Over time, though, some of these blocos, or street groups, wanted to become more organized. It was then that the Escolas de Samba (Samba Schools) were born. Samba schools were founded as and still are social clubs that have a strong community purpose and are traditionally associated with a certain neighborhood, often times in informal settlements called favelas. They are at the epicenter of Carnaval culture. Much more than just music and dance groups, they are in fact, neighborhood associations that provide a variety of community needs (such as employment, educational and health care resources) in many parts of the informal city or shanty-towns. They operate as an informal government that provides social services. Planning and preparation for Carnaval happens all year long and is a shared creative practice.

Decades later, the first Carnaval Parade in San Francisco took place in the Mission District in 1979, starting at Precita Park, then moving to Dolores Park the subsequent year and in 1983, the Bryant and 24th Street parade route through the Mission was established. The San Francisco parade structure, including the competitive aspect, were all modeled after the Carnaval Parade in Rio de Janeiro, with several parade contingents from different Latin American and Caribbean music and dance traditions acting much like Brazilian samba schools; organizing themselves, feverously working creatively together for months to put on their show in hopes of becoming 1st place champions.

This collective creative practice that incorporates both visual and performance art is why I fell in love with Carnaval. Not only does it resonate with my roots as a first generation daughter of immigrant parents, but it also taps into both my visual and performing art sides. I often find it challenging to find projects that incorporate both of my art worlds. As an architect and dancer, I appreciate and enjoy delving into all aspects of producing the one-day performance art piece.

Coming from a diverse immigrant background, I spent much of my youth trying to seek out cultural activities that I could connect to and partake in. I began to become aware at a young age, of the yearning desire to be creative and the necessity to express myself artistically. And then I found Carnaval, with its provocative and contagious energy, and I was hooked. Carnaval was the impetus that propelled me into the dance world. It gave me the “ganas” or courage to become a samba dancer and later on, much to my own surprise, a samba dance instructor. Carnaval initially provided me the space to explore dance as a teen and learn more about myself as a young woman, an aspiring dancer and as a builder and architect.