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Angola Muxima

The pre independence era
and its influence on the Angolan Music and dance..

Angola's pre-independence era was marked by a tumult political climate, which had a significant impact on the country's music and dance. During this time, traditional music and dance forms were suppressed, and new styles emerged that reflected the struggle for independence. These new styles incorporated elements of African, European, and Latin American music, creating a unique sound that continues to influence angolan music today.

Rural Exode

Prior to the Angolan War of Independence in 1961, Angola experienced significant rural-urban migration, known as exode rural, driven by several factors: 

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1. Colonial Policies displaced rural inhabitants to plantations and mines under harsh conditions.
2. Economic Opportunities in urban areas arose from colonial development of industries and infrastructure, offering more jobs.
3. Land Dispossession forced many rural families to migrate to cities for survival after losing their land to colonial settlers.
4. Social Services were more accessible in urban areas, providing better education and healthcare.

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This migration led to urban growth, especially in cities like Luanda, as well as challenges such as overcrowding and the decline of traditional rural lifestyles.

Traditional & Folkloric
Dance and Music

Angola features a rich array of traditional music and dance that showcases its diverse cultural heritage and vibrant community life. Notable styles include:

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- Kabetula: A lively dance with intricate footwork, performed during celebrations.
- Kazukuta: Characterized by infectious rhythms and call-and-response singing, fostering communal joy.
- Kilapanga: Known for its rhythmic complexity, performed at social events to celebrate important occasions.
- Tchianda: Combines traditional singing and movements that tell cultural narratives, integral to Angolan festivities.
- Kakoto: Associated with rituals, featuring lively rhythms that celebrate unity and cultural pride.

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These forms collectively embody the spirit of Angolan culture, uniting people through rhythm, movement, and shared experiences.

Kilapanga

Kazukuta

Rebita & Massemba

The Foundation of the modern Semba

In the 1910s, Rebita, Massemba, and Semba emerged as interconnected elements of Angolan music and dance, each contributing to the country's rich musical heritage.

 

Rebita evolved from the Semba tradition, sharing similar rhythmic and melodic qualities, and became popular in social settings with a unique dance style characterized by "Cadencia lento" and movements like "Batimento" and "Umbigada."

 

The key instruments include the Batuque, Reco Reco, and Concertina, introduced in the 1930s, while the Massemba string instrument plays a vital role in providing melodic support for both genres. T

 

his interconnectedness illustrates the dynamic evolution of Angolan music, with Rebita enhancing the upbeat nature of Semba, all rooted in the country's cultural identity and musical legacy.

Modernisation of Semba

In 1947, Liceu Vieira Dias, leader of Ngola Ritmos, introduced two guitars to traditional music, modernizing its structure to a 4/4 time signature.

 

This evolution marked a shift from folkloric and carnival styles in rural provinces to a popular urban form in Musseques, incorporating a fusion of Massemba, Kazukuta, Kilapanda, Caduque, and other traditional music, initially sung in

Kimbundu and performed in impoverished neighborhoods and clandestine gatherings supported by underground radio.

In the early 1940s and 1950s, Semba was predominantly sung in Kimbundu, with lyrics that poetically and metaphorically conveyed the struggles, oppression, and suffering of the Angolan people, often incorporating revolutionary themes.

 

To prevent potential unrest, the Portuguese government banned the use of Angolan dialects in Semba, mandating that it be performed only in Portuguese.

 

Liceu Vieira Dias of Ngola Ritmo was among the artists imprisoned for ten years in Cabo Verde due to the political messages in his music.

 

Additionally, two notable post-independence musicians, David Zé and Urbano do Castro, were assassinated as a consequence of their political activism.

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