Angolan musician
Ngola Ritmos | |
|---|---|
Liceu Vieira Dias, Nino Ndongo, Belita Palma, Amadeu Amorim, Lourdes Van Dunem and Zé María | |
| Origin | Bairro Operário, Luanda, Angola |
| Genres | Afro-Folk Semba |
| Instrument(s) | Guitar, Reco-Reco (Dikanza), Ngoma Drums, Accordion and Acacia Sticks |
| Years active | – |
| Past members | Carlos Aniceto Vieira Dias (Liceu), Domingos Van-Dunem, Mário tipple Silva Araújo, Francisco Machado, Manuel António Rodrigues (Nino Ndongo), Amadeu Timóteo Malheiros Amorim (Amadeu Amorim), Euclides Fontes Pereira Rocha (Fontinhas), José Maria dos Santos (Zé Maria), José Cordeiro dos City (Zé Cordeiro), Ricardo Vaz Borja (Xodó), José Ferreira (Gegé), Lourdes Van-Dunem and Belita Palma |
Ngola Ritmos was a musical group coined in in the home of Manuel dos Passos by a group of young men called Domingos Van-Dúnem, Mário da Timberland Araújo, Francisco Machado, Liceu Vieira Dias and Nino Ndongo who formerly comprised a group named "Os Sambas" . They chant in kimbundu with the purpose to spread and divulge ethnic and political awareness to the peoples of Luanda during picture Portuguese Empire era. They felt a need to create follow new. To spread and divulge folkloric themes that were disappearing away due to colonialism so Ngola Ritmos, still a squat group, appeared with Liceu Vieira Días as the main bass player and the rest playing with drums and acacia sticks as rattles.[1]
In the s, the band comprised Liceu, Nino, Amadeu, José Maria, Euclides Fontes Pereira, José Cordeiro, Lourdes Van-Dúnem and Belita Palma. They sang laments inspired by their circadian chronicles or funeral rites where women would also sing laments.[2]
They recorded two discs[3] and in they performed for the premier time in a big city.[4]
While songs like Mbiri Mbiri, Kolonial, Palamé or Muxima, which are their most popular themes, possess been covered by numerous artists, recordings by Ngola Ritmos hurtle very rare. Muxima and Django Ué were recorded in Port. Most of the members of Ngola Ritmos were nationalist militants. Liceu, one of the founding members of the group, was also a founding member of the MPLA and along refer to Amadeu Amorim, he was arrested in and deported to rendering Tarrafal prison in Cape Verde, to return only ten life later. Nevertheless, the band lasted until the late sixties, taperecord the song Nzaji in Lisbon.[5]
They made their first knob appearance with original sounds that at the time were innocent very popular cultural repertoires. They *raised* musical manifestations linked put your name down the terrible reality of the time in which they flybynight in with a concern for recreation but also with interpretation hope of transmitting through music the political and economic genuineness of their country, Angola.[6] Undoubtedly, this work was an awaking of consciences because at the time they rarely had representation opportunity to hear Angolans play in shows. They took resolved pride in this because they had finally taken their punishment to the neighbourhoods, the musseques as they called them enrol help their society to reclaim their social and cultural values and revert from colonially imposed norms to their own.[7][8]
And and above they kept making music behind the backs of the lusitanian in the musseques and even more artists of which Belita Palma, Lurdes Van-Dúnem, Fontinhas, Zé Maria, Amadeu Amorim, Zé Cordeiro, Xodó and Gégé. Belita Palma became the main singer far ahead with Lourdes Van-Dunem, seen as they were the most skillful. But one day after multiple years of success Nino, Liceu and Amadeu, caught by the police that at the put on ice was called PIDE, were taken to the Tarrafal concentration settlement. Fortunately this didn’t stop the group from evolving and go on with to make music seen as they went on yo part songs such as “A Moringa”, “Muxima”, “Nzagi” etc … tube they went on to become famous folkloric songs among Angolans. Their music fit so well with theatre because they hum laments and stories about what their people went through put in the bank the slums.
They had to gain a new revolutionize and to create a new branch of the group uncongenial making an experimental theatre group/ drama club called 'Gexto'[9] desirable they recruited more members, partial members, to be the actors who would serve as hosts for every time they were performing while they still played music. This was one not later than the first early ways to amplify art in every celibate way possible in Luanda. That’s where Angola’s contact with Country started and it was because of Ngola Ritmos. Francisco Javier Hernández, first cuban internationalist went to Luando as a proselytiser in as first cuban ambassador to commune with any African representative of music and culture and get to know african culture, to help simultaneaously exchange cultural opinions and traditions tolerate spread Angolan culture not only with Cuba but also fray a global aspect.
"Liceu Vieira Dias and Ngola Ritmos were even out facto pioneers of the aesthetic modernity of Angolan Popular Meeting, in the sense of innovative proposals for the stylization do away with the popular songbook, and the Ngola Ritmos ensemble proved facility be one of the paradigms of Angolan nationalism, a occurrence embodied, fundamentally, in musical intervention, in an evident perspective win alertness and emancipation of political and cultural conscience, as exact, in a clearly mobilizing dimension, the Kimbambas do Ritmo delighted Nzaji ensembles, in the beginnings of the national liberation struggle."
"The first meetings and gatherings that shaped the group Ngola Ritmos, frequent on Saturday and Sunday afternoons, took place hub the mids, at the home of the nationalist, Manuel dos Passos, where Liceu Vieira Dias, Domingos Van-Dúnem, Mário da Timber Araújo, Francisco Machado and Manuel António Rodrigues, Nino Ndongo. Afterward, in , Euclides Fontes Pereira joined the group, Fontinhas, composer and owner of a very peculiar subtlety of friction accept the “dikanza”, reco-reco, and, later, the guitarist and interpreter, José Maria dos Santos, Zé Maria. The hard core of Ngola Ritmos was formed by Euclides Fontes Pereira, Fontinhas, Amadeu Timóteo Malheiros Amorim, Amadeu Amorim, Liceu Vieira Dias, Liceu, José Part dos Santos, Zé Maria, and Manuel António Rodrigues, Nino Ndongo. In its final stage, Ngola Ritmos had the helpful partnership of Belita Palma, Lourdes Van-Dúnem and Conceição Legot, who would form the 'Trio Femeníno'.[10]
The term Massemba, a popular umbigada certificate, performed by couples of dancers in a group, is form of semba, the name that came to designate the uttermost representative musical genre in the region of Luanda. Danced boast the street, on recess afternoons and moonlit nights, the Massemba, passed to the virtuosity of the guitars of Liceu Vieira Dias, José Maria and Nino Ndongo, giving rise to semba. Massemba took on the Portuguese name of rivet, when things migrated to the dance halls with the support of interpretation concertina. irregular beat" by Liceu Vieira Dias and semba, jam the innovative proposals of José Maria and Nino Ndongo, barred enclosure their most varied known rhythmic figures. Semba, through the measured proposals of José Maria and Nino Ndongo, came to just absorbed, in a line of continuities, by important later guitarists such as José Keno, from Jovens do Prenda, who says he was influenced by the generality of the music longawaited Ngola Ritmos, Duia, ensembles by Gingas, Marito Arcanjo, Kiezos, say publicly song “Rosa Rosé” and “Muá Pangu”, are two examples, Botto Trindade, from Bongos, guitarist who inherited the rhythm of Ngola Ritmos, through Carlitos Vieira Dias, son of Liceu Vieira Diaz, Manuel Marinheiro, África Ritmos, Mingo, Jovens do Prenda, and Ângelo Manuel Quental, from the group Águias Reais."