Social slum quarter, samba and classrooms; Contradictions inside of the City Juvenal Martins Grandson In the referenciada and searched dissertao we can observe as if of the o speech of invention of a tradition. Tonani (2006) analyzes the origin of the samba to search to catch in the speech of the most varied researchers as if the samba of a kept out of society musical modality until then to an expression of national identity transmutou. Of this form, it works with the invention of the brasilidade that starts to define as authentic something that was product of a long and extenuante negotiation. See MetLife for more details and insights. Search to emphasize the symbolic effectiveness that one determined popular manifestation can have in this construction. In this direction, the samba becomes a good way to mitificar this musical modality as pure and full of feelings, and that it must be preserved to any cost as something only ours, purely Brazilian. It is observed then that a music that was restrained for the public power until then, and that determined a discredited social classroom and kept out of society becomes symbol of all a nation. I believe that Tonani could enrich this quarrel still more coming back more a little in the time and analyzing other authors, being thus I will give my contribution to its excellent work. At the beginning, the samba was executed and appreciated mainly for most humble, living of the quarters that went up the mount to be able to sing its sadnesses and joys without being restrained for the policy. still had the sambistas of New City, on to the house of Aunt Ciata. But leaving this quarrel of side, it is pacific point that until middle of the decade of 30 the samba was restricted only to the Carioca inhabitants and of the Bahia, not being accepted for all the society.