1. (See Muñoz 1999:12).
2. According to Lycia Ribeiro, since the 1930s there have been sambas exoticizing the wild sensuality of the mulata. Later her image becomes the central one of the carnival parades. But it was in the 1970s, when Oswaldo Sargentelli promoted the mulatas as "100% national product," that this feminine image was definitely consolidated and made internationally famous as his company traveled around the world presenting a samba spectacle. The producer Sargentelli, who passed away a few years ago, described them as a quality product: ''They have a thin waist, thick thighs, naughty face, good denture, large smile and smell really good; shaking and breaking, making everyone's mouth water."  (http://www.noolhar.com/opovo/delas/103078.html)
3. Although the presence of the flag makes the critique of Brazilian racial politics undeniable, most critics focused on the black body as an export product.

See Freire, Ana Luiza. "O Samba do Crioulo Doido" (http://www.idance.com.br/artigos/comentario_samba.htm); Anonymous editor. "IAP e Itaú Cultural apresentam espetáculo de dança." Governo do Para 05/11/2004 (http://www.pa.gov.br/noticias2004/11 2004/05 06.asp); Anonymous editor. “Teatro e Dança Mostram a Banalização do Corpo no Brasil”  Porta GRM-Revista Cultural  05/11/2004 (http://www.orm.com.br/revistacultural/noticia/default.asp?codigo=36490)
4. Following the Enlightenment's recipe, the indigenous people—our "noble savages"—were the ones who were turned into icons of such portrayal, yet this was a purely symbolic event with no actual empowerment of natives.
5. The darkest chapter of this marginalization of racial others around the time that Brazil became a republic (1889) was the "War of Canudos." Better described as a yearlong slow genocide of backlander mestizos from the impoverish area of the Northeast of Brazil by the coastal military, Canudos was a war of sticks and stones against fire weapons, fought over religious fanaticism and a supposed pro-monarchy movement being plotted by the mestizos.
6. The formation of encampments of runaway slaves, which were called "quilombos," was the most typical form of slave resistance, from the 16th century up to the abolition of slavery in 1888.
7. Since black power in the late '60s, there has been an awakening of Afrocentric identity politics and cultural movements specifically in the state of Bahia and centered on afro-Brazilian religion.
8. However, it is important to separate the objectification of the mulata from the potential of samba as a cultural force. Since the roots of samba as a "repertoire"—that is, an embodied practice that transmits collective memory—are intimately connected with resistance movements embedded in West African religion, one could argue that samba delivers a subliminal message that continually competes with the cooptation of its identity and the commoditization of its products.  In this sense, it performs what Diana Taylor calls an "act of transfer," thereby acting as a mnemonic device for transmitting not only the hegemonic, but most importantly, black collective memory. (See Taylor 2003).
9. Tropicalism was a late 1960s postmodern artistic movement that encompassed music (popularized mainly through the work of Caetano Veloso), visual art, cinema and theater, the last best represented by "Teatro Oficina," which continues to produce challenging works to this day. It had been highly influenced by the modernist theories of "anthropophagia."
10. Anthropophagia was a trope central to the 1920s modern art movement in Brazil that was recuperated by the Tropicalists of the late 1960s. The trope of cannibalism, which referenced an incidence of the eating of a Portuguese Bishop by a native, was to be applied to cultural borrowing in the sense that foreign influences should be transformed and not simply appropriated.
11. Samba schools, the institutions of Brazilian carnival, started in the 1920s and were made official in the 1930s along with samba. They grew out of small groups made up of the lower class and largely black/mestizos who would parade the streets of Rio during carnival. Today the parades can be a mega-spectacle, especially the one in Rio.