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Kuduro Meets Tecno-Brega | Norient.Com 5 Oct 2021 08:15:15
Kuduro Meets Tecno-Brega | norient.com 5 Oct 2021 08:15:15 Kuduro Meets Tecno-Brega by Frederick Moehn The «Lusotronic» festival in May 2013 brought Portuguese electronic music to Berlin's multicultural neighborhood Kreuzberg. The summit meeting was accompanied by films and lectures. For Norient it's an occasion for a deep ethnomusicological insight in the lusotronic postcolonial cultural spaces. Kreuzberg It was my first time visiting the Kreuzberg neighborhood of Berlin since I spent about half a year there shortly after the Wall was torn down and reunification began. «You won’t believe how much it’s changed,» a friend who has lived in this part of Berlin all of her working life said to me on the phone before I flew in from London. In fact, the neighborhood did not seem https://norient.com/stories/kuduro-meets-tecno-brega Page 1 of 14 Kuduro Meets Tecno-Brega | norient.com 5 Oct 2021 08:15:15 so markedly different to me. Sure, longtime residents lament the rise in real estate prices in recent years as gentrification creeps across the city; packs of foreign students and tourists crowd the neighborhood’s streets and cafes; and there are many more bars than before. But Kreuzberg still has a strong Turkish presence, and it remains a center for leftist political protest. Graffiti covers nearly every wall space, and even a couple of the caravan camps that were there when West Berlin was an island in the Eastern Bloc remain in place (squatting in empty apartment buildings, however, is no longer legal). -
Identidade E Estilo Em Lisboa: Kuduro, Juventude E Imigração Africana Identity and Style in Lisbon: Kuduro, Youth and African Immigration
Cadernos de Estudos Africanos 24 | 2012 Africanos e Afrodescendentes em Portugal: Redefinindo Práticas, Projetos e Identidades Identidade e Estilo em Lisboa: Kuduro, juventude e imigração africana Identity and style in Lisbon: Kuduro, youth and African immigration Frank Nilton Marcon Edição electrónica URL: http://journals.openedition.org/cea/706 DOI: 10.4000/cea.706 ISSN: 2182-7400 Editora Centro de Estudos Internacionais Edição impressa Paginação: 95-116 ISSN: 1645-3794 Refêrencia eletrónica Frank Nilton Marcon, « Identidade e Estilo em Lisboa: Kuduro, juventude e imigração africana », Cadernos de Estudos Africanos [Online], 24 | 2012, posto online no dia 13 dezembro 2012, consultado o 19 abril 2019. URL : http://journals.openedition.org/cea/706 ; DOI : 10.4000/cea.706 O trabalho Cadernos de Estudos Africanos está licenciado com uma Licença Creative Commons - Atribuição-NãoComercial-CompartilhaIgual 4.0 Internacional. Cadernos de Estudos Africanos (2012) 24, 95-116 © 2012 Centro de Estudos Africanos do ISCTE - Instituto Universitário de Lisboa I E L: K, çã Frank Nilton Marcon Universidade Federal de Sergipe (UFS) “racaju, ”rasil [email protected] 96 IDENTIDADE E ESTILO EM LISBOA : KUDURO , JUVENTUDE E IMIGRAÇÃO AFRICANA Identidade e estilo em Lisboa: Kuduro, juventude e imigração africana O kuduro é um estilo de dança e música que chegou a Portugal através da imigra- ção africana. Recentemente, passou também a ser produzido entre jovens imigrantes ou descendentes na região metropolitana de Lisboa. Em tal contexto, formaram-se redes de produtores e consumidores de kuduro e se estabeleceram formas de sociabilidade nos bair- ros de Lisboa e dos municípios em seu entorno onde vivem as populações de imigrantes e seus descendentes oriundos de Angola, Cabo Verde, Guiné-Bissau e São Tomé e Príncipe. -
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 ......................................................................... -
Popular Music, Popular Movement(S) 2018 CWRU MGSA Conference Case Western Reserve University October 5-6, 2018
Popular Music, Popular Movement(s) 2018 CWRU MGSA Conference Case Western Reserve University October 5-6, 2018 Friday, October 5 8:30-9:30: Breakfast and Coffee Dampeer Room Kelvin Smith Library, 2nd Floor 9:30-11:30: Communities in Confrontation Moderator: Paul Abdullah, Case Western Reserve University Rachel Schuck, “Carnatic Music Transplanted to America: Innovations of Youth in ‘Sustaining Sampradaya’” Samantha Skaller, “My Name is Nina Simone: Jazz, Violence, Trauma, and the Civil Rights Movement” Samantha Cooper, “That (Kosher?) Mikado: American Jewish Reception of Gilbert and Sullivan’s Comic Operetta, 1885-1940” Briana Nave, “‘No Thanks!’: Political Punk in the Capital in the Era of Trump and the Alt- Right” 1:30-3:00: Mediated Voices Moderator: Mandy Smith, Rock & Roll Hall of Fame Jasmine Henry, “Beats and Brotherhood: The DIY Hip-Hop Recording Studio as Black Public Sphere” Sarah Lindmark, “Watching Their Souls Speak: Childish Gambino, Kendrick Lamar, Beyoncé Knowles-Carter, and the Development of the Long-Form Music Video” Kyle Kostenko, “RuPaul Reconsidered: Intersections of Gender, Sexuality, and Race in ‘Supermodel (You Better Work)’” 3:00-4:00 Coffee and Refreshments 4:00-5:00: Keynote I: Mary Simonson Harkness Chapel Classroom 11200 Bellflower Rd 5:00-6:00: Reception 8:00: The Cleveland Orchestra and Franz Welser-Möst perform Mahler 2nd Symphony, “Resurrection” Saturday, October 6 8:30-9:30: Breakfast and Coffee Clark Hall, Room 206 11130 Bellflower Rd 9:30-11:30: Identities in Flux Moderator: James Aldridge, Case Western Reserve University Steph Ruozzo, “Stairway to Paradise: George Gershwin’s Climb Towards Acceptance in the Jazz Canon” Larissa A. -
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. -
African Studies Quarterly
African Studies Quarterly Volume 15, Issue 1 December 2014 Special Issue Local Communities and the State in Africa Guest Editors: Parakh Hoon and Lauren M. MacLean Published by the Center for African Studies, University of FloridA ISSN: 2152-2448 African Studies Quarterly Executive Staff R. Hunt Davis, Jr. - Editor-in-Chief Todd H. Leedy - AssociAte Editor AnnA MwAbA - ManAging Editor JessicA Horwood - Book Review Editor Editorial Committee OumAr BA Aaron King Lina BenabdallAh NicholAs Knowlton MamAdou BodiAn Eric Lake Jennifer BoylAn Chesney McOmber Renee Bullock Stuart Mueller Ben Burgen Tim Nevin JessicA CAsimir Moise C. NgwA AmAndA Edgell Collins R. NunyonAmeh Dan EizengA Therese Kennelly-OkrAku Timothy FullmAn Sam Schramski Ramin Gillett Abiyot Seifu RyAn Good Caroline StAub VictoriA GorhAm DonAld Underwood Emily HAuser Sheldon Wardwell IbrAhim YAhAyA IbrAhim Joel O. WAo Advisory Board Adélékè Adéèko ParAkh Hoon Ohio State University Virginia Tech Timothy AjAni Andrew Lepp Fayetteville State University Kent State University AbubAkAr AlhAssAn RichArd MArcus Bayero University California State University, Long Beach John W. Arthur Kelli Moore University of South Florida, St. James Madison University Petersburg MantoA Rose MotinyAne Nanette BArkey University of Cape Town Plan International USA James T. Murphy Susan Cooksey ClarK University University of Florida LiliAn Temu OsAki Mark DAvidheiser University of Dar es Salaam Nova Southeastern University DiAnne White Oyler Kristin DAvis Fayetteville State University International Food Policy Research Alex RödlAch Institute Creighton University African Studies Quarterly | Volume 15, Issue 1| December 2014 http://www.AfricA.ufl.edu/Asq Jan Shetler Peter VonDoepp Goshen College University of Vermont Roos Willems Catholic University of Leuven African Studies Quarterly | Volume 15, Issue 1| December 2014 http://www.AfricA.ufl.edu/Asq © University of FloridA BoArd of Trustees, A public corporAtion of the State of Florida; permission is hereby granted for individuAls to downloAd Articles for their own personAl use. -
Learning Kizomba / Thinking Through Dancing 2013 - Ongoing
Learning Kizomba / Thinking Through Dancing 2013 - Ongoing From the Fieldnotes of Sora Park Contents Entry April 3, 2013 June 6, 2013 June 7 - 24, 2014 August 19, 2014 September 20, 2014 October 20, 2014 October 21, 2014 October 22, 2014 October 23, 2014 December 3, 2014 January 9 - 12, 23 - 25, 2015 February 27, 2015 June 18, 2015 October 2, 2015 October 15, 2015 November 20 - 23, 2015 December, 2015 - April 1, 2016 Appendix Notes from a Researcher Glossary Dance Partners Resources Date: April 3, 2013 Location: https://youtu.be/IelPNwvLQcs The effervescent scene that commences as soon as the YouTube video starts playing is a sure indication of a successful and enjoyable dance class that has just ended. A Caucasian female with bleached blonde hair, and a racially ambiguous male with baggy jeans and a tank top are surrounded by a crowd who are holding onto the remnants of a gratifying class by shouting out positive interjections and clapping in unison to a song. Perhaps this song was intentionally selected for the demo to match the exuberance of the crowd, as it certainly is more upbeat than the only Kizomba song I have ever heard previously - “Magico” by Mika Mendes – but, I am just guessing. Maybe this is another kind of a Kizomba song. The female, wearing a skin tight purple spaghetti strap tank top, skinny jeans and a pair of light brown Salsa shoes with about two and a half inch flared heels, has a desirable body by a Western standard: she is fit, has a small waist and, round and full buttocks. -
Spelman College Bulletin 2020-2022
Index Academic Integrity Policy ............................................. 27 Financial Aid ................................................................. 11 Academic Policies and Procedures ................................ 13 Good Standing ............................................................. 15 Additional Academic Policies and Procedures ................25 Grading System ........................................................... 16 Administrative Ofces ................................................ 150 Graduation Policy/Requirements .................................. 16 Admission ..................................................................... 3 Greek Organizations ......................................................9 Advanced Placement (AP) Credit .................................... 18 Health Careers ............................................................. 37 Application Procedures ..................................................4 Health Services .............................................................. 7 Assessment of Student Learning and Development ........40 Honor Roll ................................................................... 24 Atlanta University Center Afliation .................................2 Honors Program ........................................................... 38 Career Planning and Development ..................................8 Honor Societies ........................................................... 24 Class Attendance ........................................................ -
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BENJAMIN LEGG Angolamania: Affective Bonds with Angola in the Music of the Cabo Verdean Diaspora ABSTRACT: The relationship between the Cabo Verdean diaspora and Angola has under- gone transformations in the past half-century. Angola was long a destination for Cabo Verdean emigrants, particularly when both countries were Portuguese colonial posses- sions. Despite historic tensions between these migrants and the indigenous population in Angola itself, the Cabo Verdean community in New England today manifests a strong affection toward Angola and Angolan music. This paper will investigate the way that this affective relationship presents itself in the world of popular music, with a particular focus on the music of the Mendes Brothers, based in Brockton, MA, and the Angolan singer Bonga’s connections to the Cabo Verdean diaspora in Rhode Island. This analysis will be contextualized by research on the Cabo Verdean diaspora in the social sciences as well as by personal interviews conducted by the author with Cabo Verdean commu- nity activists and music industry representatives. This article will highlight the role of personal affective connections in discussions of Cabo Verdean diasporic identity and pan-Lusophone African solidarity. KEYWORDS: migration, diaspora, New England, Cabo Verde, Angola, popular music, pan -Africanism, ethnic identity, Mendes Brothers, Bonga. RESUMO: A relação entre a diáspora cabo-verdiana e Angola tem transformado bastante nas últimas cinco décadas. Angola sempre foi destino para emigrantes cabo-verdianos, sobretudo quando os dois países ainda eram sob domínio português. Apesar das ten- sões históricas entre estes migrantes e a população indígena de Angola, hoje em dia, a comunidade cabo-verdiana de Nova Inglaterra manifesta uma forte relação afetiva com Angola e a música angolana. -
Migrant Musicians. Transnationality and Hybrid Identities Expressed Through Music1
Migration Studies – Review of Polish Diaspora nr 3 (177)/2020, http://www.ejournals.eu/Studia-Migracyjne/ DOI: 10.4467/25444972SMPP.20.034.12598 Migrant Musicians. Transnationality and Hybrid Identities Expressed through Music1 KAROLINA GOLEMO2 ORCID: 0000-0001-5728-9587 Institute of Intercultural Studies Jagiellonian University Migrant musicians contribute to the intercultural wealth of the societies they live in. They manifest their hybrid identities and convey transnational experiences through different forms of musical ex- pression. On the one hand, they (re)discover their musical culture of origin and reinterpret it from a new, cosmopolitan perspective. On the other, their making music and experiencing music enable them to construct an “inner homeland” to identify with, while living abroad in constant balance (or contradiction) between cultures. Based on existing works originating from different national set- tings this essay aims to synthetically describe the relationship between migrants’ musical expression and different manifestations of cultural belonging. Its main focus lies in how hybrid transnational identities may be expressed through music. It also addresses the redefinition and reinterpretation of migrants’ musical traditions in the cosmopolitanized city of Lisbon, with a special regard to the Cape Verdean diaspora as a community shaped by music. Keywords: migration, music, hybrid identities, transnationality Music not only has aesthetic qualities, but also performs important social func- tions: communication, expression of collective feelings and emotional integration of different groups. As a form of communal cohesion, music performs a bonding function, “it is a kind of language in the space of communication and in the pro- cess of symbolization” (Flis 2019:14). Participation in common musical culture often enables immigrants in diasporas to better express the feeling of belonging to their 1 My thanks to Laura Carreto and Gareth Tatler for the proofreading of this article. -
The Technologies and Aesthetics of Kuduro
Fruity Batidas: The Technologies and Aesthetics of Kuduro Feature Article Garth Sheridan RMIT University (Australia) Abstract The interconnectedness of music technologies, studio innovation and dancing bodies is a key feature of electronic music cultures. An emerging scholarship by writers such as Butler and Tjora has bridged these studio and performance spaces, revealing the relationship between machine, music and party. This article considers the centrality of studio and performance technologies and techniques in the developing aesthetics of kuduro, a hybrid musical genre that draws on house, techno, soca and regional styles. I use interviews and observation of studio and performance practices to illustrate shifts within the genre and examine musical examples to highlight transitions. I argue that the increased availability of digital musical technologies in Angola shaped the development of kuduro through the 1990s and into the 2000s. Furthermore, I argue that kuduro producers and performers have developed a range of aesthetic and performative practices that reflect material, technological and social restraints common to life in contemporary Angola. By examining interviews with kuduro practitioners and musical examples, this article sheds new light on the under examined aesthetics of kuduro. Keywords: kuduro, hybridity, aesthetics, lusophone, technology, studio practice Garth Sheridan is a PhD candidate at RMIT University. He has further publications on kuduro forthcoming. Garth has produced various forms of electronic music, including kuduro, under the moniker unsoundbwoy. Email: <[email protected]> Dancecult: Journal of Electronic Dance Music Culture 6(1): 83–96 ISSN 1947-5403 ©2014 Dancecult http://dj.dancecult.net DOI 10.12801/1947-5403.2014.06.01.05 84 Dancecult 6(1) Introduction The use of aesthetics has been established since the 1980s as an analytical tool for the discussion of popular music. -
Urban Youth Activism and the Peace Process in Angola
2015 Urban Youth Activism and the Peace Process in Angola Florindo U. Chivucute 1/8/2015 Abstract This paper will look to analyze urban youth activism in Luanda, the capital city of Angola. The paper will look at the tactics that the Youth Movement (YM) are using in Luanda since 2011 in order to socially navigate and mobilize the masses and raise awareness about various political, social and economic problems that many are facing throughout the country. The waves of protests organized mainly by the youth in the Middle East and North Africa (MENA), prompted Angolan youth to reconsider their role within a society by looking to more nonviolent strategies of resistance against the government. First, Movimento Revolucionário (the Revolutionary Movement) also known as Geração da Mudança (Generation of Change) was formed in 2011, in Luanda. Although there have been restrictions imposed by the government of Angola on traditional media such as national print and televised news which are controlled by government, Angolan youth have still found ways to get their messages across by employing the use of music such as hip-hop, social media such as twitter and facebook and DVDs with videos to raise awareness throughout the country. As such, the untold story of Angolan youth as agents of social, political and economic change is worth exploring to help us better understand the role of youth in this post-conflict country in southern Africa where the majority of its population is young. 1 Introduction For decades, Angolan youth were recruited by both the Angolan’s Armed Forces (FAA) and the National Union for the Total Independence of Angola (UNITA), to fight during the civil war that lasted almost three decades.