Sara Chaves - The keys (chaves) to her songs

Sara Chaves - The keys (chaves) to her songs Real recognition for her talent came in 1966, when she wins the performance award at the Luanda song contest, with the famous song “Maria Provocação” by Ana Maria de Mascarenhas and Adelino Tavares da Silva. She still has vivid memories: “That night, in September 1966, in the Aviz cinema, there was only typically Angolan music to be heard. It was an overwhelming success and the sadness was also overwhelming when they announced that “Maria Provocação” could not be entered, because the organisers wouldn’t authorise the typical Angolan instruments of Ngola Ritmos to be part of the orchestra.

18.07.2010 | by Mário Rui Silva

Ana Maria de Mascarenhas free of any mask

Ana Maria de Mascarenhas free of any mask Her compositions were first known only in a small inner circle, but with the Luanda Song Festival, her work became known to a wider public. In the 60s she had formed a duo with the Portuguese journalist Adelino Tavares da Silva, who had just arrived in Angola. They composed four or five songs together and then registered in the Portuguese Writers’ Association, with Adelino as songwriter and Ana Maria as composer. It can be said that the duo revolutionised the Song Festival, when Maria Provocação was performed by Sara Chaves and Mulata é a Noite by Concha de Mascarenhas. They were both accompanied by Ngola Ritmos, the Angolan rhythm group.

08.07.2010 | by Mário Rui Silva

Congolese stars Staff Benda Bilili lead the African presence in FMM Sines 2010

Congolese stars Staff Benda Bilili lead the African presence in FMM Sines 2010 Congo sends their hottest stars, but Mali is the African country with more representatives in FMM Sines 2010: Tinariwen, Cheick Tidiane Seck feat. Mamani Keita and Founé Diarra Trio (along with Breton Jacky Molard Quartet).

08.07.2010 | by Câmara Municipal de Sines

Music, City, Ethnicity: Exploring Selected Music Scenes in Lisbon and Beyond

Music, City, Ethnicity: Exploring Selected Music Scenes in Lisbon and Beyond At the horizon of imagined cities as “transcultural megacities”, music tends to gain agency in the promotion of senses of place and belonging in, and to the city. We attempt to show the ways in which the processes and values associated with the internationalization of culture – which, more generally, are taking place within the context of the “new political economy and its culture”, may be explored under the light of some musical manifestations taking place in the city of Lisbon.

15.06.2010 | by Jorge de La Barre

Dialogues on Contemporary Dance, interview with Kepha Oiro

Dialogues on Contemporary Dance,	interview with Kepha Oiro Kepha Oiro is a contemporary dancer and choreographer from Nairobi – Kenya. He's the artistic director of a new contemporary performing group: Tuchangamke, which conducts research into movement fusion in ethnic African communities, based at the Kenya National Theatre, Nairobi, and is the artistic director of the Dance Marathon initiative. This encounter with Nadine Siegert took place in Cologne (Germany) during an artist residency until March 2010.

14.06.2010 | by Nadine Siegert

KUDURO, Luanda's beat

KUDURO, Luanda's beat Kuduro sprang up Luanda's musseques (shanty towns) and spread rapidly through the Kandongueiros (street vendors or hawkers). New music appears on a daily basis, feeding Luanda's vocabulary with new expressions, new beats and new moves. This frenetic creation of urban languages plays an important role in today's Luanda, especially among the younger city dwellers.

11.06.2010 | by Francisca Bagulho

Contemporary dance from Africa as creative opposition to stereotypical images of Africanity

Contemporary dance from Africa as creative opposition to stereotypical images of Africanity On the one hand I try to understand how African dance and as African considered corporalities are used as an aesthetic medium in common European cultural practices. How does European discourse create which images of African dance and performances? On the other hand and crucially, I focus on the African side of the coin: how do African dancers and choreographers (re)act and which are their individual choices in the scope of various challenges and do European discourse have any significance on African dancers’ and choreographers’ decisions?

16.05.2010 | by Nadine Siegert