It is undeniable that in Lisbon there is a natural approximation of Portuguese-speaking people, not Portuguese of nationality, even when they do not share the same race and culture. National differences reduce face to the discrimination which all are submitted to. And it makes full sense to think about this reduction as a need for resistance to discrimination, because the metropole turns homogeneous all the ex-colonized, grouping them in the categories of “nigger”, “black”, “immigrant”.
Musseque residents would likely have said, “my suffering, yes, but ours as well.”
Music, in late colonial Angola took private grief and by performing it publicly made it collective. The sound, and perhaps even the process, was attractive to whites as well and in an ironic twist on the lusotropical narrative, by the early 1970s, whites made their way to the musseques in sizeable numbers to hear Ngola Ritmos and other popular bands play.
Recent critical readings of Cape Verdean identity and intellectual history highlight the fact that Gilberto Freyre unknowingly destabilized the metanarrative of Euro-centered mestiçagem, by emphasizing instead Cape Verde’s cultural links to Africa (even if those links were impressionistically perceived by him).
It is undeniable that in Lisbon there is a natural approximation of Portuguese-speaking people, not Portuguese of nationality, even when they do not share the same race and culture. National differences reduce face to the discrimination which all are submitted to. And it makes full sense to think about this reduction as a need for resistance to discrimination, because the metropole turns homogeneous all the ex-colonized, grouping them in the categories of “nigger”, “black”, “immigrant”. 
Musseque residents would likely have said, “my suffering, yes, but ours as well.”
Music, in late colonial Angola took private grief and by performing it publicly made it collective. The sound, and perhaps even the process, was attractive to whites as well and in an ironic twist on the lusotropical narrative, by the early 1970s, whites made their way to the musseques in sizeable numbers to hear Ngola Ritmos and other popular bands play. 
Recent critical readings of Cape Verdean identity and intellectual history highlight the fact that Gilberto Freyre unknowingly destabilized the metanarrative of Euro-centered mestiçagem, by emphasizing instead Cape Verde’s cultural links to Africa (even if those links were impressionistically perceived by him). 
