Dagmar Andrtova / Susheela
Raman / Amadou et Mariam / |
BONGA
Jose Adelino Barcelo de Carvalho was born in 1943 in Kipri (Angola). He was introduced to music at a very early age by his father who was accordionist in a group that played rebita, the music of the fishermen in Ilha de Cabo, one of Luanda's poorer districts. Initially, he played the "dikanza", a percussion instrument made of grooved bamboo and struck with a wooden stick, seen as the symbol of a return to basics. Popular fervour and action in support of strong political demands related to the Portuguese colonial occupation were mainly based on traditional music and stories told by elders. This cultural reawakening played an important role, unifying the people and rehabilitating their collective memory. Inspired by semba, (the Luandan popular genre that is a local expression of the "modern" musical quality forming the basis of samba in Brazil), Bonga formed a group called Kissueia, a Kimbudu word that refers to the destitution in poor areas. Finding recognition as an athlete, Bonga left Angola for Lisbon at the start of the sixties. Under the name Barcelo de Carvalho, he became Portugal's 400-metre record holder (a title he kept for a decade). At the same time, under the name of Bonga, he became an active member of the Popular Movement for the Liberation of Angola. When the Portuguese political police (the fearsome PIDE) realised that Barcelo de Carvalho and Bonga were one and the same, he barely had time to escape to Rotterdam where he began life as an exile. Alone and out of touch in the great Dutch port, he got together with musicians from the Cape Verdean community. Encouraged by the solidarity of his "brothers", he began to write again and released the legendary Angola 72 album. Fuelled with an agonising melancholy, its 10 songs relate and summarise his experiences in Luanda. Soon the record was smuggled into Angola where it was distributed illicitly and became something of an independence manifesto among the population. After Rotterdam, Bonga moved to Paris where he learnt to play keyboards and became familiar with the sounds brought by musicians from the African diaspora. The gentle melodies of Cape Verdean morna and the rhythmic texture of Congolese soukouss were now part of his world. Apart from these influences, Bonga remained true to his roots, firmly refusing to westernise his style. Angola 74 was the result of this cultural cross-fertilisation that widened the sound base of semba without changing its content. He was one of the first people to sing Sodade, 18 years before Cesaria Evora made it famous. Bonga extended his repertoire, but it remained rooted in the social and cultural history of a land devastated by an endless war, now close to peace. After spending a few years in France, he returned to Portugal where he met with success, despite a number of conflicts with producers who wanted to turn him into Africa's Julio Iglésias. In 2000, Bonga recorded a new album for Paris label Lusafrica. A sequel to "Angola 72-74", Mulemba Xangola was a landmark record and won unanimously acclaim in the press. Interwoven with its nostalgic melodies are insistent appeals, great emotion and all the preoccupations of a singer demanding freedom and democracy for his country. 2003 marks the return of Bonga, with the highly acclaimed by the press Kaxexe. Bonga's voice is still one of the finest in Africa: it is a magical voice that symbolises the self-expression of an exile and speaks directly to our hearts with extraordinary power.
Albums: Web: Music - Kaxexe (real player): Download:
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