Playlist on Spotify with three songs and an audio clip about this location
The Embryo of Portela
Born on February 14, 1896, Dona Ester Maria had samba and Carnaval as true vocations in her life. Before moving to Oswaldo Cruz, she had already founded a Carnaval parade group, in which she acted as flag bearer alongside her husband, Euzébio. Upon arriving in the neighborhood, the couple quickly became part of the community and opened the doors of their home, with its spacious backyard, to host parties that helped shape carioca samba and Carnaval itself.
Image description: This is an old photograph of a woman. The image is black and white. The woman is facing the camera, with dark hair pulled back into a voluminous bun on top of her head. She is wearing a dress with lace details on the sleeves and a necklace with a central pendant. The background is blurred, suggesting a room or indoor setting.Portrait of Dona Ester. Taken from compositoresdaportela.blogspot
Dona Ester is remembered as an always kind, attentive, and charitable hostess, conveying a maternal image marked by authority and respect. Her home, warm and vibrant, was the ideal stage for intense cultural exchanges between different generations and musical styles. There, choro, jongo, carnaval, samba de terreiro, and samba circles coexisted. Moreover, conversations about music and politics were part of daily life, attracting illustrious figures such as Donga, Luperce Miranda, Pixinguinha, and João da Baiana. Among the younger ones, Candeia and Jair do Cavaquinho stand out, having learned a great deal in that space and later becoming illustrious portelenses.
Dona Ester's greatest contribution, however, was having her house serve as the founding site of the carnival group "Quem Fala de Nós Come Mosca," considered the embryo of Portela. This association was officially registered and authorized to parade during Carnival, serving as an "umbrella" for other initiatives, such as "Baianinhas de Oswaldo Cruz," which already brought together Portela's main founders.
Image description: This image is a black-and-white engraving. It presents two distinct scenes, one above the other. At the top, we see an old fountain called "Old Chafariz da Carioca." The structure is adorned with architectural details, including columns and sculptures. People are scattered around, some appearing to be interacting with the fountain. Below, there is a new fountain also called "New Chafariz da Carioca." This version is simpler, with a classical facade and less ornamentation. People are present again, some pulling carts.Although Dona Ester was never a direct member of Portela, her role as a cultural organizer in the neighborhood and defender of Afro-Brazilian traditions before the authorities is undeniable. That is why she is revered to this day. A painting in her honor is a highlight at Portelinha. Her former house, well preserved and decorated in the blue and white colors, remains under the care of her family of distinguished Portela members.
Image description: The image presents a set of logos organized into four groups, each with a heading above it. The groups are "Realization," "Curation," "Technologies," and "Support." Each group contains logos from different companies and institutions. The logos vary in design and color, with some featuring vibrant colors and others in more neutral tones. The layout is linear, with the logos arranged horizontally within each group.
