Mozambique is a former Portuguese colony, and its native folk musics have been highly influenced by Portuguese forms. The most popular style of modern dance music is marrabenta .

Culture was an integral part of the struggle for independence, which began in 1964. Leaders of the independence movement used cultural solidarity to gain support from the common people, while the Portuguese colonialists promoted their own culture. By the time independence came in 1975, Mozambican bands had abandoned their previous attempts at European-style music, and began forging new forms based out of local folk styles and the new African popular music coming from Zaire, Zimbabwe, Tanzania, Zambia and South Africa.

In 1978, the Ministry of Education and Culture organized a National Dance Festival that involved more than half a million people, and led to the creation of numerous organizations and festivals promoting Mozambican music.

Timbila

The Chopi people of the coastal Inhambane region are known for a unique kind of xylophone called a mbila (pl: timbila) and the style of music played with it, which "is believed to be the most sophisticated method of composition yet found among preliterate peoples." Orchestras consist of around ten xylophones of four sizes and accompany ceremonial dances with long compositions called ngomi which consist of an overture and ten movements of different tempos and styles. The orchestra leader serves as poet, composer, conductor, and performer, creating a text, improvising a melody partially based on the features of the Chopi's tone language, and composing a second countrapuntal line. The musicians of the orchestra partially improvise their parts according to style, instrumental idiom, and the leader's indications. The composer then consults with the choreographer of the ceremony and adjustments are made. (Nettl 1956, p.18-19)

The most famous timbila performers are Eduardo Durão and Venancio Mbande .

Further reading

• Tracey, Hugh. Chopi Musicians.

Marrabenta

Marrabenta is by the most well-known form of music from Mozambique. It is urban in origin, and meant for dancing. Marrabenta was born as a fusion of imported European music played on improvised materials. The word marrabenta derives from the Portuguese rebentar (arrabentar in the local vernacular), meaing to break, a reference to cheap guitar strings that snapped quickly. Instruments were fashioned out of tin cans and pieces of wood. Lyrics were usually in local languages, and included songs of social criticism as well as love. The late 1970s saw tremendous innovation in marrabenta, as 1001 Music Productions recorded artists and staged large concerts. The compilation album Amanhecer was released, followed by more such LPs under the title Ngoma .

The most influential early marrabenta performer was Fany Pfumo , whose fame began after the success of "Loko ni kumbuka Jorgina". He recorded in South Africa on HMV and later incorporated South African kwela into his music. The group Orchestra Marrabenta Star de Moçambique formed in 1979, led by long-time performer Wazimbo . The group toured Europe and other parts of the world, and soon brought international recognition to marrabenta.

Many of the most popular musicians in modern Mozambique spent time with Orchestra Marrabenta Star de Moçambique, including Stewart Sukuma , Chico António , José Mucavel and Mingas , while other popular bands include Ghorwane .

Further reading

• Paco, Celso. "A Luta Continua". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 579-584. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0

Source

• Nettl, Bruno (1956). Music in Primitive Culture. Harvard University Press.