Music in Cabo Verde

2021 ◽  
Author(s):  
Glaúcia Nogueira
Keyword(s):  
Local Population ◽  
Mutual Aid ◽  
Cape Verdean ◽  
Religious Traditions ◽  
Cabo Verde ◽  
John The Baptist ◽  
Musical Practices ◽  
Work Songs ◽  
Musical Genres ◽  
Musical Styles

The landscape of Cape Verdean music is diverse, and its musical genres, like the society from which they emanate, are mostly Creole. They stem from the interactions of the local population with other peoples, not only through colonization, but also from the emigration of Cape Verdeans to other countries. In addition, maritime traffic in the Atlantic, which has always traversed the archipelago, was a fruitful channel of contact with other cultures. These factors meant that Cabo Verde remained attuned to cultural trends and lifestyles circulating around the world. Morna, koladera, batuku, and funaná are the most prominent genres on any list of musical styles considered “genuinely” Cape Verdean, if it makes sense to use this adjective in a society marked so heavily by ethnic admixture. That list must also include: 19th-century European musical styles (mazurka, waltz, schottische, polka, gallop) that local musicians appropriated by playing them; the talaia baxu, from the island of Fogo; and a group of musical expressions related to the feasts of the Catholic calendar, with songs, dances, and drumming, such as the kola sanjon (commemorating St. John the Baptist), present on several islands; the activities of tabankas (mutual aid associations that, among other activities, celebrate the dates of Catholic saints) in Santiago and the flag festivals on the island of Fogo. Other religious traditions include the litanies inherited from the Portuguese tradition sung in Creole. There are also popular songs related to work and other activities like sowing, fishing, and labor with oxen in the artisanal production of rum (grogo, grogue, grogu). The oxen work songs (kola boi) are nearly extinct. Weddings songs are also part of traditional musical practices that are either nearly extinct or performed as folklore representations only. In terms of popular music with international circulation since the 1970s, Cape Verdean youth have enthusiastically embraced rap, reggae, zouk from the Antilles, and to a lesser extent rock, by producing Cape Verdean versions of these genres.

scholarly journals Imagining a Better Future: Anti-colonial Protest and Social Debates in Santo Antão, Cabo Verde, 1945–1975

Itinerario ◽  
2020 ◽  
Vol 44 (1) ◽  
pp. 80-104 ◽  
Author(s):  
Alexander Keese
Keyword(s):  
Social Reform ◽  
Colonial Period ◽  
Social Needs ◽  
Cape Verdean ◽  
Social Infrastructure ◽  
Cabo Verde ◽  
Internal Conflicts ◽  
Sao Tome E Principe

AbstractHow did the populations of a remote Cape Verdean island—Santo Antão—construct and formulate their goals of emancipation and social reform in the late colonial period? This article revisits the experiences of anti-colonial mobilisation in the island in the late 1960s, bringing them together with other narratives of social needs formulated by Santo Antão's populations. Those include the fears of being recruited for plantation labour in São Tomé e Príncipe, the objective of obtaining the improvement of social infrastructure, and the local struggles for water that became again more acute between 1945 and independence. The article shows that local experiences of Cape Verdean populations, of both the islands’ elite and local peasants, sharecroppers and fishermen, were much more complex than a simple, straightforward narrative of nationalist sympathies and activity. The internal conflicts outlined here also point to the numerous struggles that would shake Santo Antão's society after independence.

Music, Borders and Nationhood in Algeria

Algeria ◽  
2017 ◽  
Author(s):  
Tony Langlois
Keyword(s):  
Music Industry ◽  
Regional Identity ◽  
Local Form ◽  
Pop Music ◽  
The Core ◽  
Musical Practices ◽  
Western Algeria ◽  
Eastern Morocco ◽  
Musical Genres

This chapter looks at the role of musical genres in the borderland between Oran in Western Algeria and Oujda in Eastern Morocco – in many ways a single cultural and economic zone that is distinct from the core of each of their respective nations. Once this had been the boundary of the Ottoman Empire, but at other times a refuge for political dissidents from either side in their many anti-colonial struggles. Today the cities are economically linked by smuggling and culturally by language, common tradition and strong musical connections – the raï pop music industry is strong on both sides of the border, but as important is the local form of ‘classical’ Andalous music tarab el gharnati and Berber ‘folk’ genres. Music itself marks boundaries of taste, heritage and allegiance, and these often have a tangential relationship to those demarcated by nationalist discourses. The chapter considers the ways in which musical practices preserve a sense of regional identity and allegiance despite the formal closure of the border in 1994. It looks at the economic and cultural consequences of this relationship and at the efforts of the Algerian government to maintain formal boundaries and address the broader context of cross-border cultural flow, not only with Morocco, but, increasingly, the wider mediated world.

scholarly journals Sounding the Cape: Music, Identity and Politics in South Africa

2013 ◽  
Author(s):  
Denis-Constant Martin
Keyword(s):  
South Africa ◽  
Cape Town ◽  
Rhythmic Pattern ◽  
Racial Identities ◽  
History Of ◽  
Musical Genres ◽  
Analytical Tools ◽  
The Relationship ◽  
The City ◽  
Musical Styles

For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social --in this case pseudo-racial --identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin. Musicians interviewed at the dawn of the 21st century confirm that mixture and blending characterise all Cape Town's musics. They also emphasise the importance of a rhythmic pattern particular to Cape Town, the ghoema beat, whose origins are obviously mixed. The study of music demonstrates that the history of Cape Town, and of South Africa as a whole, undeniably fostered creole societies. Yet, twenty years after the collapse of apartheid, these societies are still divided along lines that combine economic factors and 'racial'categorisations. Martin concludes that, were music given a greater importance in educational and cultural policies, it could contribute to fighting these divisions and promote the notion of a nation that, in spite of the violence of racism and apartheid, has managed to invent a unique common culture.

scholarly journals Incursões do livro brasileiro: Ribeiro Couto e a diplomacia literária com Portugal e Cabo Verde

2018 ◽  
Vol 27 (1) ◽  
pp. 25-40
Author(s):  
Bruna Carolina de Almeida Pinto
Keyword(s):  
Brazilian Portuguese ◽  
Cape Verdean ◽  
Front Line ◽  
Brazilian Literature ◽  
Cabo Verde ◽  
Literary Relations ◽  
History Of

Resumo: O diálogo epistolar de Ribeiro Couto com intelectuais brasileiros, portugueses e cabo-verdianos registrado entre os anos de 1920, período de sua mudança para Portugal, a 1963, ano de sua morte, revela a atmosfera de um importante momento da história das relações intelectuais e literárias no âmbito da língua portuguesa. Inserido no Movimento Modernista brasileiro, Couto se posicionou ativamente e na linha de frente da divulgação internacional das “novas” obras nacionalistas produzidas no Brasil a partir dos anos 1920, encarando-a como uma missão pessoal e um projeto complementar ao processo de autonomização modernista. O objetivo deste artigo é apontar o modo pelo qual Couto, valendo-se de sua posição diplomática no âmbito internacional, procurou promover diálogos, parcerias, reflexões e até articular colaboradores para a tarefa de introduzir ou projetar os novos escritores brasileiros e suas obras em outros contextos culturais.Palavras-chave: literatura brasileira; epistolografia; história intelectual; modernismo.Abstract: The epistolary dialogue of Ribeiro Couto with Brazilian, Portuguese and Cape Verdean intellectuals reveals the atmosphere of an important moment in the history of intellectual and literary relations of the Portuguese language. This dialogue was recorded between the 1920s, when Ribeiro Couto began to live in Portugal, and 1963, the year of his death. As a member of the Brazilian Modernist Movement, Couto was productive and in the front line of the international dissemination of “new” nationalist writings produced in Brazil since the 1920s. The author faced it as a personal mission and a complementary project in the process of modernist autonomization. The purpose of this article is to indentify how Couto, using his diplomatic position in the international arena, sought to foster dialogues, partnerships and reflections. Moreover, his initiative even contributed to gather collaborators for the task of both introducing and projecting new Brazilian writers and their works into other cultural contexts.Keywords: Brazilian literature; epistolography; intelectual history; modernism.

scholarly journals Musical Shevchenkiana of Yevhen Stankovych: Interpretation of the Poetical Word in the Oratory “Taras Passions”

2021 ◽  
pp. 121-136
Author(s):  
Olha Vasylenko
Keyword(s):  
Choral Music ◽  
Complex Nature ◽  
Musical Language ◽  
Religious Traditions ◽  
Historical Method ◽  
Poetic Text ◽  
Spiritual Tradition ◽  
New Perspective ◽  
Musical Genres ◽  
Semantic Differentiation

The relevance of the article is to consider a new perspective of genre transformation in the Ukrainian oratorio of the 21st century, studied in the aspect of the relationship between poetic text and music. The work of Yevhen Stankovуch seems to be the pinnacle of the evolution of passions, during which textual interpolations changed and creatively renewed the genre canon. Despite the significant cultural and social resonance of the oratorio Taras Passion, its creative discoveries have not found coverage in scientific discourse yet. Main objectives of the study are to investigate the methods of conceptualizing the poetic word of Taras Shevchenko in the musical language of Y. Stankovуch’s oratorio and to reveal the genre innovations of the work. Such perspectives of analysis outline the boundaries of the novelty of this article. The research methodology is based on the methods of historical, cultural, phenomenological analysis. Their involvement is justified by the complex nature of the scientific problems of the article. Historical method reveals the general content and artistic specificity of the selected segment of Ukrainian musical history; culturological method focuses research on the different types of genres literary, artistic and musical culture; phenomenological method provides the study of certain conceptual contours and promotes the semantic differentiation involved in the analysis of multilevel cultural and artistic phenomena. Results and conclusions. The features of the uniqueness of modern oratorio opuses with the title “Passion” are determined. The ways of conceptualizing the poetic word in the choral music by Yevhen Stankovych are revealed: they are determined by the process that is able to combine various elements of Ukrainian ethnic culture as well as spiritual and religious traditions. The figurative and ideological concepts of word and music are subordinated to the main principles of the Ukrainian mentality (cordocentrism (philosophy of the heart), sacrifice and chivalry). The multidimensionality of the semantic field of Taras Shevchenko’s poetry is noted, as a result of which the real characters of the national liberation history are endowed with an aura of holiness like biblical persons. The gallery of various images of Y. Stankovych’s oratorio synthesizes the peculiarities of the national worldview and the evangelical virtues. In the pantheon of images of holy martyrs, sung in music, the composer places the image of T. Shevchenko. It is indicated that the story of the last days of the earthly life of the St. Virgin, the Prophet, Jan Hus is of particular importance. The principles of selecting fragments of T. Shevchenko’s poems for the libretto of the oratorio directly correspond to the genre canons of passions. The author defines the peculiarities of the composer’s interpretation of the personality of T. Shevchenko the poet as a prophet, patriot, bearer of the sacred Word, an ardent preacher of the ideas of spirituality, a bright exponent of the ethical position and spiritual tradition of the ethnos. At the same time, he acts as the narrator of the oratorio. The prerequisites for the transformation of the genre structure of the work of Y. Stankovych in the context of inheritance of the methods of text interpolation, up to their radical rethinking, are considered. The correspondence of the compositional and structural norms of sacred utterance in the poetry of T. Shevchenko and in the music of Y. Stankovych has been proved. It is indicated that the text genres of prayer, biblical epigraphs, retellings of passionate subjects, Church Slavonic archaic vocabulary of verses are revealed by the composer in the corresponding musical genres (znamenny chant, chorale, hymn, bellringing) and in the parameters of the expressive style. It is indicated that the drama of T. Shevchenko’s poetic style directly corresponds to the immanent qualities of a composer-symphonist and is realized by the orchestral parameter.

THE ORIGINS OF THE RESTAURANT BUSINESS IN THE PETRINE ERA: A HISTORIOGRAPHIC REVIEW OF MATERIALS FROM THE UFA PROVINCE

2020 ◽  
Vol 6 (72) (4) ◽  
pp. 125-136
Author(s):  
O. A. Khairetdinova
Keyword(s):  
Large Scale ◽  
Agricultural Development ◽  
Indigenous Population ◽  
Raw Materials ◽  
Local Population ◽  
Alcoholic Beverages ◽  
Peter 1 ◽  
Short Supply ◽  
Religious Traditions ◽  
The One

This article examines the specifics of the distribution of the drinking industry in the Ufa province during the reign of Peter 1. Difficulties in the development of distilling and alcohol business in this territory are associated with the religious traditions of the local population, the Bashkirs, as well as with the patrimonial right to own land of the indigenous population and the predominance of nomadic lifestyle. As a result, on the one hand, the Bashkirs as Muslims in every possible way opposed the emergence of drinking establishments and the spread of alcoholic beverages in the Ufa province, on the other hand, poorly developed agriculture did not contribute to the procurement of a sufficient volume of raw materials for the production of bread wine in this territory. Under Peter I, an attempt was made to influence the patrimonial right of the Bashkirs by increasing the list of fees and duties from the Bashkir population, as a result of which the Bashkir uprising of 1704–1711 was provoked. The result of the suppression of this uprising was to abolish the tax privileges of the Bashkirs, active agricultural development and large-scale peasant colonization of the territory. However, as a result of the clashes, the estates of the Ufa nobles began to decline, more than a third of the landowners’ villages were deserted, the number of peasants in the region was almost halved. Separately, the article discusses drinking fees, the infrastructure for managing government fees and duties in the Ufa province. Thus, in the course of the study, it was found that the basis of the region’s drinking profit was «honey collection from wine sales», that is, the most affordable alcoholic drink in Bashkiria was honey. At the same time, the grain raw materials necessary for distilling remained in short supply, which is why distilling continued to develop at a slow pace. It was also found that, despite the emergence of new categories of establishments in St. Petersburg, there were no changes in the outlying provinces, including in the Ufa province, and the number of taverns in the region remained the same.

Musical Relationships: Intersections of Race, Gender, Genre, and Listening Situation

2020 ◽  
pp. 174997552092924
Author(s):  
John Sonnett
Keyword(s):  
Mixed Methods ◽  
Cultural Integration ◽  
University Of Mississippi ◽  
Interview Research ◽  
Multiple Paths ◽  
Musical Practices ◽  
Musical Genres ◽  
The University ◽  
Core Problem ◽  
Insight Into

The ways that music creates bridges and boundaries between people has long been of interest in the sociology of music, and a core problem is understanding patterns in relationships between consumers and producers. Survey research details the comparative context of who likes or dislikes various musical genres, but has little to say about what those categories actually mean to listeners. Ethnographic and interview research offers insight into musicking in particular situations, but seldom compares listeners, artists, and genres in a larger musical field. This study uses a mixed methods approach to examine the bridging and bounding processes organizing relationships between listeners and artists. Based on a survey of students at the University of Mississippi, I examine how musical relationships are shaped by race, gender, genre, and listening situation using a combination of social network analysis and correspondence analysis. Results show an overall pattern of racial segregation in musical tastes that is intersected by multiple paths of racial crossover, from relatively private to public situations. Black musical styles are central to racial crossover in the musical field, creating ambivalent spaces of cultural integration in the context of social segregation. Music profiles of listeners illustrate how situational meanings and comparisons of artists within genres shape musical relationships and mark social distance. The conclusion draws implications for the study of musical practices, racialized musical fields, and mixed methods approaches in cultural sociology.

ВЗГЛЯД РОССИЙСКИХ ПРАВОСЛАВНЫХ ЧИНОВНИКОВ НА РЕЛИГИОЗНУЮ СИТУАЦИЮ У ГРУЗИН-ГОРЦЕВ: ПО АРХИВНЫМ МАТЕРИАЛАМ XIX ВЕКА

2021 ◽  
pp. 50-59
Author(s):  
Любовь Тимофеевна Соловьева
Keyword(s):  
Nineteenth Century ◽  
Local Population ◽  
Russian Empire ◽  
Russian Orthodox ◽  
The Caucasus ◽  
Religious Traditions ◽  
Mountainous Regions ◽  
Peculiar Form ◽  
The Russian Empire

В статье на основе материалов первой половины ХIХ в. из Центрального исторического архива Грузии (ЦИАГ) рассматривается отношение российских православных чиновников к тем религиозным традициям, которые были характерны для грузин-горцев Восточной Грузии (хевсуры, пшавы, тушины). Грузия была одной из первых стран, где христианство стало государственной религией. Но к началу ХIХ в. роль православной церкви в некоторых труднодоступных горных регионах Грузии была значительно ослаблена. Грузины-горцы осознавали себя христианами, но бытование христианства здесь нередко принимало своеобразные формы. Здесь сохранялся синкретизм религиозных воззрений, а в определенной мере происходил возврат к архаичным дохристианским верованиям. После вхождения Грузии в состав Российской империи власти стали уделять значительное внимание укреплению православного христианства у грузин-горцев, строительству здесь церквей и назначению священнослужителей в эти отдаленные районы. Миссионерская проповедь должна была укрепить православие на Кавказе и способствовать более полной интеграции местного населения в пространство Российской империи. Based on the materials of the Central Historical Archive of Georgia of the first half of the nineteenth century, the article examines the attitude of Russian Orthodox officials to the religious traditions that were characteristic of the Georgian mountaineers of Eastern Georgia (Khevsurians, Pshavs, Tushins). Georgia was one of the first countries where Christianity became the state religion. But by the beginning of the nineteenth century, the role of the Orthodox Church in some remote mountainous regions of Georgia was significantly weakened. The Georgians-Highlanders recognized themselves as Christians, but the forms of Christianity’s existence often took a very peculiar form here. Here the syncretism of religious views was preserved, and to a certain extent there was a return to archaic pre-Christian beliefs. After Georgia became part of the Russian Empire, the authorities began to pay considerable attention to strengthening Orthodox Christianity among mountain Georgians, building churches here and appointing priests to these remote areas. The missionary sermon was supposed to strengthen Orthodoxy in the Caucasus and promote a more complete integration of the local population into the space of the Russian Empire.

scholarly journals May Measurement Month 2018: an analyses of blood pressure screening results from Cabo Verde

2020 ◽  
Vol 22 (Supplement_H) ◽  
pp. H30-H32
Author(s):  
Vanda Azevedo ◽  
Luís Dias ◽  
Irenita Soares ◽  
Glenda Garcia ◽  
Xin Xia ◽  
...  
Keyword(s):  
Blood Pressure ◽  
Risk Factor ◽  
Multiple Imputation ◽  
Antihypertensive Medication ◽  
Cape Verdean ◽  
Cabo Verde ◽  
Global Campaign ◽  
Previous Diagnosis ◽  
The Government ◽  
Set Up

Abstract Raised blood pressure (BP) is the biggest contributor to mortality and disease burden in Cabo Verde. May Measurement Month (MMM) is a global campaign set up in 2017 to raise awareness of high BP. In 2018, we aimed to expand the campaign by including a greater number of centres to increase awareness. Nine islands participated in MMM 2018. Volunteers (≥18 years) were recruited through opportunistic sampling at a variety of screening sites. Each participant had three BP measurements and completed a questionnaire on demographic, lifestyle, and environmental factors. Hypertension was defined as a systolic BP ≥140 mmHg and/or diastolic BP ≥90 mmHg, or taking antihypertensive medication. In total, 98.0% of screenees provided three BP readings and multiple imputation using chained equations was used to impute missing readings. A total of 8008 individuals (mean age 40.4 years; 68.5% female) were screened. After multiple imputation, 2666 (33.3%) individuals had hypertension, of whom 74.8% were aware of their previous diagnosis and 55.8% were taking antihypertensive medication. Of those on medication, 39.1% were controlled and of all hypertensives, 21.8% were controlled. We detected 44.2% of individuals with untreated hypertension and 60.9% of treated individuals were inadequately treated. The Cape Verdean population is ageing and consequently cardiovascular disease is increasing, with hypertension being an important risk factor. Corrective actions need to be taken by the government. MMM is an ideal initiative to reach the public by raising awareness of this major cardiovascular risk factor.

Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime

2012 ◽  
Vol 29 (4) ◽  
pp. 385-421
Author(s):  
Emiliano Ricciardi
Keyword(s):  
Sixteenth Century ◽  
Substantial Contribution ◽  
Torquato Tasso ◽  
Musical Style ◽  
Hybrid Genre ◽  
Musical Genres ◽  
Musical Styles

Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.

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