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New dialogues, old routes: emergent collaborations between Brazilian and Angolan music makers

Published online by Cambridge University Press:  27 May 2011

Frederick Moehn
Affiliation:
Institute for Ethnomusicology – Music and Dance (INET-MD), Universidade Nova de Lisboa, Lisbon, Portugal E-mail: fmoehn@fcsh.unl.pt, and fjm2070@nyu.edu

Abstract

This article considers emergent musical dialogues and official cultural collaborations between Brazil and Angola in light of recent literature theorizing the Lusophone Atlantic. As Angola restructures following a long civil war and Brazil takes a leading role among the rapidly developing BRIC nations, new questions arise pertaining to the African heritage in Brazilian music, and to Brazil's role in Angolan cultural initiatives and musical markets. Through examination of Brazilian discourse about such exchanges, combined with a comparative analysis of three versions of Angolan musician Teta Lando’s 1974 song, ‘Angolano segue em frente’ (Landos original, a recent Brazilian rerecording, and a Brazilian remix), I reveal a South-South dialogue that builds on historical connections yet also establishes new resonances in musical evocations of Atlantic affinities and flows.

Type
Articles
Copyright
Copyright © Cambridge University Press 2011

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Discography

Fernanda Abreu, Na paz. Brazil, Garota Sangue Bom CD, 577266-2. 2004Google Scholar
Alberto Teta Lando. ‘Angolano segue em frente’. Independência. Luanda, Companhia de Discos de Angola, catalog number unavailable. [The song also appeared on Lando's 1993 album Esperanças Idosas. Paris, Sonodisc CD 68585.] 1974Google Scholar
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Quintal do Semba. Quintal do Semba. Maianga CD. 2003Google Scholar
Joan Manuel Serrat. Dedicado a Antonio Machado. Zafiro LP, 30-301015. 1969Google Scholar
Jussara Silveira. Nobreza. Maianga Discos CD, MG 1901C. 2006Google Scholar
Stereo Maracanã (Maurício Pacheco and Pedro. D-Lita). Combatente. Maianga Discos CD, catalog number unavailable. 2002Google Scholar