‘A Young Heart Sings to the Beat of a Drum’

Masamba Samba School releases documentary video about their music projects in disadvantaged communities.

While the performance side of Masamba is loud, colourful and well-documented, the organisation’s work in the community is less well known.

“We deliver over 400 music workshops each year, mainly with children in disadvantaged communities…” says Masamba’s Manager, Simeon Smith ‘…but due to child protection and GDPR issues, we rarely have an opportunity to document this work.’

Towards the end of 2019, Masamba teamed up with long-time collaborators Champlain College, to host  film student Connor Rousseau. Connor engaged in the project of documenting Masamba’s work enthusiastically, visiting every aspect of the group’s work, and shooting many hours of video footage.

This week, the first product of this partnership is being released. Entitled ‘A Young Heart Sings to the Beat of a Drum’, this short documentary details Masamba’s work in the community, with a specific focus on one of their long-term projects with St. James’s Primary School, in Basin View, Dublin 8.

‘A Young Heart Sings to the Beat of a Drum’ is a sensitive and thought-provoking insight into an innovative music project, taking place in the shadow of the famous Guinness Storehouse.

The video can be viewed onYouTube here: https://youtu.be/k9w71hKzF3A




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Despite the fact that all of our performances and workshops have been cancelled, we still have plenty to do here in the Masamba camp.

Graham and Greg have been working away generating some new workshop materials. Music files, videos, photos and PDFs have been flying back and forth, along with the usual amount of banter, and we should have some great new elements for our teaching projects, once the current restrictions have been lifted.

We also managed to hold a Board meeting using Zoom, which was a new experience for most of us. As well as catching up, and taking care of the regular business, we used the meeting to adopt a new Vulnerable Adults Safeguarding Policy, which is something we’ve aspired to for several months. As our work in the community sector comes under ever greater scrutiny, policies such as this one, along with Child Protection and Health & Safety policies will soon be essential to being acceptable to funders and to take on government contracts.

One other important piece of work was organising our monthly payments run. We are pleased to report that, despite the current financial difficulties created by having no income to speak of, we have paid all of our artists up to date for services rendered. It is a very difficult time for performance artists at the moment, and most of us have almost no work on the horizon. Therefore, we felt it is very important to make sure that we paid anyone with invoices in with us as a priority. Likewise, we must express our thanks to our clients, most of whom have paid promptly, and given us the cashflow achieve this task.

Away from the desk, and despite travel restrictions, we’ve managed to get some physical work done as well. Ironically, no sooner had the COVID 19 restrictions been implemented, than lots of things arrived at the office by courier!

Firstly, a new professional quality marquee arrived from Poptents. Our thinking in getting the marquee made, is that we are often tasked with playing outdoor shows out in the wilds, with no shelter. Having our own marquee allows us to take on these gigs with a little more comfort. We had placed an order for this several weeks before the pandemic hit, but as we were getting it customised with our logos, it took a little time to prepare. Unfortunately, it will take at least two people to set it up, so until we are out of isolation, we can’t show you any photos.

Likewise, we had ordered some new swimsuits to reinvigorate some of our dancers’ costumes. Like most things ordered from the U.S. they took literally weeks to arrive, and arrived after the COVID 19 shutdown, so we’ll have to wait a little longer to see them in action.

As many of you will know, we at Masamba Samba School have had a long and extremely positive relationship with the Contemporanea instrument factory in Sao Paulo. Roberto Guariglia and his team of master builders have done so much for us over the years that we would need an entirely new website just to list it all. We love Contemporanea drums, and use them for both our performance work (because they sound amazing) and education work (because they are as tough as nails!).

Our most recent project with Contemporanea was to design some customised drum heads that would incorporate our special 25th anniversary logo. Perfectionists as always, Contemporanea’s staff sent several different ideas over for us to approve, and finally in February, we settled on a design that incorporated elements of the Irish and Brazilian flags along with our logo. As well as designing and producing these amazing drum skins free of charge, Roberto even paid for the shipping – now, that’s support!

Frustratingly, they sat in the van for a couple of weeks, before we realised that our rehearsal space is within the 2K travel limit, and so we could at least start to get them onto the gigging drums. This was such a satisfying project, because at the end there were some clear visible results. As you’ll see from the photos, the drums now look amazing, especially when teamed up with the wraps we had made by our friends in Horizon Digital Print.

So, despite the restrictions, we have been able to get some work done. Community Arts has always been about innovation and ingenuity, so in that way, COVID 19 is just another challenge to be surmounted.


Masamba’s continued operations are only possible with the generous support of the Community Services Programme, an initiative of the Department of Rural and Community Affairs.

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Masamba Samba School COVID 19 Update

Like many in the Arts community, the COVID 19 closures and cancellations have hit us hard.








Usually, the St. Patrick’s Day period is one of intense activity for us, and a real chance to earn some valuable funds. This year that was all cancelled quite late in the day, and as the closures were island-wide, there were no opportunities to find other gigs.

Masamba relies on funding from 4 sources to keep the doors open, and the projects running:

  1. Performances – all cancelled until further notice
  2. Workshops – all schools and youth clubs are closed until further notice
  3. Band Subs – as rehearsals are off, there are no subs coming in.
  4. Grants – Most of our grants are project-related. As most of our activities are on hold at the moment, we can neither spend grant funding on running costs, or apply for new funding until we know more about the true timescale of the COVID 19 related closures.

One huge positive is that we have been in contact with our core funders, the Community Services Programme (an initiative of the Department of Rural and Community Development, and managed by Pobal). Pobal staff have assured us that our funding from them is safe for the immediate to mid-term, which is a huge relief all around.

We are aware that many of our colleagues in the music business have absolutely no sources of income at the moment, and nothing in the diary for a long time to come, so we realise how lucky we are to have some support from the government for the foreseeable future.

Masamba’s Finance Sub Committee met last week, and worked out a strategy to minimise outgoings, and a programme of internal projects that will keep us active for the next few weeks at least. All of these projects are essential, and some of them had been long-fingered previously, due to the pressures of workshops and gigs. It is a rare opportunity to get some of these jobs done, and they will all stand to us when things come back to normal.

Some of the projects we are working on right now include:

Creating staff notation for all our workshop pieces, which we can share as a resource to teachers and youth workers in the future. We are looking at combining the notation with other workshop resources we have generated to make a ‘Masamba Workshop Manual’. This may even have wider applications than with the groups we work directly with, and we may have some big news in the near future about this project.

Generating a Vulnerable Adults Policy for Masamba. This is something we have wanted to do for quite a while. In addition, it is something that will probably be a required element of our overall governance and policy in a couple of years, so it is timely that we are getting to do some work on that at the moment.

We have been working with our great supporters and friends at Contemporanea Instrumentos Musicais in Sao Paulo to design some new custom drum skins for our drums. Completely by coincidence, we had recently finalised designs, and some colourful new drum heads, celebrating our 25th Anniversary. These drum skins are literally on their way from Brasil as I write. Once they arrive, it will take some time to put them onto the drums, and again, having the luxury of some quiet times, will allow us get that organised.

We are also in the process in developing the designs for a new form of hand drum, that will lend itself to use in a workshop environment with children. There is nothing radically new about the designs. It is more about taking the best elements of several different instruments and combining them into a practical, hardwearing instrument that will still sound as good as all the instruments made by our friends at Contemporanea. We firmly believe that educational instruments should not be ‘toys’ or cheap, poor-sounding imitations of the real thing. How can a student be motivated to learn to play well, if the sound they are producing is horrible?

We had also recently placed an order to get a custom professional-quality marquee produced to keep the rain off us at some of our outdoor gigs. This has been designed and made, but as yet, is still sitting in its packaging in the back of the van. We hope to get the opportunity to get it out and set up soon, so that we can photograph it and use it to get some new gigs booked in. In the meantime, we might have to organise a Masamba Barbecue to test out the marquee, as soon as the restrictions are lifted.

Also, on the image side of things, we have been working with our friends in Horizon Digital Print to get some new stickers printed that we can use to identify our instruments, storage boxes, etc. Jeff and his crew at Horizon always look after us, and we’re looking forward to seeing some results real soon.

Our Storage Facility, or ‘The Crypts’ as we like to call it, are always in need of tidying up and reorganising. Between the preparations for St. Patrick’s Day, and the fact that we were delivering workshops to over 600 children per week in early March, the Crypts need some TLC. As well as a general tidy up and reorganisation, we are using this opportunity to identify instruments that need repairs, and getting all that sorted as well.

The next few weeks will be difficult for Masamba Samba School. We hope and pray that this virus leaves us and our families unscathed, and that we can get back to some form of normality as soon as possible. In the meantime, we will stay busy, and try to maintain a positive outlook – sure, what else would ya be doing?

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Mid Term, No Break!

With most of the schools here closed for the mid-term break, we have a bit of space and time to do something a little different. Of course, being around for so long, and having worked in practically every community in Dublin, even new experiences often re-connect us with people we’ve met along the way.

This week, we started what will hopefully a long relationship with Dolphin House Homework Club, which is part of a community development in one of the most disadvantaged localities in Ireland. We tested the waters with three sessions between Dolphin House itself, and Fatima, all of which went very well. Some of the children we worked with are from schools in the local area, and we have worked with them before. This made life easier, and it was nice to connect with some of these children outside of their school environment. We briefly discussed returning to the area soon, to do a more involved project, which would be right up our street.

Being back in Fatima reminded me of one of my first forays into Community Music, when I brought a certain Mr. Damien Dempsey in to work with a rock band who rehearsed in the ground floor of the flats. They were really good musicians, great guys, but a little unsure of where to go next. Damien was fantastic with them, and we facilitated them to record an excellent demo of their own music, which I still have somewhere.

While the physical environment has changed, the community hasn’t, but as well as the multiple disadvantages they face, there is still a real interest in music making and a lot of inherent talent to go with it.

Today, we also moved some equipment into a small storage area provided for us by St. Catherine’s Sports Centre on Marrowbone Lane. This is where the Masamba Youth Project currently rehearses, and while the workshop space is great, the building is poorly laid out for anyone who needs to bring in a lot of equipment. Breda and her team came to the rescue and found us a small space, which not only means that we can concentrate more on making music, and less on moving gear, but also that we will be able to have a larger range of instruments available, which allows for us to work on a wider range of musical styles and technical skills. It may be only a corner, to some people, but to us, it is a real benefit.

We also located an abandoned “Comments Box’ on site, that we are going to refurbish and use for getting feedback from some of our client groups. As this will mainly be used with children, we’d like to brighten it up a bit, and make giving the feedback a little bit of a ‘ceremony’.

Tomorrow, we are changing gears a little and providing a workshop for the BEd3 students at DCU St. Patrick’s College in Drumcondra. This is the primary teacher-training college in the country, and we have a long history of delivering workshops and performances on campus. We are hoping that this workshop will give the students the confidence to try some percussion when they start teaching in the classroom, but wither way, tomorrow will be a lot of Craic!

Our work in the community is supported by funding from the Community Services Programme, an initiative of the Department of Rural and Community Development and administered by Pobal.

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End of the Year, End of the Decade, End of 25 Years of Masamba!

As we approach the end of the year, and indeed the decade, it’s only natural to take a look back over the previous 12 months, in order to celebrate the positives and hopefully learn from some of the negatives. Every year, it is the same – we assume that it has been a somewhat uneventful year, until we start going through the website and the diary, and suddenly realise how busy we have been. 

25thAnniversary Celebrations

Definitely one of the highlights of the year was the celebration of our 25thAnniversary at the Mansion House. Initially, we had very humble plans for the celebrations, but when we learned that we had been invited to the Mansion House by the lord Mayor of Dublin, Paul McAuliffe, we decided to invest a little time and money into the event. We were delighted with the turn out on the day, and it was a chance to catch up with some old friends, and ex-members of the group, as well as a party for the current crew!

We were honoured to be joined by the Lord Mayor himself, and the Brazilian Ambassador to Ireland Eliane Zugaib. Also in attendance were several Dublin City Councillors, past and present, and the Arts Office for Dublin City, Ray Yeates, and representatives of several other partners and stakeholders.

The Lord Mayor of Dublin, Paul McAuliffe, with the Brazilian Ambassador to Ireland, Her Excellency Eliana Zugaib.

Dudu Tucci Workshops

In tandem with the event in the Mansion House, we invited our most influential drumming mentor, Dudu Tucci, to visit Dublin and deliver two percussion workshops. Dudu, originally from Sao Paulo, but based in Berlin for many years, has been working with members of Masamba since 1996, and has visited Dublin many times to work with us. Dudu has been a great supporter of our work.

The idea of the workshops was to invite our ex-members to re-connect with us, through playing together and learning together – two of Masamba’s core aims. The dates for the workshops were dictated by the date given to us by the Lord Mayor’s office, so it didn’t suit everyone, but we were still impressed with the turnout. We also got to cover an impressive amount of material with some people who hadn’t played in years!

One very positive suggestion that came from these sessions was the idea of hosting a ‘low impact’ workshop for ex-members once a month, who would like to keep connected, but who don’t have the time to commit to weekly rehearsals. This is something that we would definitely like to follow up on next year.

More information here: http://www.masamba.com/gigs/happy-birthday-to-us/

…and here: http://www.masamba.com/communityoutreach/25-years-of-samba-in-dublin/

Dudu Tucci, leading Masamba members new and old in a performance at the Mansion House Dublin.

Bossas Workshops

In April, we hosted Mestre Maurao and Gabriel Lopes, as part of the Bossas 2019 tour This was a collaboration with the UK-based company JP Percussion, and saw Masamba taking care of all the logistics and some of the promotion for the project. The 2-day workshop was attended by over 40 percussionists, mostly from around Dublin. As well as members of our adult band, 2 of the more advanced members of our Youth Project attended the sessions and gave a very good account of themselves.

More details of the Bossas Tour 2019 can be found here: http://www.masamba.com/uncategorized/bloody-brilliant-bossas/

Marcos Feijao Workshops

Marcos Feijao is an ex member of the famed Monobloco group from Rio, and is an accomplished drum set player, as well as a samba percussionist. Members of Masamba did some workshops with him in Rio back in 2017, and were very impressed. Feijao came to Dublin, immediately after our 25th Birthday celebrations. Coming as it did, so soon after our 25th Birthday celebrations, attendance was poor, and we barely broke even on the weekend. However, we did gain the basis of two new pieces of music, one of which is being rehearsed by the band at the moment.

Brasil trip

In February, three members of Masamba visited Rio de Janeiro for two weeks, to witness the preparations for carnaval 2019. Most of this trip was spent at workshops or attending the open rehearsals of the most famous samba schools, where there is a great opportunity to see musicians in action up close. The trip was highly successful, and some of the material we saw being rehearsed has been incorporated into the Masamba set.

We also used the time to meet with Consul General in Sao Paulo, and the new Irish Ambassador to Brasil Sean Hoy, at a reception in Rio de Janeiro. At these meetings, we discussed the possibility of enhanced partnerships between Masamba and Brasilian samba schools, and the possibility of a collaborative project in the future. 

All the dirty, sweaty details of our Brasil trip 2019 can be found here: http://www.masamba.com/brasil/brazil-adventures-2019/

Mestre Nilo of the famous Portela Samba School with members of Masamba.

Expansion of Board of Directors

In 2019, we welcomed two new members to our Board of Directors:

Sarah Bermingham is a fundraiser with the ISPCC, and a keen music fan who rehearses and performs with the Masamba Community Band.

Simon Edmondson is a web designer, and art therapist, who is also a member of Masamba. 

Both new Board members act as band representatives on the Board, as well as bringing their own areas of expertise to the table.

Details of all our Board Members can be found on our website at: http://www.masamba.com/about-us/the-board/

Early Years Samba

In recent years, we have increasingly being asked to work with junior and senior infants classes in schools, and we became aware that our regular workshop materials were not quite suitable for these younger age groups. 

To deliver a better service for these younger ‘customers’, we decided to take a three-pronged approach:

  • Engage in training to work specifically with this age group – we have been lucky enough in this regard, in that the four Dublin local authorities have teamed up, to investigate and resource this work, under the banner ‘Exploring and Thinking‘. We have been involved in some excellent training and discussion groups under this initiative, and it has allowed us to clarify our thinking about what might work with Early Years musicians, and generated some really good contacts that we can rely on for information and support.

(ii) Develop a curriculum, specifically targeted at young learners. This is a process of taking elements of the training, combining them with elements of the workshops we already deliver, and creating all new percussion-based activities that Early Years learners can both interact with and enjoy. Our current aim is to develop 8 week blocks of activities for both junior and senior infants groups, and we are currently about 50% though this process.

(iii) Build a bank of instruments that we can use to deliver sessions with Early Years learners. Masamba has always had a policy of only using professional-level instruments for our workshops, and through our partnerships with several instrument companies, especially Contemporanea Instrumenton Musicais and the provision of funding through agencies such as the Arts Council/Music Network Instrument Capital Scheme, we have been fortunate enough to build up a great stock of workshop instruments which we can use with both children and adults. However, some of these instruments are not suitable for use by very young children, some had to have a re-think. We have identified a selection of instruments that young children can hold, grip, play and enjoy! To fill this gap, we engaged with the Deep Riverrock ‘Thirst for Better’ campaign, and managed to raise a very impressive €600, which we can use to invest in these much-needed resources.More details can be found at: http://www.masamba.com/communityoutreach/retail-therapy/


Unfortunately, 2019 saw little progress in our search for premises, despite making many enquiries, and connections.

Now in our 2ndfull year of being ‘homeless’, we are learning about the difficulties and extra costs of operating out of four different spaces, one of which is in another county.

Membership numbers have failed to recover fully, which is the result of a complex set of factors, and our current location is definitely one of them.

Our ability to host visiting tutors and performing groups has been complicated by the need to source spaces to host workshops, etc. It has also added a significant cost to organizing projects.

Our Youth Project numbers are down to record lows, and we attribute this to being forced to move rehearsal space twice in two years. We are currently working in a DCC Sports Centre on Marrowbone Lane. It is a good facility, but the acoustics are bad, and we have no on-site storage space for instruments, which makes rehearsals more complicated, and also limits musically what we can work on at any given time.

Our current storage space in Skerries is absolutely full to capacity, with nowhere to gather instruments and costumes for large projects. We have nowhere to build or repair instruments. Space is so tight, that we sometimes have to prepare for events in the yard outside the building, if weather allows.

Looking forward…

Overall, 2019 was a great year for Masamba, and as well as the highlights above, the year was full of laughs, social events, great gigs, great workshop groups, and a lot of great music!

Already, there are some exciting new opportunities on the horizon for 2020 and beyond, and if we can keep the current great team of people together, and maybe even add to it, we’ll be in good shape for whatever comes our way.

Happy New Year to all our friends, colleagues, suppliers and

fellow sambistas everywhere!

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25 Years of Samba In Dublin

Simeon of Masamba with the Lord Mayor of Dublin, Paul McAuliffe at the Mansion House Dublin.



’25 years for any organisation to exist really is a huge achievement. For that to happen within a new community in Dublin, with all the changes that happen within those communities, is even more impressive. For that to happen within an arts context is even more impressive again!’

 – Lord Mayor of Dublin, Paul McAuliffe, the Mansion House, September 14th 2019.

In 1994, Ireland was a very different place. Predominantly, the country was a monoculture – the economic boom was still a long way off, and there were few reasons for outsiders to want to settle in Ireland. In 1994, there were six Brazilians officially living in Ireland.

In addition, the World Wide Web was only invented in 1990, and widespread internet use was still a few years away, so learning about other cultures was a lot more difficult than it is today. However, in 1994, despite these obstacles, Masamba Samba School was created.

Masamba was formed following the highly innovative and successful ‘Big Bang Festival’ at the City Arts Centre in 1994. The Big Bang Festival featured African, Brasilian and Irish percussion, but excellent performances by the Drogheda Samba Band and Macumba (Scotland) made samba the star of the show! It was immediately decided that a series of samba drumming workshops would be run at the Centre, led by community musician Colin Blakey. This group was initially called the “City Arts Centre Samba Band’.

Very soon, this group became so popular with the staff and outsiders that it needed to become somewhat independent of the City Arts Centre. It had moved beyond being merely a teambuilding exercise for staff so, in keeping with the tenets of Community Arts, the band negotiated a deal with the City Arts Centre, whereby we would keep the instruments and have access to a rehearsal space, in return for doing a certain amount of performances or workshops for the centre each year. This somewhat independent group became MaSamba Samba School.

In 1996, another pivotal moment arrived in the form of Masamba members travelling to Manchester to attend a training event called the ‘Manchester Encontro’. The event featured a Brazilian master drummer and educator called Dudu Tucci. Dudu has had a huge and ongoing effect on Masamba’s music. His knowledge of the roots of Afro-Brazilian music, his huge technical skill, and a very clear method of teaching really impressed us, and we have invited Dudu to Ireland many times since to work with us.

Dudu Tucci, September 2019

In addition to Dudu Tucci, Masamba Samba School has a long history of bringing the best Brazilian percussionists to Ireland to deliver workshops and perform. The group has also organised several study visits to Brazil to experience the colour and excitement of carnival first-hand, all the time learning new techniques, and pieces of music.

In 2002, another important milestone in Masamba’s development was its inclusion in the Social Economy Programme, a social enterprise initiative managed by FÁS. This was the first mainstream funding the group achieved, and allowed the group to take on a Manager and two full-time music tutors. This programme was subsequently renamed the Community Services Programme, and is now managed by Pobal on behalf of the Department of Rural and Community Development. Masamba is still funded under this programme to this day.

Achieving this funding allowed for stability, forward planning, confidence and demanded enhanced financial management. To be included in the programme, Masamba also had to register as a company,

From humble beginnings as a teambuilding exercise in 1994, Masamba Samba School has grown to be a registered company, now employing 3 full-time workers, and managing a fantastic team of volunteers. In that time, the group has won awards at the St. Patrick’s Festival in Dublin, performed in every county in Ireland and collaborated with some of stars of the music industry, including Kíla, Paddy Casey, Nitin Sawnhey and Kevin Godley. In addition, Masamba has a strong commitment to education, and delivers over 400 workshops each year, many for children living in disadvantaged communities.

In recognition of these achievements, Dublin’s Lord Mayor Paul McAuliffe invited the group to the Mansion House in mid-September to celebrate our 25th Birthday. The event was a wonderful opportunity for Masamba members, past and present to meet, exchange stories and celebrate the many achievements of the group, big and small. While the event was primarily for the Masamba membership, we were also honoured to have amongst the guests:

The Lord Mayor of Dublin, Paul McAuliffe, with the Brazilian Ambassador to Ireland, Her Excellency Eliana Zugaib.


The Lord Mayor of Dublin, Cllr. Paul McAuliffe

The Brazilian Ambassador to Ireland, Eliana Zugaib

Cllr, Tara Deacy

Cllr. Keith Connolly

Dublin City Council Arts Officer Ray Yeats

Grainne Lord, City of Dublin Youth Service


Ambassador Zugaib addressing the assembled Masambaeiros.                     




















The Brazilian Ambassador had not prepared a speech, but did take the time to commend Masamba on its ‘Herculean effort in giving your free time to bring Brazilian and Irish people together’

Dudu Tucci, leading Masamba members new and old in a performance at the Mansion House Dubli


But what would a celebration of a samba school be without some samba? As well as the formalities, we had also organised a weekend workshop with the aforementioned Dudu Tucci. This was a special event shared by both past and current members of Masamba and we were treated to a short performance of a brand new piece, learned literally that day, and directed by Dudu Tucci. This brought the formal celebrations to a close, but there was still cake to eat, and chats to be had. All in all, it was a lovely atmosphere, representing the best of community spirit in Ireland.


…and with that, the Masamba crew headed back onto the streets of Dublin – a very different city to when we began, but always a great city!


Photos: 1-5 Donal Moloney, 6 Miren Samper





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Happy Birthday to Us!

There has been massive excitement in the Masamba camp over the last few weeks, as our 25thBirthday Celebrations draw closer.

Masamba was formed following the highly innovative and successful ‘Big Bang Festival’ at the City Arts Centre in 1994. Samba percussion was the runaway star of the show, and it was immediately decided that a series of samba drumming workshops would be run at the Centre, led by Colin Blakey. This group eventually morphed into Masamba Samba School.

No-one involved in those early days could have foreseen that Masamba would still be going 25 years later, employing 3 people full-time, and working with literally thousands of people each year. But, that’s where we ended up, and it seems a celebration is in order!

As you all know, Masamba never does anything by half measures, especially when it comes to having a party. Masamba also has a long experience of working alongside Dublin City Council on a multiplicity of projects, and in recognition of that fact, The Lord Mayor of Dublin Paul McAuliffe, has invited us to the Mansion House for a special birthday celebration. This is a rare honour, and we are very proud to have been invited to such an auspicious and historic space.

Dudu Tucci, with his Afoxé Loni Project in Berlin.

In addition, we are hosting a special one-off workshop with our long-time mentor Dudu Tucci. Dudu was the first Brazilian musician we worked with, having met him first in Manchester in 1996. Over the years, we have brought Dudu to Dublin several times, and Masamba members have also travelled to work with him in the UK and Berlin, most notably for the Afoxé Loni project. This workshop is an opportunity for both current and past members of Masamba to learn and perform together – given that so many members have gone on to play in, and even create, other bands, this will be a kind of a Samba Supergroup!


Masamba New T-Shirt design, 2019.

The birthday celebrations have also given us the impetus to get a few other little jobs done. We came up with a new logo design, which will be used on T-shirts, for drum wraps and eventually, for some new drum skins. We took delivery of the T-shirts yesterday, and they look and feel great. Our friends at Horizon Digital Print turned around some really nice drum wraps for us, at very short notice. We fitted them yesterday, and they make the drums look brand new!

Our drums look amazing with the new wraps in them!


We all know that ‘birthday cakes are so much fun to eat’, and what would a birthday party be, without a stonking big cake? Decorated with a combination of old and new logos, the cake type is ‘rocky road’, which perhaps represents the often-difficult road, Masamba has had to travel – things haven’t always been easy over the last 25 years, but they’ve usually been a lot of fun! 

Thanks to Una for making us this fantastic cake!!



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Retail Therapy

With the schools all closed, we at Masamba are allowed some time to gather our thoughts and prepare for the next season.

Some of you will be aware that we have been involved in the Deep River Rock ‘Thirst For Better‘ programme, whereby charities such as ourselves, can raise funding to support their activities. The aim of our involvement in Thirst for Better has been to build up a stock of instruments, specifically for use with Early Years learners, i.e. children between the age of 0 and 6. We have increasingly being asked to work with junior and senior infants classes in schools, and we became aware that our regular workshop materials were not quite suitable for these younger age groups. 

To deliver a better service for these younger ‘customers’, we decided to take a three-pronged approach:

(i) Engage in training to work specifically with this age group – we have been lucky enough in this regard, in that the four Dublin local authorities have teamed up, to investigate and resource this work, under the banner ‘Exploring and Thinking‘. We have been involved in some excellent training and discussion groups under this initiative, and it has allowed us to clarify our thinking about what might work with Early Years musicians, and generated some really good contacts that we can rely on for information and support.

(ii) Develop a curriculum, specifically targeted at young learners. This is a process of taking elements of the training, combining them with elements of the workshops we already deliver, and creating all new percussion-based activities that Early Years learners can both interact with and enjoy. Our current aim is to develop 8 week blocks of activities for both junior and senior infants groups, and we are currently about 50% though this process.

(iii) Build a bank of instruments that we can use to deliver sessions with Early Years learners. Masamba has always had a policy of only using professional-level instruments for our workshops, and through our partnerships with several instrument companies, especially Contemporanea Instrumenton Musicais and the provision of funding through agencies such as the Arts Council/Music Network Instrument Capital Scheme, we have been fortunate enough to build up a great stock of workshop instruments which we can use with both children and adults. However, some of these instruments are not suitable for use by very young children, some had to have a re-think. We have identified a selection of instruments that young children can hold, grip, play and enjoy! 

Needless to say, all of these things cost money, and money is always in short supply. The Deep RiverRock ‘Thirst for Better’ initiative allowed us to create a small, but growing fund to buy these instruments, and eventually be able to deliver classes with up to 30 children, whereby everyone gets hands on experience with real musical instruments.

So far, we have raised a little over €500 of our €1,000 target, and we have roughly one month to go. Without jumping the gun, we know that we will have a budget, so in order to be in a position to roll out this programme for September 2019, we decided to go ahead and buy some ‘tester’ instruments, that we can use to finalise our choice as to what is most suitable set of gear we can provide within a limited budget. So this week, we got our first few bits and pieces to road test – after a long year of teaching, a bit of ‘retail therapy’ feels good!

As mentioned above, there is still time to support us with our #thirstforbetter campaign. Buy a bottle of Deep Riverrock, strip off the label, and input the code at our page here:




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Countdown to the Holidays!

What a brilliant week!

The end of the school year is always a strange time for us at Masamba, as all normal activities cease, and all sorts of challenging and fun projects present themselves. Some of our existing projects are finishing up, which might mean school shows or performances at open days. Also, new schools get in touch, which might want to experiment with something new as an end of year treat for students. Either way, it’s all a welcome break from the regular term work, which at this stage of the year, can get a little monotonous!

This week, we had the opportunity to work with a new school in the form of Greystones Community National School, which is currently based in a complex of portacabins on the grounds of Greystones Rugby Club. It is a new school, with classes from Junior Infants to 2ndclass, and growing every year. It is run by a dynamic team, with several very active parents. It is also in receipt of funding and supports from the Arts Council, as part of the new Creative Schools Programme, which is where we came in. Creative Schools is an exciting new initiative, which we hope will vastly increase access to all art forms for the school children of Ireland. On Monday and Tuesday, we delivered seven workshops to a total of 180 students. On Thursday, we revisited the school to deliver an interactive performance, revisiting some of the ideas we introduced in the workshops, and throwing in some new ideas for good measure. It was 45 minutes of pure magic, and a lot of laughs!

In addition,  on Wednesday, we revisited our home-from-home in Scoil Iosagain, where we are five weeks into a six week programme, which will culminate in a school show next week. This year, we are working with 5 groups, totalling about 100 students in all, and the pressure is now on to button up the pieces of music each group will play in the show. All the groups are working hard, and no doubt we will have a great time next Wednesday, along with lashings of cake!

On the band side, we played at the official launch of Pride 2019 on Tuesday. This was a great event for many reasons, but for us what made it extra special was playing in the historic General Post Office on O’Connell Street. This building has huge significance in recent Irish history, and it was great to get to see if from ‘behind the scenes’. The launch itself was a big success, and we have been offered several opportunities to play at the Pride parade as a result – however, we have already been booked for months;-)


Tomorrow (Saturday), we are revisiting the Phoenix Park, and our friends at Athletics Ireland, to play at the Irish Runner 5 Mile Run. We are performing at our usual spot at the junction of Furze Road and Ordinance Road – if we’d known we were going to play there so many times this year, we could have built a little grandstand;-)

Next week is no less varied, as we complete our project in Scoil Iosagain, and spend a couple of days in another new school – Dublin 7 Educate Together. This is another school I receipt of Creative Schools support from the Arts Council, and will offer us an opportunity to work with highly experienced community musician Thomas Johnston – all good!

Finally, next week gives us an opportunity to return to a school we have done a lot of work in over the years – Scoil Treasa Naofa on Donore Avenue. before we worked in Scoil Iosagain, before we worked in St. James’s Primary School, almost before the dawn of time itself, we worked in Scoil Treasa Naofa, so it will be great to get back! We are delivering a half day there with the 5thand 6th classes, supported by our Dublin City Council Arts Office grant, and of course our Community Services Funding, which supports all of our work. It will be great to get back to this super little school and to make some new friends!





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Brazil Adventures 2019

Masamba first ventured to the home of Samba in 1999, with six member of the group completing a month-long excursion, taking in Rio de Janeiro, Salvador, Recife and Olinda. Needless to say, we were hooked, and 20 years later, Masamba members are still visiting Rio to see the very best of the music we love, and to enjoy the amazing spirit of the Brazilian people.

Five of the six Masamba members who made the first trip to Brazil in 1999, out busking in Dublin to get the money together, and assisted by Anna O’Donnell.
From left to right: Anna O’Donnell, Terry O’Reilly, Sarah Walker, Aoife Kane, Michael Appourchaux, and Simeon Smith.



This year, we undertook a relatively straightforward trip, taking in just Sao Paulo and Rio – straightforward, but very busy! Over 20 years, two things had happened. Firstly, the availability of information in the media and particularly on the internet has vastly increased. Between the Rio Show section of the O Globo newspaper, and the excellent Samba Beats website run by our good friend Gabriel Lopes, it is now much easier to find out what’s happening, when and where. However, with that said, things can be very fluid on the samba scene, and things don’t always happen as advertised – a certain amount of patience and flexibility is required, in order to keep the blood pressure down.

We chose the timing of the trip to purposely miss carnaval itself. There are primarily three reasons for this: Firstly, everything gets much more expensive in the big cities during carnaval. In Rio, for example, most of the hotels increase their booking fees several-fold, and in addition, many of them only want to take block bookings for the entire five days of carnaval. The main parades in the Sambadrome are also an expensive night out, although we would still recommend that everyone should try to witness the spectacle and excitement of the Grupo Especial parades at least once in their lives!

Secondly, street crime increases during carnaval. Perhaps it is because some of those who don’t have money feel it even more when everyone else is celebrating, or maybe it’s because there are so many rich tourists in town. Either way, you have to have your wits about you, and carry as little cash as possible when out and about on the streets.

However, the main reason for us going early, is that it is easier to get up close and personal with the samba schools, either at their weekly ensaio geral (general rehearsal), or their ensaio na rua (street rehearsals). Here, we get the opportunities to actually see musicians up close and learn some of the elaborate phrasings and breaks they play – something you can’t see from 100 feet away in the sambadrome. Also, and this is very important for us, we get to connect with the amazing energy of the people in the samba schools, whether it is being roped in to dance, or as simple as a musician or dancer waving to you!

Rei Momo (King of Carnaval) and his princesses make an appearance at the Sao Clemente rehearsals.










This brings me to another thing we really noticed on this trip, but were aware of all along. Most of our Brazilian musician friends think that we are STONE MAD, going out to the favelas to visit the samba schools. Some of them, self-professed Carioca da Gema (think a Rio version of a Cockney), will happily admit that they have never been to these neighbourhoods, and never want to go to them either! Don’t get me wrong, these areas can be dangerous, and it may have been the case that we’ve heard gunshots, or felt uncomfortable the odd time, but to get to the real spirit of samba, we have to get to the communities where the samba schools are based.


Sao Paulo

Myself and Julie jumped a quick flight down to Sao Paulo, and though it was a short visit, not even two full days, there was a lot to be done. Our primary focus in Sao Paulo was to re-connect with our friends and supporters in the Contemporanea Instrument company. Contemporanea have endorsed Masamba’s work for many years, and we are always made feel more than welcome at this famous factory.

The factory becomes somewhat of a pilgrimage for many percussionists, especially in carnaval season, and while we were there, we were lucky enough to meet two amazing percussionists: local player Luan Barbosa and Steven Brezet, one of the percussionists with the world-renowned Snarky Puppy. Needless to say, a percussion jam ensued throughout the factory, with everything and anything being pressed into action! At lunch afterwards, kindly hosted by Roberto from Contemporanea, the possibility of all sorts of projects and collaborations were discussed – exciting stuff.

The ’work’ over for the day, it was time for some music. Since re-locating to Sao Paulo, Masamba member Julie Collins joined the well-known Bloco Me Lembra Que Eu Vou, directed by Silvanny Sivuca. I had seen Silvanny in action many years before, when she was part of an excellent local project – Meninos do Morumbi. Even back then, Silvanny already stuck out from the crowd as an excellent percussionist, and it’s great to see that her career trajectory has continued apace! The bloco itself is definitely one of the better ones musically. They rehearse regularly and there is an expectation of high musical standards. Similar to Masamba, they play several different styles of Afro Brazilian music, but unlike Masamba, everyone sticks to the same instrument for the entire rehearsal. This makes sense, as these blocos are mainly parade groups, so swapping around would be difficult. It was great to sit in on this rehearsal, and to see Julie doing so well, bopping about with her shaker in hand!


Silvanny Sivuca, leading a rehearsal of Bloco Me Lembra Que Eu Vou in Sao Paulo

The night got even better, when an old friend of mine, Fernanda Amaral, showed up to say hello. Fernanda is a dancer, choreographer and dance teacher, who used to be based in Cardiff and worked with us in the very early days, on a number of projects. Fernanda relocated to SP a few years back, and is doing really well, focusing a lot of her energies on working with people with special needs. It was a real treat to have the opportunity to catch up with Fernanda, and to chat about old, and potentially new, projects.

Just to put some icing on the cake, we relocated to a funky bar for our chat, where none other than Claudio Santana was playing in a Choro group with Deni Domenico and Matheus Motta from Choro Moço. Claudio visited Dublin to work with Masamba back in 2001 and we have always kept in touch since. We were lucky enough to catch up with Choro Moço when they visited Dublin in 2013 . Despite being in a bar 5,000 miles from home, we were like locals!

Our 2ndday in Sao Paulo was no less interesting, and could lead to some long-term developments for Masamba! In the morning, I had a meeting with Gill Hennebury from the Irish Consulate in Brazil. The meeting was primarily to describe the work Masamba has been doing in Dublin, and to express our desire to develop more links with the carnaval community in Brazil. We discussed how Masamba could make contact with local groups, and how exchanges might be funded. Clearly, nothing could be finalised on the day, but it is great to know that our government is supportive of our work.

In the afternoon, it was back to my buddies in Team Contemporanea. If the theme the day before was around performance, the second meeting was themed around education. Roberto had invited our old friend Ari Colares and a new contact Alua Nascimento to meet us. Over another amazing lunch, we discussed all things to do with teaching samba, whether it be with bands, young people, people with disabilities, or whatever. It was so positive to be able to share experiences with other educators, and also to see how much store that the Contemporanea company puts on educational work. We promised to keep in touch, and to share notes!

With that, it was out to the airport and back to Rio – less than 48 hours in Sao Paulo, but about a week’s worth of work and play squeezed into that – very much the Sampa way!

The Sao Paulo section was worth dealing with in such detail, as it was where a lot of the formal ‘business’ of the trip was done. In the interests of brevity, I will deal with the rest of the trip under several headings: Samba School Quadra rehearsals, street rehearsals, blocos, workshops, tourism and friends.

Quadra Rehearsals

As mentioned above, our main reason for travelling so far before the actual carnaval dates, is that it offers us the opportunity to go to what the samba schools refer to as ‘ensaio geral’ or ‘general rehearsal’. This is the centre point of the week for each samba school, and is a rehearsal, a live show, an information meeting, a fundraiser, and a social event all rolled into one. They are also great fun!

Depending on the samba school, and the set-up of their rehearsal space, it is sometimes possible to see the bateria or percussion section up close, but often, they are hidden away on a balcony, and it is impossible to see what they are doing.  The best schools in this respect are Portela and Viraduoro, who practice at ground level. The worst (that we have seen) are Mangueira and Salgueiro who are up very high, and impossible to see.





Warming up for Rehearsals at Portela.

An interesting development this year, is that these rehearsals have been spread out more over the week, which means that we can get to see more of them. For many years, the vast majority of the rehearsals happened on Saturday nights, and on our best ever night, we did manage to get in and out of three rehearsals, but it was far from ideal. This year, we got to see some schools we have never seen before and managed to get out to see something almost every night – great fun, but exhausting!

The Samba Beats website was very useful in letting us know what was happening, and knowing it’s author Gabriel personally, meant that we could also double-check anything that we weren’t sure about. Also, most samba schools have very active Instagram accounts, which are obviously in Portuguese, but often easy enough to figure out. For us, the plan was generally to agree the night before what we would like to do each day, and then spend an hour in the morning online, and double checking that everything was going ahead.

On this trip, we managed to see the following samba schools in their quadras: Sao Clemente, Portela, Unidos da Tijuca, and Imperatriz.

Our favourites were Portela and Imperatriz because of the welcoming atmosphere amongst musicians and others alike. This year, we managed to get to Portela three times over two weeks, and as mentioned above, Portela’s bateria rehearse at ground level, and there is an opportunity to get a spot close to all the drumming action. Over the three rehearsals, we went from regular spectators to having our photo taken with the Director of the Bateria, Mestre Nilo. Now, that’s a welcome!

Mestre Nilo of the famous Portela Samba School with members of Masamba.










Imperatriz has been a favourite of our for many years. Their quadra is relatively humble, when compared to some of the others, and they don’t get a whole lot of ‘gringos’ at their rehearsal, possibly as their neighbourhood is considered dangerous by some. All we can say is that every time we have been there, we have not only felt safe, but welcomed, and included in the craic. It has been known for Masamba members to be dragged into the dance sections, and not be seen for 30-40 minutes! Also, in the last couple of years, our good friend Mestre Maurao, has been involved in the bateria, which is great, but Imperatriz is one of those samba schools where you don’t have to have ‘personal contacts’ to be made feel welcome.

Julie and Mary are presented with the flag of Imperatriz – a real honour!









Street Rehearsals

As Carnaval draws near, the samba schools like to get out on the street to practice their parading skills. All groups get at least one chance to practice in the Sambadrome over the weekends immediately before carnaval, but samba schools will also organise parades within their localities. I’m not sure whether they seek permission or not, but they definitely get out there, stop the traffic and go for it. Again, these parades are a great opportunity to see everything up close, and they are also great craic. Because they occur on the streets, they are free of charge, and the only potential downside is that there is less security.

Street rehearsals are a little more random than Quadra rehearsals, in that exact times can vary a lot, depending on the weather, and other variables, but that is not to say that they are not worth making the effort for, because once you get there, they are an amazing spectacle! A good tip here is to keep an eye on the Instagram accounts for the chosen samba school on the day of a street parade, as there will often be some traffic there that will confirm whether rehearsals are happening. This year, we managed to see Unidos do Tuiuti and Vila Isabel practice on the street. Vila Isabel was a real prize, as we have had a terrible history of missing their rehearsals in the past – we were starting to believe that they didn’t actually exist!

The excitement of carnaval on the street. Vila Isabel rehearsals 2019.










Street rehearsals are great fun, and we developed a strategy of heading to the front of the samba school, and letting it all pass by, before heading to the front again. This way, you get to see all the dance sections, as well as the musicians.

Sambadromo Rehearsals

We also swung by the Sambadromo one Saturday evening, to see Mocidade Independente do what is now as an ‘ensaio technical’ or technical rehearsal. This is where samba schools get an opportunity to rehearse in the sambadrome, which allows them to mirror as closely as possible, what it will be like on the big night. There are several key difference: The full sound system hasn’t been set up yet, so the dancers, and the audience, have to rely on a sound truck that accompanies the bateria. The performers don’t parade in costume, so things lines of sight, etc. have yet to be tested. Finally, there are no floats, as they are being kept back to be debuted at the main parade. There is also the logistical challenge of getting floats to and from the Sambadromo, but as many of the delays on the night of big parades are because of floats failing, this leaves some big worries for the organisers. The Sambadromo is open free to the public, and in some cases two or even three samba schools will parade in one night, so it is a cheap way of having a great night out. As many locals couldn’t possibly afford the high ticket prices to attend the official carnaval, the technical rehearsals are very popular, and if you want a good seat, you need to get there early, but don’t worry, there is always someone around to sell you a cold drink while you wait! Another benefit, is that these rehearsals ‘force’ the more distant samba schools to come into the city to practice. So, for example, the night we were there we got to see Mocidade, who’s base is quite far from the city centre in a neighbourhood called Padre Miguel. We have travelled to their quadra in the past, but it is the guts of an hour each way in a taxi, with taxi fare to match!

The main reason that we didn’t go to more of these sambadrome rehearsals, is that they clash with quadra rehearsals, but a serious samba devotee could go to the beginning of the sambadrome, and then head on to a quadra rehearsal.



Blocos are another important representation of carnaval, and for many, represent the authentic street carnaval of Rio. A bloco can be almost any group of people who meet to celebrate carnaval together in the public space. It can be just musicians, just drummers, just dancers, people in a themed costume, people in random costumes, or any combination of these. There is no set route, no need to enter a competition, or even to tell people you are performing. The scene has grown a lot in the last few years, as more people seek to be part of the action, rather than a spectator. Some blocos are very professional with trained musicians and dancers, good costumes, themed banners, etc. Some blocos are less about the quality of the performance, but more about expressing a vibe. All have something to contribute to the excitement of carnaval, but in all fairness, some are worth travelling to see and some aren’t.

I already mentioned that Julie (our girl in Sao Paulo) plays chocalho with one of the top blocos in Sao Paulo, called Bloco Me Lembra Que Eu Vou. These guys rehearse a set for months before bringing it out onto the streets, and even though I only sat in on a rehearsal, it was obvious that they take it seriously, while also having  a lot of fun doing it.

In a quiet moment, I slipped off to catch a rehearsal of a bloco with a 15-year history, Volta Alice. The main reason for the visit was to see my old friend Gabriel Lopes, who directs the bateria there. The rehearsal was downtown in the narrow, crowded streets near the ferry port, and took a little bit of finding. Unlike the samba schools, blocos can be similar to the experience of a lot of Samba Bands in Ireland, in that it is a relaxed atmosphere that accepts all comers. There were clearly some good musicians there, but there were also a lot of people who probably only pick up an instrument for a couple of weeks around carnaval. After watching the rehearsal from the side-lines, Gabriel very kindly gave me his repinique and allowed me to join in – most of the material was familiar enough, and even some of the signals for grooves and breaks were recognisable, so it wasn’t too difficult.

Gabriel Lopes, leading a rehearsal of Bloco Volta Alice.






















While it was not my focus to get to play in Brasil, I’m never going to turn down the chance to play a little samba in its natural habitat! Rehearsals over, Gabriel was kind enough to ask me along to see the bloco’s performance a few days later in the Laranjeiras neighbourhood. I dutifully showed up for a parade that started at 9am(!), and everyone was there, ready to go – amazing! After Gabriel go the band up and running, he handed the repinique over to me, which again was very generous of him, given that I had only attended one rehearsal. Musically, the parade wasn’t hard work, but physically, it was hard going playing in the Rio heat. The parade was at a slow pace, and every so often, beers would magically appear, but it was still HOT! I had no idea how long the parade was due to go on for, so I decided that I would play for an hour, and then duck out. It was just as much fun to grab a beer and watch the general madness of carnaval unfold around me – crazy costumes, old friends, new friendships, music, dancing, eating and drinking – all on the streets of a beautiful old neighbourhood.  

Workshops, Tourism & Friends

On previous trips, we have organised workshops ourselves, but as the group this year  was quite small, we chose not to. However, as more and more musicians flock to Rio at carnaval time, there is always the opportunity to sit in on ‘public’ workshops. Last trip, we discovered an amazing venue/Workshop space/social space/instrument shop called “Maracatu Brasil’, which has teamed up with our friends at Contemporanea to deliver regular percussion workshops. This year, we had the opportunity to catch up with Stephen Brezet and Ricardo Guerra, who delivered an amazing workshop in hand percussion, mixing African, Brazilian, and Cuban rhythms. As almost everyone in the audience was a percussionist, there were plenty who were more than willing able to join in, and soon the mother of all timba jams was kicking off!



Rio being one of the most beautiful cities in the world, has no end of non-samba-related sights and sounds to savour. All of this year’s group had been to Rio at least once before, so there was no need to do the very obvious things such as visit the Corcovado and Christ the Redeemer, or the cable cars at Urca. We were looking for a couple of new experiences.

This year, we took a little dander down to visit the famed Cemitério de Sao Joao Batista. Visiting a graveyard may not sound too exciting, but as this one is in downtown Rio, many Brazilian legends are buried there – somewhat similar to Glasnevin Cemetery in Dublin. Annoyingly, there wasn’t a map or a guide to where all the most famous people were buried, but we did manage to find the graves of Antonio Carlos Jobim, Carmen Miranda and Santos-Dumont. It wasn’t just about the celebrities either, some of the grave stones and monuments are works of art in themselves. Photographs are discouraged, but I couldn’t help but grab a few snaps of this wonderland dedicated to death!

Just some of the amazing gravestones at the Cemitério de Sao Joao Batista. Carmen Miranda’s Grave is the one on the right.










Another little ‘tourism’ stop was the Confeitaria Colombo, a spectacularly overwrought French style coffee salon in downtown Rio. It’s a bit like the Copacabana Palace in that it gives you an insight into what Rio must have been like in the 20s and 30s – the real heyday! It has to be said that the coffee was great, and service 2nd  to none, but the waiters doing the hard-sell on their souvenirs let it down a little.

The amazingly elaborate interior of the Confeitaria Colombo.


Finally, we decided one evening that we would take the plunge and go for the full churrascaria experience. A Churrascaria is a special type of Brazilian barbecue restaurant, that offers an all you can eat menu of the finest meats the country has to offer. It isn’t a cheap option, and we ended up going for one of the more expensive options, called Assador Rios (formally Porcao). It is right on the bay in Flemengo, and the website looked amazing, so off we went. It was amazing. Not just the food, but the ridiculously high level of service. There wasn’t a cheese board, there was a cheese TABLE in the place, and as promised the steak was amazing. There is no way that you could eat there every day, but as a once-off treat, it was well worth it.

Knives at the ready – now where’s that steak?










A recurring theme in this blog is the value we place on genuine people and genuine hospitality. As Masamba members have been visiting Brazil for 20 years now, and many Brazilian artists have come to work with us in Dublin, we have built up a network of friends throughout the country. A trip back to Brazil is always an opportunity to try to catch up with as many of them as possible, time allowing. Of course, most of our musician friends are very busy in the run-up to carnaval, so we don’t get offended if we don’t get to see everybody, but on this trip, amongst others, we got to meet with Fernanda Amaral, Ari Colares, Claudio Santana, Feijao, Leao, & the guys from Du Rio, Gabriel Lopes, Mestre Maurao, all the team at Contemporanea and Jorge & Patricia Allen. The last people mentioned are especially important, as it was the Allen family who helped make our first trip to Brazil a success, and thankfully, 20 years later, we are still in keeping touch and meeting up when we can!


Counting down to the Brazil trip 2020!!!







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