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This led to a brutal liberation war in Angola (1961-1974). In a time when other African colonies had already become independent, Portugal kept its colonies until 1975. This military regime under António de Oliveira Salazar was one of Europe’s last authoritarian dictatorships. Angola had been a Portuguese colony for 400 years, been regarded as Overseas Province to Portugal since 1951, a mere appendix governed by a geographically and culturally remote Estado Novo (‘New State’). The present situation in Angola is the result of about 500 years of Portuguese (and Dutch) colonialism, the impact of slave trade and a recent history of wars. For this article, we develop our argument by utilizing a close reading of video material and contextualizing this with Angolan history and the role music and popular culture played in it.Īngolanidade – the role of popular music in Angolan history Tracking news in various online platforms provides an invaluable but also never-ending source of data. A major part of the research has also been conducted on the internet. Both researchers have established contacts with actors of different platforms of the kuduro-scene (for the concept of platforms, see below). Stefanie Alisch, a musicologist and DJ is preparing a PhD on kuduro and is planning to do field research in Lisbon and Luanda in 2011. While working primarily on the contemporary art-scene, popular music has always been an important sideline in her work. Nadine Siegert, a cultural anthropologist has done fieldwork for her PhD thesis in Luanda and Lisabon in 2007, 20. Information for this article have been collected from different perspectives. Both semba and kizomba are usually couple dances. Semba as a rhythm or style is regarded as that which makes a a piece of music sound distinctly Angolan, for Moorman semba as an umbrella term includes the social components as well as a variety of genres (Moorman 2008:7). We suggest that in its most recent incarnation angolanidade as reflected in and constructed through kuduro is not only digital, but also transnational and closely tied in with a) international systems of popular culture such as hip hop semiotics of dance moves and gang affiliations, b) global electronic music culture as well as c) local Angolan cultural forms like the rich popular musics from the 1950s onwards like semba, kizomba or carnival dancing. This angolaness is constituted in different contexts of the local, the international and the virtual. We shift this focus to investigate kuduro’s role in the process of re-shaping angolanidade today, arguing, that performative acts in kuduro’s sound, style and demeanour are constituting a new angolanidade. The concept of global ghettotech stresses the origin of disparate musical styles in supposedly similar deprived urban areas around the Atlantic whereas an afro-futuristic reading lets go of notions of authenticity and roots in favor of narratives of aquatic or outer spaces, viruses and a focus on technology with transgressive powers (Eshun 1998). Here, kuduro has been discussed mainly under the umbrella of global ghettotech or an afro-futuristic critique thereof (Goodman 2010). This field of discourse is not primarily concerned with Angolan issues. Since then kuduro has been debated in the North American and European music press and blogosphere. In this article we explore the role of this popular Angolan electronic music and dance style in the process of updating the national Angolan identity called angolanidade to the conditions of the new millennium.įrench DJ Frédéric Galliano‘s CD-Albums “Kuduro Sound System” (produced in Luanda in 20, first with Angolan artists and singers like Dog Murras, Tony Amado, Zoca Zoca, Pai Diesel, Pinta Tirru and Gata AGressiva, and second with various underground artists) catapulted kuduro’s sound onto club dancefloors all over the world. In this both utopian and nightmarish urban setting one of the most intriguing musics of the African continent has been born: kuduro.
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Most of the country’s population lives in Luanda, a metropolis of about seven million inhabitants. Angola has recently become an important player in the global economy due to its wealth of oil and diamonds, after having been in the news mainly because of the atrocities of an enduring civil war.