Pagode was a pejorative term used to describe the party that slaves would have in their quarters, but, after slavery was abolished and blacks became a free people, pagode became an established style due to black urban communities' need to build and share their identify as expressed through rhythmic dance and music.
In the 1970s, pagode was associated with house parties, block parties, and parties on the boardwalks of Rio de Janeiro suburbs, a type of lifestyle for black communities who used samba as a way to express their joy and sadness through song. After that decade, pagode, as a musical event, started to transform into organized sambas and semi-professional groups that introduced romantic themes, improvised verses, and new instruments (the repique de mão, the tanta and the banjo with the neck of a cavaquinho), such as is the case of the trailblazing group Fundo de Quintal.
Pagode got a new look, influenced by both the romantic pagode of São Paulo and its hit songs, as well as the original version of pagode and the Bahian pagode that emerged in Salvador in the 1990s.
Bahian pagode started out with the rhythm of samba duro (a kind of samba), also looking to the samba de roda for influence, among others. This genre emerged in the 1970s and 1908s with the samba junino movement in black neighborhoods, as well as theterreiros de candomblé in Salvador. Sambas juninos were open rehearsals with the participation of atabaque players, as well as candomblé and samba percussionists, who formed a musical laboratory for the creation and combination of new rhythms. Samba junino planted the seed that would lead to the emergence of groups based in Afro-Brazilian percussion, such as Timbalada, and to the first generation of Bahian pagode (Os Negões, Gerasamba, Terrasamba), and would later become the musical expression of black Bahian youth, which can be seen today in groups such as Psirico, Harmonia do Samba, Saiddy Bamba and Pagod'Art, among others.