 | This article possibly contains original research .(November 2012) |
| Marrabenta | |
|---|---|
| Stylistic origins | Mozambique and Portuguese folk music |
| Cultural origins | 1930s-1940s, Mozambique |
| Regional scenes | |
| Maputo | |
Marrabenta is a popular style of Mozambican dance music combining traditional Mozambican dance rhythms with Portuguese folk music. It was developed in Maputo, the capital city of Mozambique, during the 1930s and 1940s. [1]
The name may be derived from the Portuguese word rebentar (arrabentar in the local vernacular), which means "to break". [2] This may refer to the cheap musical instruments used in this music, which are often played energetically until they fall apart. [1] [3] Vocalist Dilon Djindji claims this refers to the energetic performances he delivered while on tour across Mozambique, as the intensity and vitality of his shows led audiences to believe that he was 'breaking' the emotional limits of those in attendance. The musicians who played Marrabenta came to be called arrabenta. Over time, the name Marrabenta has grown in popularity and continues to be used today.
Marrabenta gained national popularity in Mozambique during the 1930s and 1940s while the nation was still under Portuguese colonial rule. [4] Before the popularity of Marrabenta, Portuguese musicians in Mozambique played fado, a type of traditional Portuguese folk music. These musicians introduced the traditional orchestration and other influences of fado, such as the use of guitars, mandolins, drum sets, and other conventional Western instruments, to Mozambique. The Catholic Church, as a site for cultural interaction, also played a role in the development of the new genre, contributing influences of tonal harmony and the basic use of progressions like I-IV-V. Mozambican musicians combined the influences of church music, secular Western music, and African rhythms to create an entirely new genre.
Dance rhythms are a primary feature of traditional African music. In trying to duplicate these traditional sounds on new western instruments, Mozambican musicians created a new style of dance music, which quickly gained popularity among the youth in the 1940s. [5] [6] In 1977, Mozambique experienced a civil war. The government, viewing marrabenta as a way for people to express their dissent, shut down many music venues at the time. [7] While Marrabenta's popularity began to decline during the Mozambican Civil War, [8] it never disappeared. Fleeing the war to seek a better life and economic opportunities, many Mozambicans, including several Marrabenta musicians, migrated to South Africa. [9] This introduced South African musical styles such as Kwela and Xangana to the Marrabenta style, adding rhythmic variety to the genre.
Upon gaining independence from Portuguese colonial rule, Mozambique came under the control of a socialist regime, resulting in new musical influences from communist Cuba. When Mozambique ceased to be a socialist country in the 1980s, Western musical influences flooded the country. These included rock and pop mainly from the United States. During this time, Marrabenta underwent significant transformation as musicians started using distortion and electronic instruments, while retaining the fundamental character of the music.
The Marrabenta style is a blend of traditional Mozambican rhythms and Portuguese folk music [3] with influences from Western popular music that were brought over by radio. [1] Early Marrabenta artists, such as Fany Pfumo, Dilon Djindji, and Wazimbo, were crucial in establishing the genre, [1] which has evolved over time into its modern form. [1] This evolution can be seen in Marrabenta bands such as Eyuphuro and Orchestra Marrabenta Star de Moçambique. In its contemporary form, it has combined with other pop genres. The Mozambican band Mabulu mixes marrabenta and hip hop music. The genre is celebrated annually in the Marrabenta Festival in Maputo. [1]
Today, Marrabenta reflects global influences, including rhythm & blues, reggae, and blues. This has led to the emergence of a number of subgenres within Marrabenta, including pandza, which is a mix of reggae and Marrabenta and is currently very popular among the Mozambican youth. [2] Marrabenta has also spread to other parts of Africa and the world.
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Neyma Julio Alfredo is a Mozambican singer. She is known for producing songs of the Mozambican genre, such as Marrabenta and Kizomba.
Humberto Carlos Benfica, known as Wazimbo, is a Mozambican vocalist considered one of the greatest voices of Mozambique and one of the most famous marrabenta singers. Born in Chibuto, in Gaza Province, Mozambique he moved to the capital — Lourenço Marques — where he grew up in the popular neighborhood Mafalala. There he started as a vocal member for the local group "Silverstars" and then "Geiziers". Later, he joined Orchestra Marrabenta Star de Moçambique.
Stewart Sukuma, born Luis Pereira in 1963, is a Mozambican singer. Sukuma's stage name means "rise up" in Xitsonga and "push" in Swahili. He was born in Cuamba, Niassa Province. Coming from a modest family, Sukuma loved music; he moved to the Mozambican capital of Maputo in 1977, learning to play percussion instruments, guitar and piano. Five years later, Sukuma joined a musical group as a vocalist. He received a Ngoma Mozambique award in 1983, and has been described as "Mozambique's most popular male vocalist". Sukuma's songs include "Felizminha", "Xitchuketa Marrabenta", "Sumanga", "Male" and "Why". He sings in Portuguese, English, Swahili, Echwabo and Xitsonga.
Elisa Domingas Jamisse, better known by her stage name Mingas, is a Mozambican singer. Born in the capital city, Maputo in Mozambique Mingas started to sing at a very early age. Her music is a mixture of Afro sounds that gives prominence to the rhythms of the Chope people of southern Mozambique, and she is one of the most famous singers of Marrabenta. Her career is marked with big hits and collaborations with major African singers like Miriam Makeba, Hugh Masekela, Angélique Kidjo, Baba Maal, Yvonne Chaka Chaka, Jimmy Dludlu, Gilberto Gil, among others.
Marrabenta Stories is a 2004 documentary film directed by Karen Boswall. A musical documentary, it covers Marrabenta, the national music of Mozambique.
Fany Pfumo was a Mozambican-born singer who was mainly active in South Africa. He is considered one of the founders and of the prominent artists in the marrabenta style scene. Born to a poor family, he started his career playing an "oil tin guitar" in Maputo's suburbs but later moved to South Africa in search of a better living. In Johannesburg, Pfumo had the opportunity to record with HMV, achieving international fame with songs such as Loko ni kumbuka Jorgina ; this one, in particular, remains one of the best known songs of marrabenta and Mozambican pop music. After achieving international fame in South Africa, Pfumo eventually returned to Mozambique.
Marjurugenta is the debut album by Mozambican marrabenta band Ghorwane, recorded in August 1991 at Real World Studios but not released until September 1993 by Real World Records. The band had built up a reputation in their native country throughout the 1980s for their unique urban dance musical style and politically conscious lyrics, pulling from genres such as marrabenta and xigubu. After being denied visas to play at a European festival in 1987, it soon became possible for the band to play the world music-celebrating WOMAD festival in 1990. While on their trip to the festival, the band were approached by the WOMAD-affiliated Real World Records to record their debut album.