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SUZANNA LUBRANO Most Popular Female Zouk Artist from Cabo Verde
LATIN POP ZOUK KIZOMBA AFROLATIN SUZANNA LUBRANO Most popular female Zouk artist from Cabo Verde Number one hits 20 years in Africa and of Music Europe 11 CD´s A major + 1 DVD influence on many of today´s Gold and Kizomba artists Platinum albums in Africa Major African Music Awards SUZANNA LUBRANO 2015/2016 Introduction Suzanna Lubrano is one of the most popular female artists in Lusophone Africa. In a career spanning almost 20 years, she has scored massive hits in countries such as Angola, Mozambique and Cape Verde, and has also managed to achieve frequent successes elsewhere. She has received numerous music awards and nominations. In 2015, Suzanna Lubrano has released her latest solo-album ´Vitoria´. Most of the songs on the album are self-composed. The album contains duets with Machel Montano (Trinidad), Iyanya (Nigeria) and Vinicius D´black (Brazil), several productions by Giorgio Tuinfort (producer of songs by Michael Jackson, Rihanna, Lady Gaga and many more), and is more diverse than previous albums. Although a Cape Verdean singer, Suzanna’s music can’t be described as specifically Cape Verdean. With her exciting mix of Zouk or Kizomba, Pop Coladeira, R&B and other African and Latino music styles, the 39 year old gifted vocalist has retained her star status in the Portuguese speaking African countries throughout her career, which started in 1996 with the release of her debut album ´Sem Bo Nes Mund´. Suzanna lubrano and Giorgio Tuinfort (Michael Jackson, Rihanna, Lady Gaga) working on songs for the Vitoria album. SUZANNA LUBRANO -
Créolité and Réunionese Maloya: from ‘In-Between’ to ‘Moorings’
Créolité and Réunionese Maloya: From ‘In-between’ to ‘Moorings’ Stephen Muecke, University of New South Wales An old Malbar is wandering in the countryside at night, and, seeing a light, approaches a cabin.1 It is open, so he goes in. He is invited to have a meal. No questions are asked; but he sings a ‘busted maloya’ [maloya kabosé] that speaks of his desire to open his wings and fly away, to accept the invitation to sleep in the cabin, to fall into the arms of the person narrating the ballad, and to weep. The whole company sings the ‘busted maloya.’2 Malbar is the name for Tamils descended from indentured labourers from parts of South India including the Malabar Coast and Pondicherry, where the French had another colony. Estimated to number 180,000, these diasporic Tamils had lost their language and taken up the local lingua franca, Creole, spoken among the Madagascans, French, Chinese and Africans making up the population of Réunion in the Indian Ocean. Creole, as a language and set of cultural forms, is not typical of many locations in the Indian Ocean. While the central islands of Mauritius, the Seychelles, Rodriguez, Agalega, Chagos and Réunion have their distinct varieties of French Creole language, Creole is not a concept that has currency in East Africa, Madagascar or South Asia. Versions of creolized English exist in Northern and Western Australia; at Roper River in the 1 Thanks to Elisabeth de Cambiaire and the anonymous reviewers of this paper for useful additions and comments, and to Françoise Vergès and Carpanin Marimoutou for making available the UNESCO Dossier de Candidature. -
Redalyc.MÚSICA DE FESTA, EXPRESSÕES E SENTIDOS DO
Última Década ISSN: 0717-4691 [email protected] Centro de Estudios Sociales Chile MARCON, FRANK; DE JESUS DOS SANTOS, ELY DAISY MÚSICA DE FESTA, EXPRESSÕES E SENTIDOS DO KUDURO NACIDADE DE SALVADOR Última Década, núm. 47, diciembre, 2017, pp. 222-242 Centro de Estudios Sociales Valparaíso, Chile Disponível em: http://www.redalyc.org/articulo.oa?id=19554634008 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto ÚLTIMA DÉCADA, N°47, DICIEMBRE 2017, PP. 222-242 MÚSICA DE FESTA, EXPRESSÕES E SENTIDOS DO KUDURO NA CIDADE DE SALVADOR FRANK MARCON1 ELY DAISY DE JESUS DOS SANTOS2 RESUMO O kuduro é um estilo de dança e música eletrônica produzida e consumida principalmente por jovens, que surgiu em Luanda, nos anos 90 e aos poucos se espalhou pela Europa, América e África. Neste artigo analisamos a presença do estilo no Brasil, a partir dos jornais impressos, e analisamos o caso específico da sua produção, circulação e consumo através de pesquisa de campo que realizamos na cidade de Salvador - Brasil. A partir daí buscamos compreender o contexto festivo em que o estilo está inserido e refletir sobre os significados particulares e gerais de sua expressão em um circuito de consumo peculiar com a presença de jovens imigrantes africanos em contraponto com os sentidos mais amplamente difundidos. Esta pesquisa foi realizada no ano de 2014 e 2015 e é parte de um projeto mais amplo de investigações desenvolvido pelos autores sobre juventudes, processos de identificação e suas diferentes formas de expressão através de estilos de vida associado à música eletrônica. -
LCGFT for Music Library of Congress Genre/Form Terms for Music
LCGFT for Music Library of Congress Genre/Form Terms for Music Nancy Lorimer, Stanford University ACIG meeting, ALA Annual, 2015 Examples Score of The Four Seasons Recording of The Four Seasons Book about The Four Seasons Music g/f terms in LCSH “Older headings” Form/genre term Subject heading Operas Opera Sacred music Church music Suites Suite (Music) “Newer headings” Genre/form term Subject heading Rock music Rock music $x History and criticism Folk songs Folk songs $x History and criticism Music g/f terms in LCSH Form/genre term Children’s songs Combined with demographic term Buddhist chants Combined with religion term Ramadan hymns Combined with event term Form/genre term $v Scores and parts $a is a genre/form or a medium of performance $v Hymns $a is a religious group $v Methods (Bluegrass) $a is an instrument; $v combines 2 g/f terms Genre/form + medium of performance in LCSH Bass clarinet music (Jazz) Concertos (Bassoon) Concertos (Bassoon, clarinet, flute, horn, oboe with band) Overtures Overtures (Flute, guitar, violin) What’s wrong with this? Variations in practice (old vs new) Genre/form in different parts of the string ($a or $v or as a qualifier) Demographic terms combined with genre/form terms Medium of performance combined with genre/form terms Endless combinations available All combinations are not provided with authority records in LCSH The Solution: LCGFT + LCMPT Collaboration between the Library of Congress and the Music Library Association, Bibliographic Control Committee (now Cataloging and Metadata Committee) Genre/Form Task Force Began in 2009 LCMPT published February, 2014 LCGFT terms published February 15, 2015 567 published in initial phase Structure Thesaurus structure Top term is “Music” All terms have at least one BT, except top term May have more than one BT (Polyhierarchy) The relationship between a term and multiple BTs is “and” not “or” (e.g., you cannot have a term whose BTs are “Cat” and “Dog”) Avoid terms that simply combine two BTs (e.g. -
Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown.. -
Hispano-Lusophone” Community Media: Identity, Cultural Politics and Difference
“Hispano-Lusophone” Community Media: Identity, Cultural Politics and Difference Ana Stela de Almeida Cunha Miguel de Barros Rosana Martins (Editors) 17 Ana Stela de Almeida Cunha, Miguel de Barros, Rosana Martins (Eds.) ) Dirección José Luis Terrón, Universitat Autònoma de Barcelona Comité académico Carmen Echazarreta, Universitat de Girona Mònika Jiménez, Universitat Pompeu Fabra Jordi Farré, Universitat Rovira i Virgili Gustavo Cardoso, OberCom Rita Espanha, OberCom Nelson Zagalo, Universidade do Minho José Carlos Lozano, Texas A&M International University Tanius Karam, Universidad Autónoma Ciudad de México Laura Regil, Universidad Pedagógica Nacional Angel Badillo, Universidad de Salamanca Marta Martín, Universidad de Alicante Fotografía portada: Ana Stela de Almeida Cunha Ana Stela de Almeida Cunha, Miguel de Barros, Rosana Martins (Eds.) (2018): “Hispano- Lusophone” Community Media: Identity, Cultural Politics and Difference. InCom-UAB Publicacions, 17. Bellaterra: Institut de la Comunicació, Universitat Autònoma de Barcelona. ISBN 978-84-948252-1-7 Institut de la Comunicació (InCom-UAB) Universitat Autònoma de Barcelona Campus UAB - Edifici N, planta 1. Despatx N-1003 E- 08193 Bellaterra (Cerdanyola del Vallès) Barcelona. Espanya http://incom.uab.cat ISBN: 978-84-948252-1-7 2 “Hispano-Lusophone” Community Media: Identity, Cultural Politics and Difference ) Acknowledgements We would like to thank each of the authors for their valuable contributions during this manuscript’s gestation period. We are grateful for their inspiring visions of Media Studies, and for the vigour with which they conduct their investigations into this fascinating and complex field. Without them, this book would not have been a possibility. We wish to express our gratitude to the many people who have assisted us at the various stages of the project. -
Genre, Form, and Medium of Performance Terms in Music Cataloging
Genre, Form, and Medium of Performance Terms in Music Cataloging Ann Shaffer, University of Oregon [email protected] OLA 2015 Pre-Conference What We’ll Cover • New music vocabularies for LC Genre & Form and LC Medium of Performance Terms • Why were they developed? • How to use them in cataloging? • What does it all mean? Genre, Form, & MoP in LCSH Music Terms When describing music materials, LCSH have often blurred the distinction between: • Subject what the work is about • Genre what the work is • Form the purpose or format of the work • Medium of performance what performing forces the work requires Genre, Form, & MoP in LCSH Music Terms Book Music Score • LCSH describe what • LCSH describe what the musical work is: subject the book is Symphonies about: Operas Symphony Bluegrass music Opera Waltzes Bluegrass music • LCSH also describe what the format is: Rap (music) $v Scores and parts $v Vocal scores $v Fake books Waltz • And what the medium of performance is: Sonatas (Cello and piano) Banjo with instrumental ensemble String quartets Genre, Form, & MoP in LCSH Music Terms Audio Recording • LCSH describes what the musical work is: Popular music Folk music Flamenco music Concertos • And what the medium of performance is: Songs (High voice) with guitar Jazz ensembles Choruses (Mens’ voices, 4 parts) with piano Concertos (Tuba with string orchestra) Why Is This Problematic? • Machines can’t distinguish between topic, form, genre, and medium of performance in the LCSH • All coded in same field (650) • Elements of headings & subdivisions -
Table of Contents
José N’dongala Kizombalove Methodology – teachers course Kizomba teachers course José N’dongala Kizombalove Methodology Teachers Course KIZOMBA TEACHERS1 COURSE José N’dongala Kizombalove Methodology – teachers course Kizomba teachers course José N’dongala Kizombalove Methodology Teachers Course Syllabus « José N’dongala Kizombalove Methodology » teachers course by José Garcia N’dongala. Copyright © First edition, January 2012 by José Garcia N’dongala President Zouk Style vzw/asbl (Kizombalove Academy) KIZOMBA TEACHERS COURSE 2 José N’dongala Kizombalove Methodology – teachers course Kizomba teachers course “Vision without action is a daydream. Action without vision is a nightmare” Japanese proverb “Do not dance because you feel like it. Dance because the music wants you to dance” Kizombalove proverb Kizombalove, where sensuality comes from… 3 José N’dongala Kizombalove Methodology – teachers course Kizomba teachers course All rights reserved. No part of this syllabus may be stored or reproduced in any way, electronically, mechanically or otherwise without prior written permission from the Author. 4 José N’dongala Kizombalove Methodology – teachers course Kizomba teachers course Table of contents 1 INTRODUCTION ......................................................................................................... 9 2 DANCE AND MUSIC ................................................................................................. 12 2.1 DANCING A HUMAN PHENOMENON ......................................................................... -
O Kuduro Como Expressão Da Juventude Em Portugal: Estilos De
Recebido: 26.08.11 O kuduro como expressão Aprovado: 28.09.12 da juventude em Portugal: 1. Doutor em Antro- pologia Social, pela UFSC, professor do Departamento de estilos de vida e Ciências Sociais da Universidade Fe- deral de Sergipe e processos de identificação dos mestrados em Antropologia e em Frank Marcon1 Sociologia da mes- ma universidade. Coordenador do Resumo: O artigo em questão é fruto de uma pesquisa etnográfica realizada em Lisboa, Grupo de Estudos Culturais, Identida- no ano de 2010. O kuduro é um estilo de dança e música que surgiu em Luanda, nos anos des e Relações Inte- 1990, e que chegou a Portugal logo em seguida, por meio das relações entre os imigran- rétnicas. tes com o país de origem: a Angola. O objetivo é compreender como, ao lado de outras E-mail: frankmar- [email protected], formas de expressão cultural juvenis, em Lisboa, o kuduro, assim como o hip-hop, o rap e marconfrank@hot- o reggae, passou a fazer parte integrante do consumo e da produção cultural dos jovens mail.com da periferia. Em meio à música e à dança como formas de entretenimento, um univer- so de tensões sociais, étnicas e geracionais faz-se presente e faz emergir interessantes processos de identificação social. A escola, a rua e a Internet tornaram-se os principais espaços de socialização do kuduro, que perpassa um estilo de vida que parece constituir laços de afinidade entre imigrantes e descendentes, tendo como referência o país de origem ou mesmo uma África imaginada pela relação de solidariedade entre descenden- tes da imigração originária dos Países Africanos de Língua Portuguesa. -
The African Roots of Cuban Music,The Music of the Nyayo Era,Kenyans' Elusive Search for a Cultural Identity,How Afrobeat(S)
The African Roots of Cuban Music By Boima Tucker British sociologist Paul Gilroy suggested the history of culture in the Atlantic world is characterized by constant exchange. One of the most traceable elements of that exchange, is the musical connections between communities of African descent on either side of the ocean. These musical practices operate as sites of resistance, cultural retention, and social cohesion that allow us to understand some of the ways we all are formed by trans-continental processes. During the dawn of recorded music in the early part of the 20th century, Cuba—one of many New World sites of African and indigenous resistance to European colonisation and enslavement—would become a hotbed for musical export in the emerging industrialized system of music distribution. Folk musical traditions from across the island would come together in Havana’s studios, and then get dispersed around the entire Atlantic world. In the early part of the 20th Century, Cuban musical styles like son, mambo and guaguanco followed migrants and sailors out across the Atlantic, hitting radio waves in the ports of landing, and spreading throughout the interior of the countries they landed in. With its strong traces of West and Central African rhythms, this music would find legions of devoted followers on the African continent. Local artists would try their hand at recreating the sound, and start to mix elements of their own local traditions creating what we now know as Congolese rumba, soukous, mbalax, semba, kizomba, and highlife, etc. These styles, amongst many others on the continent, would go on to form the backbone of national identity in the post-independence period, their propagation supported with enthusiasm by the leaders of the new nations. -
African Influence in Brazilian Music: Samba Welson Tremura
African Influence in Brazilian Music: Samba Welson Tremura Introduction Although we are strongly influenced by Afro-Brazilian heritage, we know very little about their extensive contribution to Brazilian culture. Without question, samba is the most popular musical style and genre ever produced for carnaval in Brazil. The word samba is derived from the Bantu word semba, or belly button. In Africa, entire villages gathered in circles to sing and dance with the opportunity to show their abilities and knowledge of their musical and dance heritage. After each participant completed his or her turn, another member of the group was invited with the dance pattern semba or “belly button touch,” to take his or her place. Like the word batuque (drumming), samba was first associated with any type of popular celebration1. There are those who feel that the lundu, a dance of African origin in Brazil since the shipment of slaves from Angola, is the true musical parent of the samba2. Others theorize that slaves and ex-slaves brought an early form of samba to Rio from Bahia in the nineteenth century “because of the decline in the fortunes of tobacco and cocoa plantations in Bahia state, and because of two important new laws: the Law of the Free Womb in 1871 (which declared all children born to slaves as free), and Brazil’s abolition of slavery in 1888”3. Thus, internal migration took place and the Afro-Brazilian population had the opportunity to move south with their musical traditions. Drumming (1835), by Johann Moritz Rugendas. 1 Enciclopédia da Música Brasileira: Erudita, Folclórica e Popular 1977: 684 2 McGowan & Pessanha 1991: 28 3 Ibid 1 Another theory of the roots of samba is also associated with the ranchos, which is the Portuguese word to describe a group of people. -
Les Musiques Africaines”
1 - Présentation Dossier d’accompagnement de la conférence / concert du vendredi 6 février 2009 proposée dans le cadre du projet d’éducation artistique des Trans et des Champs Libres. “Les musiques africaines” Conférence de Jérôme Rousseaux Concert de Smod Du Sahel au Mali, de l'Éthiopie au Soudan, du Congo à l'Afrique du Sud et avec certaines esthétiques satellites qui sont issues du Maghreb et des îles de l'Océan Indien, les musiques africaines forment un gigantesque puzzle qui est le reflet sonore d'un continent multiple et multiculturel, aussi riche et complexe certainement que l'Europe ou l'Asie. Au cours de cette conférence et en utilisant de nombreux exemples, nous examinerons cette grande diversité et nous aborderons quelques questions fondamentales comme celui du regard occidental qui est parfois proche d'un certain néo-colonialisme, la différence entre la notion d'ethnomusi- cologie et de world music dont le continent africain a été dans les deux cas l'un des terrains de base, la place de la musique dans la société comme l'une des composantes de la vie plutôt qu'un art comme nous l'entendons habituellement, et leperpétuel balancement de beaucoup de ces musiques entre la tradition et la modernité. Enfin, nous montrerons l'aspect matriciel des musiques d'Afrique noire, et l'importance qu'elles ont dans ce que l'on appelle désormais les "musiques actuelles". Nous ferons ressortir leur parenté avec le blues, leur rôle dans l'évolution du jazz, dans le renouveau du rap, et l'influence des rythmes comme l'afrobeat dans toutes les musiques qui se réclament du groove et de la transe.