Cabo Verde's Creative Economy
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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). -
Brazilian Choro
The Brazilian by Tadeu Coelho and Julie Koidin Choro: Historical Perspectives and Performance Practices alanço is to choro as swing is to jazz—in both, mandatory elements to proper performance Band enjoyment of the music. Immersion in the sound of choro is imperative to playing it well. Knowledge of its origins and history is also helpful. Introduction the melody through spirited improvisations, sometimes David Willoughby, editor of the College Music Society quoting other melodies, from popular to classical styles. Newsletter, posed these questions: Should it not be a con- Although easier to decipher these performance intricacies stantly sought after goal for musicians trained in narrow via recordings, it still remains difficult—although not specialties to work together towards broader musical impossible—to catch the “twinkle” in the performer’s eye. understandings and towards the creation of a more Choro’s limited dissemination is furthered by its lack of vibrant musical culture? Should such a culture comprise accurate printed music. The vast majority of sheet music only materials imported from Western Europe? Should it publications have accompaniment that is written in a lead not synthesize musical repertories, of various kinds, from sheet format, i.e. chord symbols over melody. Without a all over the world?1 recording, it would be impossible to decipher the rhythms Throughout the world, the tradition of a country studying used in the accompaniment. The numerous errors found in its own cultural practices is not inceptive with its art. Such is the majority of publications, both in the melodic lines and the case of the choro, an indigenous music of Brazil, mostly chord symbols, further infringe on the probability of the instrumental, but at times with lyrics. -
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 -
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. -
Brasilian Rhythms and Drumming Techniques
BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f . -
Cape Verdean Theatre: Enacting Political Theory and Reclaiming Roots for Crioulo Performance Eunice S
Journal of Cape Verdean Studies Manuscript 1023 Cape Verdean Theatre: Enacting Political Theory and Reclaiming Roots for Crioulo Performance Eunice S. Ferreira Follow this and additional works at: https://vc.bridgew.edu/jcvs Part of the Critical and Cultural Studies Commons, and the International and Area Studies Commons This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. © 2019 Eunice S. Ferreira Cape Verdean Theatre: Enacting Political Theory and Reclaiming Roots for Crioulo Performance by Eunice S. Ferreira Abstract Shining a spotlight on the Cape Verde Islands illuminates the rich diversity of theatre of the African diaspora and places its unique crioulo identity and creole identities in general, center stage. This article focuses on the post-independence theatre movement in Cape Verde where the re-Africanization theories of Amílcar Cabral (assassinated PAIGC leader in Cape Verde’s liberation struggle) shaped national identity and guided the pioneering work of theatre troupe Korda Kaoberdi (Wake up, Cape Verde). Under the dynamic leadership of Francisco Gomes Fragoso, a medical doctor who adopted the artistic name of Kwame Kondé, the troupe Korda Kaoberdi sought to create “a genuinely Cape Verdean and authentically African theatre.” Armed with the tenets of Cabral’s political theory, Fragoso reclaimed performance traditions that had been suppressed during Portuguese colonialism in order to train actors as combatants in cultural warfare. In doing so, Fragoso positioned the fledgling theatre artists of Korda Kaoberdi alongside the freedom fighters, asserting as Cabral did that culture is a weapon and sign of liberation. The author offers first-ever reconstructions of their historical productions based on archival research, Fragoso’s own writings, festival participant-observations, and personal interviews. -
Cape Verde : Language, Literature & Music
Notes on the Historical Context of Claridade Ellen W. Sapega Abstract. This essay takes its starting point from the premise that a single coherent project for the publication of Claridade never existed, either in terms of the reviews contents or of its actual physical layout. After demonstrating that three very different incarnations of Claridade appeared at three distinct historical moments (1936-7; 1947-49; 1959-60), I set about examining each “series” in light of the specific date in which it appeared. Paying particular attention to the selection and treatment of texts written in Creole, I identify several clear-cut changes in the placement and framing of these texts that occurred between the first and the second series. This, in turn, indicates that the purpose and reception of Claridade changed significantly over the course of its publication, as the editors sought different solutions to the problem of how to provide a metaphoric entry of Cape Verdean culture into the “Portuguese” text. The literary review Claridade has undoubtedly received more critical attention than any other single publication in the history of Cape Verdean lit- erature. As it occupies a central, yet ambiguous, place in the literature of the archipelago, Claridade has been the object of much praise; yet, at the same time it has received its equal share of negative critical responses. The review’s founders were among the first to investigate the specificity of Cape Verdean experience, basing their studies on carefully documented customs, traditions and cultural practices of the islands, and the initial publication of Claridade in 1936 clearly marks an important historical moment in the process of imagining Cape Verdean identity as unique and autonomous from that of ^ 160 PORTUGUESE LITERARY & CULTURAL STUDIES 8 metropolitan Portugal. -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
Cape Verde and Brazil Musical Connections
Cape Verde and Brazil Musical Connections Juliana Braz Dias Universidade de Brasília / University of Pretoria Introduction The insertion of Brazilian music in contexts outside of the country is no lon- ger a novelty. Indeed, the media often reports on these musical flows. For instance, newspapers and specialized magazines have played a crucial role in highlighting the presence of Brazil on the international stage through reports on Grammy Awards won by Brazilian musicians (namely, Sérgio Mendes, Milton Nascimento, Gilberto Gil, Caetano Veloso e João Gilberto). Another example is the increased visibility of concerts featuring Brazilian artists in other countries, such as the Brazilian Day in New York, which attracts more than a million people to the streets of that city – above all Brazilians, but also North-Americans and migrants from other countries. However, it should be noted that the presence of Brazilian music outside of the country’s borders is not necessarily related to the global cultural indus- try, neither to the impact of recent migration processes. Musical exchanges involving Brazilian musicians have been going on for some time, in multiple ways, following diverse routes and movements of people. In this article, I focus on a particular trajectory that some forms of Brazilian music have taken. I refer to the Atlantic flows that allowed for the arrival of music and musicians from Brazil to Cape Verde, deeply influencing musical productions in the archipelago. Adopting an anthropological ap- proach, I seek to engage with discourses articulated by Cape Verdeans on the role of “Brazilian music” (as they understand it) and its relationship to the music produced in Cape Verde. -
Samba, Improvisation, and Afro-Politics in 1970S Brazil
Bocskay, S. Undesired Presences: Samba, Improvisation, and Afro-politics in 1970s Brazil. Latin American Research Review. 2017; 52(1), pp. 64- 78. DOI: https://doi.org/10.25222/larr.71 LITERATURE AND CULTURAL STUDIES Undesired Presences: Samba, Improvisation, and Afro-politics in 1970s Brazil Stephen Bocskay Universidade Federal de Pernambuco, BR [email protected] This article explores the role of the samba subgenre partido alto as a mode of resistance to modernization and the Brazilian military regime’s disfiguration of samba music in the 1970s. This resistance ultimately led a handful of samba musicians to create the Grêmio Recreativo de Arte Negra Escola de Samba Quilombo in 1975. While it is true that Quilombo nurtured Afro-Brazilian music and culture, the author demonstrates that its leader and cofounder, Antônio Candeia Filho, acted as a samba preservationist and a pioneer, referencing music of the African diaspora, but also as someone who drew the line when it came to espousing Pan-Africanism. The aversion to Pan- Africanism in Rio de Janeiro’s samba community heightened in the late 1970s, as Black Soul, among other foreign sounds and cultural presences, was perceived as a threat to the primacy of samba. Este ensaio estuda o papel do subgênero de samba partido-alto na resistência à modernização e à descaracterização do samba durante o regime militar brasileiro na década de 1970. Tal resistência estimulou um bom número de sambistas a fundar o Grêmio Recreativo de Arte Negra Escola de Samba Quilombo em 1975. Embora o Quilombo tenha alimentado a música e a cultura afro-brasileira, o autor demonstra que seu líder e cofundador, Antônio Candeia Filho, atuou como preservacionista e pioneiro do samba —inspirando-se na música da diáspora africana—, mas também como alguém que estabeleceu limites quando se tratava de desposar o pan-africanismo. -
Accommodation Further Information
Accommodation Further information The accommodation is There are two For travelling to Cape Verde you need a Visa located in the 2nd floor bathrooms incl. shower which is quite easy to receive at the Cape of a house near the with warm water (solar Verdean embassy (recommended). You also have city and close to the basin on the roof) and the option to get a Visa at the airport in Mindelo. INDP. WC. There are several cash machines in Mindelo accepting Master or VISA cards. Currency rate €uro : Escudo (CVE) approx. 1 : 110 Room cleaning and a daily delicious breakfast with Taxi tours within the city cost ~150 CVE , at night Rooms & Service fresh rolls, fruit salad and also special requests are between 170-200 CVE. Longer tours outside the included in the service. At Manuel’s place you have city (e.g. airport, Calhau, Baia das Gatas) cost In the upper apartment the opportunity to wash clothes and change money. ~1000 CVE. there are 4 comfortable Safety: You shouldn’t wear expensive jewelry rooms with one or two and walk around alone at night. beds each, a fridge, a From the roof top you have a nice view over the city Places you should visit: Fish market, Mercado cupboard, a ventilator, of Mindelo. Here you can relax, take a sun bath, drink Municipal, Torre de Belém, African Market, table and chair. Two of a beer or enjoy the sunset behind Monte Cara (the Monte Verde, Calhau, Salamansa, São Pedro, them have a balcony. “face” mountain). CVOO and CVAO (Oceanic and Atmospheric In the big kitchen with Observatories), … gas stove you can find Beaches: not all beaches are safe for swimming! everything you need Good options for swimming and snorkeling are for cooking. -
Construction of a Creole Identity in Cabo Verde: Insights from Morna, a Traditional Form of Music
Construction of a Creole Identity in Cabo Verde: Insights from Morna, a Traditional Form of Music Kay AOKI Graduate School of Asian and African Area Studies University of Kyoto Abstract Morna is a traditional music of Cabo Verde. It was created in the context of colonialism, where Whites, Blacks and creoles, the children of Whites and Blacks born in Cabo Verde, lived. With emancipation from slavery, the people of Cabo Verde began to build their own identity: a creole identity. In order to establish their independence from Portugal, poets and musicians used morna to unify the people of Cabo Verde. This research paper will address the specific case of the evolution of morna by analysing morna lyrics diachronically to clarify the importance of ‘creoleness’ in the creation of a unique Cabo Verde identity. Keywords: creole identity, Cabo Verde, evolution of morna 要旨 モルナはカーボ・ヴェルデの伝統音楽であり、歌謡である。モルナは植民 地支配において形成された文化であり、当時の社会に属していた白人や黒 人、そしてクレオールの人々(白人・黒人の間に生まれた混血の子供)が 影響したことで生成した。奴隷制度が廃止され、カーボ・ヴェルデの人々 は自らのアイデンティティ、すなわちクレオール・アイデンティティを創 出することを試みた。カーボ・ヴェルデがポルトガル帝国から独立を果た し、島民が団結し、統合するために詩人や音楽家はモルナを用いた。本研 究は、モルナの歌詞を通時的に分析することで、カーボ・ヴェルデにおけ る「クレオール性」についての理解を深めるための手がかりを示す。 キーワード:クレオール・アイデンティティ、カーボ・ヴェルデ、モルナ の進展 − 155 − Inter Faculty, vol. 7, FRAGMENTATION AND DIVERGENCE 1. Introduction The Cabo Verdean islands were uninhabited at the time of their discovery in 1460. Today, Cabo Verde consists of two groups of islands: the windward islands called the islands of Barlavento comprising Santo Antão, São Vicente, São Nicolau, Sal and Boa Vista, and the leeward islands called the islands of Sotavento comprising Brava, Fogo, Santiago and Maio. The capital of the Republic of Cabo Verde is Praia, situated in the island of Santiago, the largest island in Cabo Verde.