When Brazil's period of modernization began in the 1960s, and especially during the military dictatorship (1964–1985), the government adopted Carnival as a tool for political propaganda.
Foreign capital was being courted, and the televised parades in Rio usefully depicted a happy, organized, and orderly Brazilian people, especially after 1984, when the event was moved off of the street to the Sambódromo, a 100,000-seat, open-ended stadium built for the purpose.
Race played an important and contentious role in the formation of Carnival in Latin America, with indigenous persons and African slaves (and free coloreds) often masquerading as whites or members of other ethnic groups.
Taking place in the days just prior to Ash Wednesday, Carnival became a time of revelry and excess, marked by masquerades, processions, dances, and various public games and competitions.
In the eighteenth century, Spanish, Portuguese, and French versions of Carnival were exported to the Americas, where they absorbed local festival practices and soon created distinct regional and national traditions.
Rara is also typical of the Caribbean in its tradition of biting social and political commentary, which has made the festival a frequent target for government repression or attempts at cooptation, but also a popular site of resistance to those very regimes. Caribbean Festival Arts: Each and Every Bit of Difference. Vásquez Rodriguez, Chalena, and Abilio Vergara Figueroa. JosÉ Carlos Sebe Bom Meihy Jonathan Ritter gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).
Trinidad hosts the largest Carnival festival in the Caribbean. Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style.