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TRACEPLAY-PRESS-KIT-2017.Pdf
EDITOR “Our audience and urban creators were looking for a single platform that offers the best urban music and entertainment on all connected devices, all over the world. TracePlay is our answer to this request”. OLIVIER LAOUCHEZ CHAIRMAN, CEO AND CO-FOUNDER OF TRACE GROUP SUMMARY 1/ THE APP 03 TRACE PRESENTS TRACEPLAY 04 AN OFFER THAT FULLY INCLUDES URBAN MUSIC 2/ THE EXPERIENCE 05 LIVE TV: 9 TRACE MUSIC TV CHANNELS + 1 TV CHANNEL DEDICATED TO SPORT CELEBRITIES 06 LIVE RADIOS : 31 THEMATIC TRACE RADIOS 07 SVOD & ORIGINALS : OVER 2000 URBAN ASSETS 3/ THE OFFER 08 PRICES 09 DEVICES 10 GEOGRAPHICAL DISTRIBUTION APPENDIX: TRACEPLAY PROGRAM CATALOGUE 2017 WWW.TRACEPLAY.TV 1/ THE APP 1.1 TRACE PRESENTS TRACEPLAY TracePlay is the first subscription-based service entirely dedicated to urban and afro-urban music and entertainment. The App is available worldwide on most THE BEST RADIOS connected devices and offers an instant Afro-urban series, movies, documentaries 30 radio channels covering the various urban and unlimited access to 10 live TV chan- and concerts. and afro-urban genres. nels, 30 live radios and more than 2000 on demand programs. LIVE TV EXPLORE Watch the 9 best urban and afro-urban music channels Browse by region, topic, genre or mood and the #1 sport celebrities channel to make your choice. ON DEMAND Instant access to more than 2000 selected programs including originals. TV | RADIO | DIGITAL | EVENTS | STUDIOS | MOBILE | MAGAZINE TRACEPLAY | PRESS KIT 2017 03 1/ THE APP 1.2 AN OFFER THAT FULLY INCLUDES URBAN MUSIC TracePlay leverages Trace’s 14 years expertise in music scheduling to offer a unique music experience: all Urban, African, Latin, Tropical and Gospel music genres are available and curated on a single App for the youth who is 100% connected. -
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 -
Dueling Bands and Good Girls: Gender, Music, and Nation in Luanda's Musseques, 1961-1974"
International Journal of African Historical Studies, 37,2 (2Q04) 255 DUELING BANDS AND GOOD GIRLS: GENDER, MUSIC, AND NATION IN LUANDA'S MUSSEQUES, 1961-1974" By Marissa J. Moorman Luanda is known for its late-night parties (or farras) that trail into the wee hours and include a bowl of muzongue (fish broth with pieces of cassava, fish, and chili peppers eaten in order to counteract the impending exhaustion and hangover). On November 11, 2001, the twenty-sixth anniversary of Angola's independence, I was invited to an event called Caldo de Dipanda (Independence Broth) that was to begin at 7 a.m. at the National Radio Station. It was a special independence day version of a bi-monthly live broadcast event hosted by a Sunday morning radio show (Caldo de Poeira, or Dust Broth) where they invite musicians of the older generation to gather, play music together, eat, and reminisce. My fiance (now husband) and I and a friend, tambourine in hand, arrived half an hour after the scheduled beginning to find some 30 people already gathered. We were directed to a table and served typical Angolan dishes—beans with palm oil, muzongue, boiled cassava and sweet potato—and our choice of beverage. The emcee was already playing a variety of old tunes and inviting various musicians up to the stage to sing their golden oldies. Enthusiastic hugs and hellos abounded in the audience and people were obviously quite pleased to be together. Almost all the guests in attendance were musicians in their 50s or 60s and, with a few exceptions, they were all men. -
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. -
Cinematic and Literary Representations of Africans and Afro-Descendants in Contemporary Portugal: Conviviality and Conflict on the Margins
Cadernos de Estudos Africanos (2012) 24, 165-186 © 2012 Centro de Estudos Africanos do ISCTE - Instituto Universitário de Lisboa Cinematic and Literary Representations of Africans and Afro-descendants in Contemporary Portugal: Conviviality and conflict on the margins Fernando Arenas Departamento de Estudos Afroamericanos e Africanos Universidade de Michigan Ann Arbor, E.U.A. [email protected] 166 CINEMATIC AND LITERARY REPRESENTATIONS OF AFRICANS AND AFRO -DESCENDANTS IN CONTEMPORARY PORTUGAL : CONVIVIALITY AND CONFLICT ON THE MARGINS Cinematic and literary representations of Africans and Afro-descendants in contemporary Portugal: Conviviality and conflict on the margins This article offers an analysis of feature films and literary fiction related to sub-Saha- ran African immigrants and their descendants in contemporary Portugal. I investigate how this cultural production reflects the changing Portuguese nation, where the bound- aries between postcolonial Portugal and its former African colonies, as well as the notions of what constitutes “being African” or “being European”, are being redefined. Keywords: postcolonialism, immigration, Africans, Afro-descendants, cinema, literature Representações fílmicas e literárias de africanos e afrodescendentes no Portugal contemporâneo: Convivialidade e conflito nas margens Este artigo propõe uma análise de longas-metragens e romances ligados às experiên- cias de africanos e afrodescendentes no Portugal contemporâneo, visando investigar como a dita produção cultural reflete uma nação portuguesa em -
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. -
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 ......................................................................... -
Mammoet-World-03.Pdf
VAN SEUMEREN GROUP worldwide specialists in heavy lifting and transport MAMMOET 3 WORLDO Running up the hill page 4 UK’s biggest bridge slide page 10 Kizomba on wheels New York…New York… page 16 Local alliances create added value page 18 Adapting to a changing playing field What the past year has clearly Seumeren to become COO and to In the USA, the management team regions. In particular, the slowdown shown is that the times are chang- intensify his productive cooperation has been strengthened with Darren in the power industry and the post- ing faster than ever before. The col- with Siem Kranenburg, who has Adams as COO, and Piet Nooren ponement of several large orders in lapse of the stock exchange, the fall remained as CFO. Both of them and Bernadette Coney have been America and Canada impacted neg- of the dollar against the euro and have been appointed representative appointed Board members at atively last year. However, there are the threat and then execution of war directors of Mammoet. In addition, Mammoet USA. Hans van Breukelen also new challenges, especially in in Iraq have all had a serious impact Patrick Freericks has joined the is the new President of AVS and, last China and Russia. on international companies such as team, taking over Roderik’s former but not least, Ton Bakker has been Frans van Seumeren Mammoet. When it comes to reces- responsibilities as Managing Director appointed Mammoet’s Regional The competition in our industry is President & CEO sion and hardship, it’s best to antici- of Mammoet Global. -
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. -
Lusofónica Stage Artists
LUSOFÓNICA STAGE ARTISTS WOMEX PORTO 2021 Índice: AYOM | Brasil -------------------------------------- 3 BANDÉ-GAMBOA | Guiné-Bissau ------------- 5 LINA RAüL REFREE | Portugal ------------------ 7 LUCAS SANTTANA | Brasil----------------------- 9 LUCIA DE CARVALHO | France------------------ 11 MIROCA PARIS | Portugal ----------------------- 13 O GAJO | Portugal -------------------------------- 15 TANXUNGUEIRAS | Spain ----------------------- 17 VITORINO | Portugal ----------------------------- 19 Artists Essencial Links ---------------------------- 21 2 WOMEX PORTO 2021 AYOM |Brasil Biography: Jabu Morales emigrated from her home in Minas Gerais, Brazil to Barcelona in 2011 and now juggles her music career with being a mother, teaching women percussion and her on-going study of Candomblé and Afro Brazilian rhythms. It was an unexpected connection between Alberto and Jabu at a concert in Barcelona mid 2018 that instigated the new formation of the group. Alberto and Timoteo Grigani, Ayom cofounder and percussionist, recognised Jabu's incredible talent, invited her on-board the ship and Ayom was born. Fast-forward to 2019 and an intense, 2 week, recording session in a country house at the home of a Portuguese wine producer in south Lisbon and the manifesto was brought home. Short text: Ayom são marinheiros musicais que que atravessam o Atlântico, de Angola para o Brasil, com uma identidade distintatemente mediterrânica. Eles celebram o mundo sónico do funaná, carimbó, baião e o semba; o seu jubiloso álbum de estreia já anda a ganhar prémios de prestigiadas publicações como a Songlines. Cruzando tradições centenárias com uma attitude de exaltação da cultura negra atlântica, os Ayom são uma banda multicultural que se faz com seis artistas oriundos de Angola, Brasil, Grécia e Itália, uma manifestação clara de harmonia cultural que recusa a ideia de fronteira.