The Barroca Zona Sul samba school captivated audiences on February 28, 2025, taking its turn as the second group to parade during the Special Group festivities at the Sambódromo do Anhembi. Under the leadership of Ewerton Rodrigo Ramos Sampaio, affectionately known as Cebolinha, the school's vibrant presentation centered around the theme "Os nove oruns de Iansã," creatively developed by renowned carnavalesco Pedro Alexandre Magoo.
The congregation of composers, including Thiago Meiners, Sukata, Claudinho, Cacá Camargo, Fernando Negão, Morganti, Jairo Roizen, Léo do Cavaco, André Valencio, Mineiro, Júlio Alves, and Marco Moreno, contributed to the samba's lyrics, which were jubilantly performed on the avenue by the talented interpreters Cris Santos and Dodô Ananias.
Barroca Zona Sul, founded on August 7, 1974, donned its signature green and pink colors, showcasing the rich tradition of samba school performances, drawing crowds who gathered for what promises to be one of Brazil's most spirited celebrations. This year, the excitement was palpable as overlaps of high energy and artistic expression converged to illuminate the night.
Isadora Closel, the school’s samba muse, added depth to the performance narrative, openly declaring her struggles with societal beauty standards. "Sofro pressão das pessoas por ser musa de carnaval e não ter o corpo padrão. Sou contra cirurgia plástica. Sou toda natural," Closel expressed, as reported by Quem. Her statement brings to light the often unacknowledged pressures faced by those who take center stage at such grand events.
Although Closel embraces her natural physique, she recounted receiving negative messages from critics who implied she should conform to conventional beauty norms. "É como se eu fosse obrigada a gastar milhões em busca de ser padrão. Eu me acho linda assim, natural e quero desfilar com esta proposta na avenida," she continued, illustrating her commitment to authenticity and self-acceptance.
The 2025 carnival season expected to engage around 180,000 viewers exemplifies the cultural resistance and pride displayed through samba. Barroca Zona Sul's performance not only entertains but also serves as commentary on individual beauty and acceptance, core values often overlooked during the extravagant displays of athleticism and artistry on the samba circuit.
The significance of Isadora's remarks resonates deeply within the carnival culture, where expectation often meets harsh scrutiny. The juxtaposition of her natural beauty against the backdrop of such vivid, selective aesthetics serves as a reminder of the diversity within human bodies, offering encouragement to viewers who might feel similarly marginalized.
This year at the Carnival, the excitement and intention of inclusivity were clear. The broader narrative weaves its way through not just the wistful melodies and lively costumes but through the voices of individuals like Isadora, boldly reclaiming the narrative. Barroca Zona Sul's performance, then, is not merely about the spectacle but about making space for genuine representation and love for oneself.
While Barroca Zona Sul aimed for glory within the competition, securing the prying eyes of judges and the audience alike, Isadora Closel's truth added layers of emotional depth to the ensemble. The fate of many such performances lies within the interplay of art and personal experience, where the two converge on the glittering stage.
With the culmination of enduring rituals and spirited performances, Barroca Zona Sul provided not only delightful entertainment but also significant social commentary, highlighting the need for compassion within festive contexts. Through rhythm, color, and powerful words, the samba school invites everyone to dance to the beats of authenticity, encouraging the audience to celebrate not just the glimmering exterior but the beautiful essence of individuality.