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slums, to claim their space in the city, and to criticize society.â Angola experienced periods of war, repression, and some instances of political tranquility. The origin of Kuduro came from and due to this political instability. There was significant anti-colonial resistance to
Portuguese rule and influence which created a transitional government composed of two political parties. These two parties engaged in power-based struggles and tensions that led to the Angolan Civil War. Such shift in attitude away from optimism was reflected through Kuduro's increasing distortion in timbre and hardened aesthetics, while lyrics of the genre often reflected experiences of life in the musseques (Luandaâs informal, unpaved and marginal neighborhoods). After Angolan independence in 1975, the ruling party, the MPLA (Movimento Popular de Libertação de Angola or the Peopleâs Movement for the Liberation of Angola) adopted the musical genre for use in political campaigns, recognizing its popularity.
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lacked the necessary technology to record vocals. Furthermore, early producers created batidas in direct conversation with their techno and house influences and thus kuduro is predominantly loop-based and instrumental. These composition choices demonstrate how music styles arise as active negotiations of imagination and availability; these choices are both the result of âtechnical limitations and creative decisionsâ. The technology continues to define the music when one unfolds the history of the Fruity Loops drum samples. As the Civil War abated, instating a coalition government between UNITA and MPLA, the
Angolan economy liberalized and there was a wider availability of personal computers. This resulted in DIY kuduro production using the Fruity Loops interface, which democratized the enterprise of creating batidas.
607:). This pattern-based software vastly expanded the sonic potential of kuduro, as producers could incorporate synthesized sounds built into the Fruity Loops program. Furthermore, because Fruity Loops was vulnerable to piracy, kuduro was effectively democratized, allowing lower-class Angolans in the musseques (settlements built to house the Angolan poor) to contribute to the music's development. The democratization of kuduro, in turn, allowed the music to proliferate widely, quickly becoming one of the most popular forms of music in Angola and solidifying as a distinct genre, identifiably different from its influences such as
556:." And although Angolan kuduro reflects an understanding and an interpretation of Western musical forms, the world music category that it fits under, tends to reject the idea of Western musical imperialism. DJ Riot of Sistema said, "Kuduro was never world music⊠It wasnât born on congas and bongos, as some traditional folk-music. It was kids making straight-up dance-music from, like, â96. Playing this new music, this new African music, that feels straight-up political in itself."
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place during the birthing of Kuduro and there were actual mine fields that blew off people's limbs, it is discernible to see why Kuduro dance moves mimic an amputee's movement. Kuduro as a dance genre is different than most in the fact that expands it inclusivity to disabled bodies and rewrites notions and narratives of Black disabled sexuality, given the erotic heteronormative nature of the dance moves.
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resources, pursued education abroad, thereby mitigating exposure to the most severe aspects of the Civil War. Due to limited memory capacity in the sequencers utilized, early kuduro productions relied on arrangements based on concise loops. The scarcity of multi-track recording technology compelled the recording of these arrangements directly onto tape or CD writers, precluding the option of overdubs.
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Angolan legends such as Noite e Dia, Nacobeta, Bruno M, DJ Znobia, Big Nelo, the then up and coming Titica, Francis Boy Os
Namayer, DJ Djeff & DJ Sylivi, as well as with a slew of international guests / Kuduro supporters such as Louie Vega & Anané Vega, Ousunlade, Daniel Haaksman, John Digweed, Hernan Cattaneo, Trentemoller, Tiefshwarz, Diego Miranda, and Wretch 32, among others.
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increase in availability of computers and pirated technology, especially the music production software FruityLoops made kuduro more widely available to the masses for production. This generation was characterized by sped-up versions of the first generation's tempo at 140 beats per minute. "Urgent" vocal styles were used in kuduro songs during this generation.
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limited memory of these sequencing machines provides one explanation for the short loop-based format of early kuduro. The gradual liberalization of Angola's economy in the early 2000s made personal computers more widely available to the general population, enabling producers to compose tracks using production programs such as Fruity Loops (later renamed
611:. In 2003, the rebranded FL Studio upgraded its software to allow multi-track recording and the direct recording of audio into a project. This technological revolution further expanded the possibilities for kuduro production, allowing musicians to record vocals from home, without having to visit a formal studio.
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Janeiro, New York and
Washington DC . Recent including a recent event at the 2014 TechnoParade in Paris, as the Os Kuduristas tour (a follow-up to the Kuduro Sessions theme tour) which focused mainly on bringing the broader Luanda urban culture to Kuduro lovers around the world, with an emphasis on dance.
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a
Portuguese/Angolan electronic dance music project based in Portugal, was responsible for the internationalisation of kuduro, presenting the genre across Europe. It featured in several international music magazines, after their appearance with their hit "Yah!" ("Yeah!"). Buraka Som Sistema takes its
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The incorporation of vocals in kuduro productions from this generation was restricted, owing to a dearth of studios equipped for vocal recording in Angola during the early 1990s. Nevertheless, the loop-centric and instrumental nature of early kuduro compositions resonates with the influences of house
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of landmine detonation, emulate to various degrees the movements of the land mine victims around them, and are themselves victims." Young also argues that kuduristas use their dancing âto signify on the normative landscape of the black body,â and by extension, their spatial order. Acts of oppression (
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and the mixture of abled/disabled bodies in performance. Kuduro is usually performed in the streets, where groups gather in circles and one by one come into the center and perform their movements while impressing the crowd. Usually, participation is open to everyone, and the audience claps and cheers
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The history of kuduro has come about in a time of
Angolan civil unrest, and it provided a means of coping with hardship and positivity for the younger generation. Scholar InĂȘs Cordeiro Dias describes how kuduro âbecame a popular form of artistic expression for Angolans, especially those living in the
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The first event of Love Kuduro in Luanda was two day festival that received over 14,000 Kuduro fans in
January 2012 at the Luanda International Fair grounds. The even has happened annually in Luanda, with various events happening around the world in cities such as Paris, Amsterdam, Stockholm, Rio de
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The first generation began in the early 1990s. It consisted primarily of middle-class youth and was representative of influences that resulted from political unrest. Artists and producers experimented with localized versions of techno and house music which aligned with much of the music that already
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that has left many
Angolans amputated. Kuduristas contort their bodies in direct response to their spatial environments: "Kuduristas, acutely aware of the six to twenty million landmines still waiting to be detonated, as well as the fact that one out of every 334 Angolans has lost a limb as a result
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There were three primary generations of kuduro that each lasted nearly a decade. Through all generations, the primary common vein was storytelling of social and political messages. These messages are innately representative of the diaspora as it spreads the influence of
Africanness transnationally,
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Kuduro also was birthed out of the political climate that was taking place at the time of its origins. When looking at certain dance moves within the Kuduro genre, one can notice that the moves emulate that of a disabled person and their stature or movements. Given that there was a civil war taking
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During this generation, kuduro musical compositions were crafted using all-in-one sequencer/sampler keyboards and workstations. These musical tools were reintroduced to Angola by middle-class youth who had spent time in Europe. A considerable number of young individuals, endowed with the necessary
544:, in which he appears in a bar drunk, and dances in a hard and unusual style. As Vivian Host points out in her article, despite the common assumption that "world music" from non-Western countries holds no commonalities with Western modern music, Angolan kuduro does contain "elements in common with
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A travelling festival that has become known as one of the largest gatherings dedicated to the Kuduro genre and lifestyle. It was created by
Angolan artist CorĂ©on DĂș in 2011 with premiere events in the Showcase Club in Paris followed Arena Club in Berlin under the name Kuduro Sessions. It included
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This generation had a 'do it yourself' aesthetic which expanded the industry through establishing lower-income neighborhoods as the center of production. By this time, many home studios were based around Fruity Loops which were sequencers that incorporated a range of synthesizers and samples. The
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The evolution of kuduro has been largely determined by the technology available to its musicians and producers. The earliest kuduro musicians typically composed their tracks on all-in-one sequencer/sampler workstations brought back to Angola by middle-class youth who had spent time in Europe. The
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Kuduroâs hybridity directly reflects its technological evolution; the music was codified in its constitutive technology. For example, contemporarily, kuduro vocals are rendered with relative low fidelity. This is a trace of the genreâs early technological limitations as early 1990s Angola studios
526:. In addition to the aforementioned influences, Kuduro also incorporates regional styles that are based on global and local influences that highlight sonic expressions of personal and collective identities. These collective and personal identities were formed due to Angola's turbulent history.
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This generation, too, focused on more neighborhood-based performance. There was an increase in participatory aspects in this genre as well. The use of Afrohouse and N'dombolo both had slower beats represented the globally connected nature of the genre. This generation also had slower beats.
703:, a Lisbon suburb in the municipality of Amadora. Since the explosion of the Buraka Som Sistema, kuduro dance performance videos find an increasing audience on internet video platforms like YouTube. The videos range in quality from MTV standard to barely recognizable mobile-phone footage.
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on the dancers. Popular Angolan dancer Costuleta, whose leg has been amputated, is known for his captivating performances displaying dexterity and sexuality. The incorporation of debility complicates normative notions of âabled-nessâ while recalling motifs of black survival throughout the
514:("Beat"). European and American electronic music had begun appearing in the market, which attracted Angolan musicians and inspired them to incorporate their own musical styles. Young producers began adding heavy African percussion to both European and American beats. In Europe, western
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Unlike other musical genres that criticize the predecessors of their present these generations are each afforded respect by listeners and kuduristas of the other generations, and the evolving nature of the genre continues to be valued by listeners and artists.
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According to Tony Amado, self-proclaimed creator of Kuduro, he got the idea for the dance, which predated the music (making dance the foremost part of this genre and something Amado frequently emphasizes), after seeing Jean-Claude Van Damme in the 1989 film
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Kuduristas use body movements that often emanate movement/stillness, incoordination, falling, pop & lock, and breakdancing. This style of dance seems to âbreak downâ body parts into isolations and staccato movements, serving as a reflection of
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permeated the club scene. It ranged from 128-135 beats per minute and vocals were rarely used to convey the message of the music. Kuduro in this generation also favored synthesized productions of acoustic instruments.
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582:) and violence have composed their environments as sites of subjugation, but these dancers influence the essence of their settings by taking up space and recasting it through their bodies and movement.
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they'd get from their PCs and mobiles' sound buttons," M.I.A. said of kuduro. "It's a rave-y, beat oriented sound. Now that it's growing, they've got proper PCs to make music on."
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Young, Hershini. "Sound of Kuduro knocking at my door": Kuduro Dance and the Poetics of Debility". The Johns Hopkins University Press and Saint Louis University. 2013.
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and techno genres that inspired the initial producers. These artistic choices stem from a combination of technical constraints and deliberate creative decisions.
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Technologically, this generation marked a shift away from FL Studio as the primary means of production to sequence-based software such as Cubase or Logic Pro.
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premiered with great success at the International Film Festival of Rio de Janeiro, the largest film festival in Latin America, and at Portugal, in DocLisboa.
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Sheridan, Garth. "Fruity Batidas: The Technologies and Aesthetics of Kuduro." Dancecult: Journal of Electronic Dance Music Culture 6, no. 1 (2014): 83-96.
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The roots of kuduro can be traced to the late 1980s when producers in Luanda started mixing African percussion samples with zouk béton ("hard"
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in Angola. "It initially came from kids not having anything to make music on other than cellphones, using
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The name of the dance refers to a peculiar movement in which the dancers seem to have hard buttocks ("
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The most recent event was an I Love Kuduro pop up float at the 2014 TechnoParade in Paris.
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Brown, Jayna (March 8, 2010). "Buzz and Rumble: Global Pop Music and Utopian Impulse".
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Sheridan, Garth (2014). "Fruity Batidas: The Technologies and Aesthetics of Kuduro".
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Host, Vivian (and contributors). "The New World Music." XLR8R 109 (Aug 2007): 64â73.
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968:""Sound of Kuduro knocking at my door": Kuduro Dance and the Poetics of Debility"
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producers mixed it with house and techno. Kuduro is primarily a genre of
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1114:"OS KUDURISTAS QUINTAL | NOW IN PARIS - Part I | Daily METAL"
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Kuduro is very popular across former Portuguese overseas countries in
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was shot in Angola and presents the origin of the kuduro phenomenon.
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Jayna Brown, Global Pop Music and Utopian Impulse, âBuzz and Rumbleâ
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using African-originated and influenced sounds as a global genre.
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O bairro e a cidade encontraram-se e o kuduro pĂŽs Angola no mundo
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the land mines planted after Angola's war of independence
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Dancecult: Journal of Electronic Dance Music Culture
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directed by brothers MĂĄrio and Pedro PatrocĂnio and
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865:"Angolan Kuduro: Dance Conquers the City | FIELD"
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834:"'Kuduro,' The Dance That Keeps Angola Going"
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1050:Miguel Judas. VISĂO nÂș 752 3 Ago. 2007
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903:What is Kuduro?
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2390:Main subgenres
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1236:External links
1234:
1231:
1230:
1215:
1212:on 2020-09-22.
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978:(3): 391â402.
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2573:Bahian pagode
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2542:Samba de roda
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1494:African blues
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1225:Rolling Stone
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1145:
1141:
1134:
1120:on 2014-08-01
1119:
1115:
1109:
1095:on 2016-08-21
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747:
743:
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740:I Love Kuduro
737:
733:
732:I Love Kuduro
725:
724:I Love Kuduro
720:
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60: â
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2699:Hip hop tuga
2583:Samba reggae
2557:Samba-raiado
2552:Samba junino
2527:Samba-batido
2513:Bahian samba
2470:Samba reggae
2439:Samba-enredo
2429:Samba-canção
2424:Partido alto
2253:Electrobrega
2141:
1989:Santé engagé
1932:Moroccan pop
1861:
1847:Kadongo Kamu
1827:Isicathamiya
1770:Coupé-décalé
1629:Zimdancehall
1499:desert blues
1415:Coupé-décalé
1311:
1224:
1218:
1210:the original
1205:
1196:
1185:. Retrieved
1180:
1171:
1159:
1148:. Retrieved
1143:
1133:
1122:. Retrieved
1118:the original
1108:
1097:. Retrieved
1093:the original
1089:digitick.com
1088:
1079:
1068:. Retrieved
1064:
1055:
1046:
1030:(1): 83â96.
1027:
1023:
1013:
1004:
975:
971:
961:
952:
946:
923:. Retrieved
913:
885:
879:
868:. Retrieved
841:. Retrieved
837:
828:
809:
805:
772:
744:
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689:
666:
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631:
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591:
589:
562:
558:
550:tribal house
539:
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528:
511:
501:
489:
456:
452:
451:
407:Coat of arms
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
2766:Latin music
2566:Urban sambo
2520:Rural sambo
2455:Samba-choro
2324: [
2314:Rasteirinha
2304:Funk melody
2265:Tecno brega
2256: [
2227: [
2215: [
2112:Music from
1678:Ambasse bey
1595:Zenji flava
1590:Bongo Flava
1397:West Africa
1322:East Africa
1227:. May 2008.
1181:Maisfutebol
1146:(in French)
955:(102): 140.
953:Social Text
905:(May 2012)
776:Globo.com:
609:house music
586:Terminology
580:colonialism
552:, and even
223:Archaeology
2781:Categories
2725:East Timor
2689:Desgarrada
2684:Chamarrita
2656:Marrabenta
2648:Mozambique
2605:Cape Verde
2578:Samba afro
2547:Samba duro
2496:Samba rock
2465:Samba-jazz
2460:Samba-funk
2402:Bossa nova
2321:Guitarrada
2279:Chamarrita
2248:Brega funk
2236:Samba rock
2224:Rock Rural
2056:Ziglibithy
1902:Marrabenta
1887:Mahraganat
1750:Chimurenga
1607:Zimbabwean
1573:Senegalese
1481:Genres of
1367:Afro house
1351:Mahraganat
1187:2022-02-16
1150:2017-07-11
1124:2015-04-30
1099:2017-07-11
1070:2017-07-11
925:2011-09-11
870:2023-12-15
843:2017-07-11
764:References
699:name from
663:Popularity
598:Technology
350:Television
325:Literature
69:newspapers
2750:Sri Lanka
2623:Coladeira
2212:Forrocore
2046:Wassoulou
1962:Palm-wine
1852:Kidandali
1760:Coladeira
1728:Cape jazz
1713:Bend-skin
1703:Bantowbol
1663:Afro-soul
1646:Afro-rock
1641:Afrobeats
1585:Tanzanian
1558:Mauritian
1405:Afrobeats
1330:Kidandali
1024:Dancecult
984:1945-6182
812:: 83â96.
806:Dancecult
736:CorĂ©on DĂș
730:The film
605:FL Studio
554:Daft Punk
541:Kickboxer
481:accordion
375:Monuments
297:Languages
277:Conflicts
257:Civil War
99:June 2020
2666:Portugal
2397:Batucada
2348:Funknejo
2309:Funknejo
1947:Ndombolo
1937:Motswako
1917:Mbaqanga
1800:Highlife
1775:Edo Funk
1743:Moroccan
1738:Algerian
1698:Bajourou
1673:Amapiano
1636:Afrobeat
1602:Togolese
1568:Nigerien
1563:Nigerian
1553:Moroccan
1548:Malawian
1521:Ghanaian
1511:Algerian
1435:Afrobeat
1428:See also
1372:Amapiano
888:: 83â96.
679:(namely
677:Portugal
571:diaspora
566:debility
494:rhythm.
311:Religion
179:a series
177:Part of
58:"Kuduro"
2759:Related
2638:Tabanka
2613:Batuque
2475:Sambass
2365:VanerĂŁo
2338:Seresta
2274:Calypso
2185:Stronda
2130:Kizomba
2071:Zouglou
2066:Zoblazo
2041:Tabanka
2026:Soukous
2021:Singeli
1972:RaĂŻ'n'B
1957:Odi Pop
1892:Makossa
1882:Madiaba
1857:Kizomba
1822:Hiplife
1723:Bikutsi
1708:Batuque
1656:Zamrock
1526:Ivorian
1516:Gambian
1440:Hiplife
1335:Singeli
838:NPR.org
758:samples
752:" with
681:Amadora
592:Cu Duro
548:, deep
498:Origins
492:kizomba
395:Symbols
304:Cuisine
208:History
83:scholar
2628:FunanĂĄ
2407:Pagode
2157:Brazil
2142:Kuduro
2122:Angola
2036:Taarab
2011:Shaabi
1999:Seggae
1984:Salegy
1979:Sakara
1912:Mbalax
1907:Maloya
1897:Marabi
1877:Logobi
1867:Kwaito
1862:Kuduro
1785:FunanĂĄ
1733:Chaabi
1693:Azonto
1688:Assiko
1624:Seggae
1536:Boomba
1531:Kenyan
1409:Azonto
1382:Kwaito
1312:Kuduro
1296:Genres
1252:La Kiz
982:
746:M.I.A.
726:(film)
701:Buraca
685:Queluz
673:Lisbon
669:Africa
520:techno
512:Batida
506:) and
477:techno
465:Luanda
461:Angola
457:kuduru
453:Kuduro
355:Cinema
290:People
181:on the
167:Angola
139:techno
135:Batida
124:Kuduro
85:
78:
71:
64:
56:
2740:Macau
2718:Other
2704:Pimba
2679:Chula
2633:Morna
2375:Samba
2328:]
2299:Frevo
2294:ForrĂł
2289:Chula
2284:Choro
2260:]
2243:Brega
2231:]
2219:]
2170:BaiĂŁo
2147:Semba
2051:Zaley
2006:Semba
1952:Njuup
1927:Morna
1922:Mbube
1872:Kwela
1832:Jaiva
1817:Hipco
1790:Gnawa
1718:Benga
1683:Apala
1541:Genge
516:house
366:Sport
342:Media
332:Music
272:2020s
267:2010s
262:2000s
144:house
90:JSTOR
76:books
2694:Fado
2618:ColĂĄ
1994:Sega
1842:JĂčjĂș
1795:Gqom
1780:Fuji
1755:ColĂĄ
1668:Alté
1377:Gqom
980:ISSN
683:and
546:punk
518:and
508:soca
504:zouk
479:and
473:zouk
469:soca
455:(or
402:Flag
154:zouk
149:soca
62:news
2730:Goa
2165:Axé
1967:RaĂŻ
1837:Jit
1032:doi
814:doi
318:Art
45:by
2783::
2326:pt
2258:pt
2229:pt
2217:pt
1204:.
1179:.
1142:.
1087:.
1063:.
1026:.
1022:.
992:^
976:45
974:.
970:.
934:^
894:^
852:^
836:.
808:.
804:.
788:^
675:,
487:.
2105:e
2098:t
2091:v
1474:e
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1460:v
1411:)
1407:(
1283:e
1276:t
1269:v
1190:.
1153:.
1127:.
1102:.
1073:.
1040:.
1034::
1028:6
986:.
928:.
873:.
846:.
822:.
816::
810:6
441:e
434:t
427:v
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
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