The related quarters previously have in common the black presence. for being the main man power the time of the settling, the blacks and slaves had become majority in these regions. Initially these urban portions sheltered the points of sales and fattening of slaves. After the abolition, the blacks had opted to if fixing in these places. In the second decade of century XX, the northeasterns, in its majority bahian, had helped to fill the port zone. Many came in search of work in the ships fond, or same as just loading in the proper port. All were attracted by the high yield generated for the activity. Basically the port zone was composed for these two segments.

Each one of them contributed for (…) very does not seem to be rightness in politics tolerating that for the streets and places of fetichism of the city they make multitudes of blacks of one and another barbarous sex its batuques the touch of many horrorosos atabaques, dancing dishonestly and singing gentlicas songs (SANDRONI, 2001) the author defends the theory of that while lundu, had its value next to the great societies, the row was considered agricultural and behind, savagery symbol. Allied to these black musical influences, we count on the present dance in this universe. The umbigada celebrity occurred around during the promoted wheel of the musicians. Still in SANDRONI (2001), we find reference the promoted dance. (SANDRONI, 2001) With priority, was batucada, with strong characteristics of polca, the dispute, fandango and maxixe mattered of the Europe. In the truth it did not have a proper characteristic, was everything mixed. Nor if it can say that in the end of century XIX it had a rhythm that it was national, did not have a musical identity. However, at the beginning of century XX, with the massive arrival of the originary population of the Bahia, it had a rupture.