from O Globo will take the viewer through 43 characteristic locations which contextualize more than 200 excerpts from 127 films and televised reports.

The series consists of five 30-minute episodes, which I’ve put in order below: the transformation of the landscape, the political happenings, the interpretation of Brazilian culture, the style & behavior, and finally the tragedies & disasters shown abroad.