the samba and the music performed for the dance. The Urban Carioca Samba was influenced by several traditions associated with the universe of rural communities throughout Brazil. The folklorist Oneida Alvarenga was the first expert to list primitive popular dances of the type: coco, tambor de crioula, lundu, chula or fandango, baiano, cateretê, quimbere, mbeque, caxambu and xiba. To this list, Jorge Sabino and Raul Lody added: the samba de coco and the sambada (also called coco de roda), the samba de matuto, the samba de caboclo and the jongo. One of the most important forms of dance in the constitution of the choreography of the Carioca Samba, the samba de roda practiced in Bahia's Recôncavo was typically danced outdoors by a soloist, while other participants of the roda took charge of the singing – alternating in solo and chorus parts – and the performance of dance instruments. The three basic steps of Bahian samba de roda were the corta-a-jaca, the separa-o-visgo and the apanha-o-bago, in addition to the little one danced exclusively by women. In their research on Bahian samba, Roberto Mendes and Waldomiro Junior examined that some elements from other cultures, such as the Arab pandeiro and the Portuguese viola, were gradually incorporated into the singing and rhythm of African batuques, whose most well-known variants were samba corrido and the samba chulado. In the São Paulo State, another primitive modality of known rural samba developed, practiced basically in cities along the Tietê River – from the São Paulo city, until its middle course – and traditionally divided between samba de bumbo – with only instruments percussion, with bumbo – and batuque de umbigada – with tambu, quinjengue and guaiá. Essentially made up of two parts (choir and solo) usually performed on the fly, the partido alto was – and still is – the most traditional sung variant of rural samba in Rio de Janeiro State. Originating in the Greater Rio de Janeiro, it is the combination, according to Lopes and Simas, of the Bahian samba de roda with the singing of the calango, as well as a kind of transition between rural samba and what would be developed in the urban environment of Rio from the 20th century. Roots of Rio Carnival During colonial Brazil, many public Catholic events used to attract all social segments, including Black and enslaved peoples, who took advantage of the celebrations to make