Samba Origins: The Inheritance and Evolution of African Culture The origin of Samba can be traced back to the 16th century. After Portuguese colonizers conquered Brazil, they continuously imported a large number of Africans as slaves to fill the labor demand under slavery. The transatlantic slave trade lasted for over 300 years and was not abolished until 1850. These people who were transported as slaves to plantations for hard labor mostly came from Angola, Congo, and coastal areas of West Africa. They have experienced hardships on this continent, but they have also brought African music, dance, and religious traditions to the American continent, allowing them to survive and even give birth to new flowers on Brazilian soil. It is widely believed that there are two African art forms from the Brazilian slave system period that have had a profound impact on the birth of modern samba, namely "semba" and "batuque". The term 'samba' originates from the Angolan language 'semba', meaning 'belly button collision'. Many scholars believe that it is the origin of the name samba. Samba dance is characterized by its strong sense of rhythm and physical interaction. The collision of belly buttons between dancers symbolizes fertility and vitality, expressing the close connection and sensory resonance between people. The original meaning of "Batuk" is "drumming", which is a general term for a series of customs such as Angolan African music, dance, religious rituals, and fighting games. Batuk dance often accompanies the rhythm of drumming, and dancers use elastic body movements, jumps, and flexible twisting of their core areas to showcase strength and emotions. We can see that the smooth steps, elastic movements, flexible use of hips and hips, and intimate interactions between dancers in samba dance are all in line with traditional African dance styles. Similarly, modern samba music is characterized by complex rhythms, using various percussion instruments such as drums, hammers, and bells. Each instrument has its own independent beat line, but can be harmoniously unified as a whole, creating intricate rhythmic layers. This is also a continuation of traditional African music forms. It is worth mentioning that "Batuk" not only influenced samba music, but also gave birth to an important religious expression in Brazilian African American culture - the Candombre religion. During the colonial period, the Catholic Church prohibited any form of expression of African faith, viewing it as' heretical '. The colonial authorities often raided black ritual gatherings and carried out violent repression. In addition to imposing severe physical punishments such as whipping and forced labor on participants, they also required believers to publicly repent and abandon their faith, and even burned statues and offerings in public places. Nevertheless, these slaves persisted in preserving their religious practices, often hiding their rituals underground or disguising themselves as Catholic saints to avoid persecution. In these ceremonies, drumming and dancing became important ways for believers to express their reverence for the gods and pray for blessings, as well as their secret resistance to colonial oppression. It can be said that song and dance have become important symbols of resistance to spiritual and cultural identity in the religious practice of African American communities, and the Kantombrai religion has also become a shelter for the cultural heritage of African American communities, providing solid spiritual support for the inheritance of African American music and dance. Under the oppression of colonialism and slavery, African American culture struggled to grow in Brazil, but it also gradually evolved and moved beyond the boundaries of the African American community through the collision and integration of diverse cultures, becoming a part of the daily culture of other groups and classes. This process not only promoted the secularization transformation of African American music and dance, but also endowed them with new forms of expression. In the 18th century, the rural areas of Brazil gradually developed the Lundu dance, which gradually entered the upper class and formed a style accompanied by guitar or piano. Lendu was the first to introduce African musical characteristics into Brazilian urban music, and is considered the first black music accepted by Brazilian society. Lendu was popular in Brazil until the early 20th century and gradually developed into the prototype of rural samba in the Bahia region where black people gathered. With the influx of black communities into cities, Lendu also laid the foundation for the birth of urban samba in the future. In the 19th century, another form of dance emerged in Rio de Janeiro - the maxixe, which blended the flexibility of African dance steps with the rhythm and melody of European ballroom dances such as polka and waltz. As a result, it was widely popular among the middle class in major cities such as Rio de Janeiro and was known as the "Brazilian tango". The popularity of Mahiche not only showcases Brazil's unique cultural fusion, but also provides inspiration and momentum for the formation and spread of samba in the early 20th century in cities. The Rise of Samba: From Marginal Culture to National Symbol. In the late 19th and early 20th centuries, Brazil's industrialization process was accelerating. With the abolition of slavery, African American immigrants from the northeastern state of Bahia came to Rio de Janeiro, which was already a bustling metropolis, with their culture and art in search of a better life. So the port area of Rio de Janeiro formed a "small African" community where many African American communities lived together. These black neighborhoods became centers of cultural, artistic, and religious exchange, where the African American community combined traditional music with new elements in the city, gradually forming the embryonic form of urban samba. However, the formation of Samba was not smooth sailing. In Brazil at that time, racism was still prevalent, and African American song and dance culture was seen as "vulgar," "dangerous," and even "vulgar." As a result, the still infant Samba was despised and suppressed by mainstream Brazilian society - musicians were often arrested by the police, their instruments were confiscated or destroyed, and gatherings were often terminated. Therefore, at that time, song and dance gatherings in African communities could often only be held under the guise of Kantombrai religious rituals, which was similar to the colonial period. In this high-pressure situation, African Brazilians did not allow Samba's fate to be stifled. In the "Little Africa" community, a group of African American women affectionately referred to as "Aunts" played a key role in protecting and promoting the development of Samba, with the most renowned being the wise and diplomatic "Auntie Siata". Aunt Siata, originally named Illalia Batista de Almeida, moved from Bahia to Rio de Janeiro at the age of 22 in 1876. She is a loyal follower of the Kantombrai religion and often presides over religious ceremonies as a priest at home. Her home can be said to be a cultural center that gathers African Brazilian religious culture, protest spirit, and celebratory life. The gatherings usually last for several days or even a week without interruption, attracting people from different social classes, races, and cultural backgrounds - from African Brazilians to migrant workers, to curious white citizens. Her philosophy is simple yet profound: 'The more full the house, the better.' Aunt Siata's home became a fertile ground for Samba musicians to create, and legendary Samba figures such as Pisinjina were born here. In 1916, Brazil's first song known as "Samba", "On the Phone," was created here. Faced with suppression, Aunt Siata cleverly responded with her intelligence: when the police arrived, she would arrange samba musicians in the backyard, while in the front hall of the house, she would hire wind and chord musicians to play what was then called "elegant" music, creating a harmless atmosphere. In this way, Aunt Siata's home gradually became known as the cultural capital of "Little Africa". Her gatherings received widespread support from various sectors of Rio de Janeiro society, and she herself gained the respect of Brazilian President Vincenzo Bras for her reputation and knowledge. Finally, even the police began to provide her with protection. Aunt Siata is a microcosm of the respected black female community of "Little Africa" in Rio de Janeiro in the late 19th and early 20th centuries. Her story with Samba exemplifies the unparalleled vitality of African American culture and the extraordinary wisdom and courage of African Brazilians. While the black community actively fought for their cultural rights, changes in external circumstances also provided conditions for the rise of Samba. In the 1930s, under the influence of Brazilian nationalism, Samba gained national recognition and gradually transformed into a symbol of the Brazilian nation. This process was inseparable from the shaping and promotion of popular culture by the state and intellectuals. In 1930, after President Getulio Vargas came to power, he attempted to shape Brazil as a united and multi-ethnic country, making the fusion culture represented by Samba his first choice. At the same time as political demands change, intellectuals actively participate in the narrative of nationalism, promoting the recognition of Samba by the general public. Famous Brazilian anthropologist Gilbert Freire defended African American culture several times in newspapers after watching Samba performances, and proposed the concept of "mixed race" in his influential book "Masters and Slaves", believing that the uniqueness of Brazilian culture stems from the fusion of African, European, and Indian cultures, and that "mixed race" is an important characteristic of the Brazilian nation. African American culture should not be marginalized, but should be regarded as a key component of Brazil's national culture. Samba, as an important expression of African American culture, should also be defined as Brazil's national art. The support of the government and intellectuals for Samba is not limited to writing or slogans, but is more integrated into daily life. Poets, politicians, journalists, scholars, and artists from various fields are attracted by African American cultural and artistic activities represented by samba, becoming guests of honor at samba performances and defending and promoting the status of African American culture. They befriended samba masters such as Tonga and Pisinjina, turning samba gatherings into collisions of art and ideas. The gathering integrates the literary literacy and social perspective of intellectuals, as well as the notes and melodies of artists. Everyone twists their bodies in a lively rhythm, discussing poetry, philosophy, music, and the future of the country. At the national level, the government of Vargas actively develops the broadcasting and recording industries, promotes the dissemination of samba music nationwide, and has created a group of samba art stars. They also treat samba performances as a "feast" for entertaining foreign dignitaries. Samba thus walked from the streets into the hall of mainstream art, gradually becoming a symbol of Brazilian culture in the hearts of the public. Samba diversity: cultural inheritance and global dissemination. After entering the mainstream popular culture of Brazil, Samba has further developed and now has more diverse forms of expression and applicable scenarios. The lyrical Baggio, the fusion of mixed and mixed Samba rock, and the elegant dance steps and social functions of Samba Garfira have become important components of current Brazilian urban culture. Bosanova has become an internationally influential music genre with its light rhythm and romantic melody. It can be said that current samba shows infinite innovation and adaptability, and among all samba schools, carnival samba and circle samba are probably the most representative. Carnival is the most important performance venue after the formation of samba. Carnival originated from the celebration activities before the European Catholic Lent in the 15th century, and was later introduced to Brazil by the Portuguese. During the colonial period, it became a venue for African slaves to release their emotions and sing and dance freely. Nowadays, the Brazilian carnival represented by Rio de Janeiro has developed into a globally renowned cultural event. The previous carnival did not have a specific music and dance theme, but during the Vargas government period, samba gradually became institutionalized and formalized as the theme of the carnival. Samba and Carnival mutually benefit from each other and are further spread in radio and television broadcasts, contributing to