Music and Dance in Lisbon
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My name is Hannah Ivey and I’m twenty years old. Within this project my main aim and focus is to understand how music within the Lisbon community and how it empowers the community.
In order to do this we must have an understanding of the roots of this music and what it means to the people of Lisbon.
During 1974 many people in Angola had to flee their country as a result of a civil war, in hope for a better life. These immigrants came to Lisbon.
The influx in people created a demand for new properties and accommodation, which was subsequently built thirty minutes away from Lisbon city centre with no appropriate transport routes.
This was when the birth of kuduru and afro – house music was created. Kuduru is a form of music and dance, which originated in Angola during the 1980’s and is characterised as upbeat and energetic. Afro – house is as straightforward as it sounds; African music mixed to a house beat.
This form of music rose in the Lisbon as a result of the isolated accommodation being built during that time.
People from these suburbs are enlightened by the spread of their community music, as they believe “music amplifies the voices of those in isolated areas”.
One group that arose from the suburbs is the group Principe whose music has a real socio-political message, it shows to the rest of the DJ’s and producers within these communities that you can make it despite the odds and the music of that community can be shared with the world and enjoyed.
With an urban population of just over half a million and a metropolitan population of three million it is evident that producing creative pieces of work here and getting them seen and heard of is more of challenge than in other parts of the world. In fact since 2007, four hundred thousand young people have left Lisbon for better opportunities in other parts of the world.
To the people producing this genre of music in Lisbon, the music holds real meaning, real feelings and real thoughts, not to say that other genres don’t. But the way in which this music was produced and why adds a real culture and history to this genre which should resonate with those who listen to it and those who continue to produce it. This is one of the main worries of those producers and DJ’s in Lisbon, they don’t want their genre imitated and borrowed for profit but they want their music to spread a message, one of hope.
The way in which Kuduru and Afro – house belongs to a certain kind of person has been likened to that of grime in the UK. For example, originally grime was produced by people telling their stories, consisting of real emotion, which it still does today to some extent. However, material from this genre has been used by other artists and reworked and the genre in turn losing the history and the diminishes the integrity of those who produce original tracks for the genre.
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My name is Yumei Hao. I’m currently study media and communication in Coventry University. For this research related to Neo-Bohemia in Lisbon, I’ll focus on artists, art venues and also art events in Lisbon that related to the topic to further understand how art in this city influence the city.
Here are some people and organizations that I’m planning to interview. Also there’s also some of their works.
1 Lara Seixo Rodrigues- A freestyle urban artist in Lisbon; cofounder of LATA 65
About:
preceded and followed by these specialties: proactive | multi tasking abilities | organizing & planning | coordinate logistics | management of teams | press office | partnerships | sponsorships | independent curator (urban art) events and exhibitions | a strong connection with several artists (national and internacional) in the field | vast knowledge of locations where artists act | connecting artists and collectors
Instagram page: https://www.instagram.com/laraseixorodrigues/
Interview Info:
Time: Feb 16 10:45 am
Place: Lx Factory
2 Underdogs Gallery- An art gallery in Lisbon that do both public art and indoor exhibitions
about: Underdogs is a cultural platform based in Lisbon, Portugal that aims at creating space within the contemporary art scene for artists connected with the new languages of urban-inspired graphic and visual culture, fostering the establishment of partnerships and collaborative efforts between creators, cultural agents, exhibition venues and the city, contributing to establish a close relationship between these and the public. Created in 2010 and consolidated in its present form since 2013, the Underdogs project rests on three complementary areas: an art gallery; a public art programme; and the production of original and affordable artist editions.
official website:
contact number:+351 218 680 462
opening time: Tuesday to Sunday, 11am – 8pm
Interview time: to be confirmed
3 The MAAT – Museum of Art, Architecture and Technology
about:
The MAAT – Museum of Art, Architecture and Technology is a new cultural proposal for the city of Lisbon. A museum that combines these three fields in a space for debate, discovery, critical thinking and international dialogue. An innovative project that brings together a new building, designed by the architect Amanda Levete, and the Tejo Power Station, an example of Portuguese industrial architecture from the first half of the 20th century, and one of the most visited museums in the country.
MAAT reflects the desire to present national and international exhibitions with contributions from contemporary artists, architects and thinkers. Contemplating great themes and current trends, the programming will also present diverse curatorial views on the EDP Foundation’s Art Collection.
Website: https://www.maat.pt/en/about
opening time:
Open from 12 pm to 8 pm
contact number: (+351) 210 028 130
4 Lx factory
about:
It is in the year of 1846 that the Company of Wiring and Textile Lisbonense, one of the most important factory complexes of Lisbon, settles in Alcântara. This industrial area of 23,000m2 was in the following years, occupied by the Industrial Company of Portugal and Colonies, Typography Anuário Comercial de Portugal and Gráfica Mirandela.
Website:
http://www.lxfactory.com/PT/lxfactory/
Bohemians may self-select into poor and working class neighborhoods, however, their dispositions are decidedly consumpolitan. Moreover, they are quite creative in re-imagining the spaces they occupy, often adding significant value by their presence. Despite limited economic means, artists are resourceful urban dwellers. In the past, bohemians in the city may have occupied a marginal space with relation to the mainstream operations of capital acquisition. however, it has always been a kind of priviledged marginality.
Thus, neo-bohemia incorporates young artistic and aspirants into the production of value well beyond that accounted for by formal art markets. From an economic point of view, most of the artistic activity in the neighbourhood produces a trivial amount of direct monetary gain. Few can sustain
themselves through pursuits like local theatre, musical performance, poetry, or paintings. nor do these pursuits in themselves generate much surplus value for others to extract. And yet, the concentration of artistic subcultures is crucial for the new accumulation strategies enacted in the neighborhood space. The paucity of direct economic returns does not make the arts unimportant to the local economy, rather, this importance is complex and mediated.
Lisbon Street Art and Artists
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An Interview With Adam Harper
What signs of gentrification did you observe while in Lisbon?
Hm, difficult to say. Superficially at least, I did note that many of the musicians and participants in the scene had something of an art school background. These sorts of connections and the atmosphere of bohemianism and being fashionable that can result are often considered the first stages of gentrification (be it urban environments or culture more broadly). In terms of urban environments, it was not wealthy suburbs where this stuff was happening.
Did you witness resistance to gentrification?
Not per se, but many of the people I encountered were somewhat politically aware about how culture can work.
What does this genre of music really mean to the communities who engage with it?
Such a big question! In the broadest sense, I think it means synthesising a sense of local identity and local experience from various kinds of global trends (Portuguese post-colonialism and other transatlantic club styles). For many of the musicians, it had gotten to the point where they were no longer imitating somewhere else.
Can you tell me more about Golden Mist and AVNL, perhaps what you perceived as their personal goals?
Golden Mist were quite ambitious about making a mark on the club scene, locally and globally, with relatively unique sounds. They were getting organised. AVNL is a little more informal – free releases, relatively spontaneous, pretty weird. It’s closer to the ‘fun / experimentation’ end of the spectrum than the business end.
Do you believe this music brings people together?
In a way, yes. But one could also note that lots of these people were more or less ‘together’ before they really got going with music. As it flourished, though, it was establishing connections locally and globally, especially through the internet.
How big are Principe in the club scene in Lisbon + to other producers?
Depends what you mean by ‘big.’ Principe are quite famously considered the most visible and exciting thing in the underground scene in Lisbon. Much of that is the international spotlight put on it by music shops and music journalism, of course. The Golden Mist and AVNL guys were well aware of it. But they’re still underground. Everyday people in Lisbon wouldn’t really go to Principe nights.
Do you believe that London is better than producing movements better than Lisbon and why?
Well, London has a larger population, even more diversity, and much more of a sense of history to its popular and underground music scenes. It’s the city of punk, jungle, garage and grime. It’s no surprise that the Lisbon people saw it as where they wanted to go. But another factor here is that London can be so large, competitive and challenging that the specifics of a local scene can get swamped, which is why Lisbon was becoming intriguing, I think. I wanted to imply that they should foster the Lisbon scene rather than leave, but it’s their call.
Do you believe that Lisbon cripples creativity? (Whether you believe this because of the economic crisis or something else)
That’s complicated. It could be argued that in some cases, unemployment and socio-cultural dysphoria can be a stimulus to creativity. Certainly, Portugal itself has been one of the countries to suffer the most from the economic crisis. But nonetheless, it seems to have made itself one of the most interesting cities for electronic music in recent years.
Can you expand more on Tiagos comments about people enjoying Kuduro but not admitting it – did you come across this? Why don’t people like to admit it?
You’d have to ask him, but I think alongside the idea among some audiences that Kuduro is a bit more stupid or crude of a genre are the dimensions of race and class. There’s often the sense socially that one should be listening to more ‘serious’ or more ‘cool’ music than immigrant party music. But it’s the ‘unserious’ music that becomes the new ‘cool’ music in time. Kuduro is caught in a moment when it’s cool enough to like, but not yet cool enough to admit.
In your opinion, why does everyone want to head to London or Berlin?
Because of the idea that there are major opportunities there for club music.
What did you observe about the economic problems while in Lisbon?
We saw some left-wing political posters and slogans, but being new to Lisbon it was difficult to say what might indicate economic problems. Certainly it didn’t have the atmosphere of busy capitalist success as London. Also, I remember buying loads of ingredients for a dinner we were cooking one evening, and the price coming out as (what seemed to me) really really cheap.
To what extent is the economy affecting producers?
People might be less inclined to spend money on music, live or recorded. But then again, being unemployed might give you more time for music…
What signs of precarity did you observe in Lisbon?
I would have had to meet a lot more people. But in almost any time or place, an emerging club musician or artist’s career can be pretty precarious.
Can you suggest any clubs/bars to view this music? (I will be in Lisbon for five days in march)
Well it’s been a few years for me now. A good way to find out what’s happening now and where would be to like people like Golden Mist, AVNL and Principe on Facebook, as well as the individual artists, and trawl their pages for the events, future and past, and the venues at which they were held, then look at the pages of the venues. There’s a lot you can find out by tracing social media networks – it’s how I write my articles.
What did you take personally from your time in Lisbon?
Between you and me, I felt a bit silly for going to Lisbon and *not* writing about Principe. And to be honest, in a related way, AVNL and Golden Mist were not as good of a story as I’d hoped to find in Lisbon. When I got there, I found that there really wasn’t as much of a scene as I’d thought, that they considered Lisbon music to be something apart from them, and that they wanted to go to London and Berlin. It also became clear how much the internet had mediated the relationships there, rather than the more local, physical factors you might expect. Hopefully I got that across in my article, at least implicitly.
But also, I was surprised to discover how lovely Lisbon was. It’s not really famous as one of the beautiful European cities like Paris, Vienna, Rome, Florence, Venice, Stockholm, but it really should be. Make sure you go to the cafe Pasteis de Belem for coffee and tarts!
An Interview With Pedro
When did this movement, Batida, begin and what influenced you to produce this style of music?
I do not relate with the narrative I guess you are mentioning. I picked this name because it stands for many things I relate with: it is a Portuguese word that means “beat” in Portuguese, it is related with dance, two things I can’t separate and, in Angola, the country where I was born, it was also used to name any pirate compilation made in Luanda on that time, with no narrowed genre associated. Just Angolan electronic dance music. Any person could use and adapt the name. I use it to present what started as a radio show, evolved to music production, video, then a live performance and is now my signature on most things I do.
Do you believe that the music you produce empowers the community around you?
I do it to express myself but also to provoke things around me. Mostly movement.
The main goal is to bring people together on a dancefloor.
How do people in clubs receive and react to the mixes that you play?
I have more requests to dj than to do anything else but I prefer to focus on the live representation of my music, as well as to work with dancers, images and other forms of expression. But djiing has been part of my life since I can remember. Things have evolved over the last years in terms of acceptance and ability to react to the kind of beats I like and produce. Though it is funny that the majority of people say they know and like Kuduro but they find it challenging to deal with straight kuduro or derivations of it on the dancefloor and usually prefer slower rhythms.
What motivates you to produce this music and to continue mixing genres together?
Love. Memory. Bringing people together. Doing whatever I feel like.
Do you ever work with other DJ/Produers in Lisbon, such as DJ Marfox, Firmeza etc?
Actually I have a free compilation for download on my facebook page with many local artists remixing my work since my first album came out. Marfox is on.
Does the geography of Lisbon (the poor transport routes from city to suburb) limit the spread of your music?
I don’t think public transportation is the main thing that limits the spread of music at this point. And music does not need downtown approval to exist.
Since the revolution and independence of former colonies, a big and fast demographic growth happened in this area and many bad decisions were taken, not only in Lisbon but mostly in all the surrounding cities - I guess you may be referring to all the cities and municipalities around Lisbon. The spread of music is done mostly over the web and through friends, clubs and dance schools. To make it more spread on the radio, press, clubs, etc it mostly depends on a new generation of programmers to come. You can feel it already. Slightly.
Do you find people visiting Lisbon to experience the genre of music you produce?
I don’t relate with a particular genre. I don’t see no genre that I feel that defines what I do. Dance Mwangole, Batucada, Lusotronic,… ? Labels do give names and create interesting press releases, journalists love it, twist it and make it their own, academics look for ways to justify the narrative, industry needs all this to sell and some audiences like to have a new trend in a box. Somewhere between all this, there are many different people doing different things. I guess the vast majority comes because of the fact it is not expensive, the nice weather, the light, the river, the beach being so close, the food so great, the people are friendly, for being a safe city with many historical references and places to visit but also for the nightlife. That does not imply a musical criteria and in that sense, mostly come for the more social dances such has kizomba, I guess. Kizomba is popular. What I and others that I like do, seems to be a more underground thing. But sure there are some people coming looking for that too. But if you come for the experience, you have to stay for some time and find your own way.
Would you say the genre of music you produce is the “Sound of Lisbon”?
No. There was once a project called The Underground Sound of Lisbon. They were a local and international hit way before any narrative started about dance music in Lisbon.
I saw online that you spent some time with Boiler Room with their “Stay True Portugal” project.
What was it like working with those guys?
Was nice to have that small focus on the city and great to be able to bring friends on stage. The documentary was an intense experience. Met nice people but for me it is impossible to narrow things in 5 minutes. Any exercise that does that it will always be violent for me : ) Was really nice to have a camera woman that could dance while filming though. But the best memory I keep of the Boileroom was my first session in London many years ago. Such a cool idea and vibe inside the room.
Do you believe that music corporations such as Boiler Room covering the music and dance culture within Lisbon is a positive step forward for this genre?
I prefer ideas and people to corporations. Boiler Room started that way. Now evolved to a more corporate condition due to its huge impact and the pragmatism of the world we live. Like the simplicity and original instinct behind the Boiler Room idea but the most important thing is what people can make out of it. Many brands are supporting artists, others are just trying to keep themselves in the picture as cool so they sell whatever they are selling. I guess it is always a bit of both since the early days.
Again, I don’t see Lisbon as a genre. Lisbon has an unique condition and synthesis. Any attempt to share information in a way that brings us closer and more informed about each other on this planet is positive but I hope watching it makes you coming and discover your own personal way and experience in the city. And if the African sounds are what really drives you, Lisbon is part of Africa too but I hope you do get to go Luanda, Praia, Maputo or Johannesburg one day, to get a bigger picture.
What does your music mean politically?
I don’t know. I just try to keep myself informed, aware and do not make any effort to leave my condition as a human and a citizen outside the creative process.
Has the economic crisis effected the production of your music in anyway?
It affected everyone on the most basic levels. It makes art more urgent. In my case it brought to light how close Angola and Portugal are close and financially and economically compromised at the time. So it was easier for more people to see the unavoidable connections between both countries, regardless of me being Angolan too or not.
Thank you for your interest in what I do. Boa sorte.
Background of Pedro Coquenão
Batida is the stage name of Pedro Coquenão, a radio, video and music producer born in Huambo, Angola and raised in the suburbs of Lisbon, Portugal. The name was inspired by the local pirate compilations that we can find on the streets of Luanda and its DIY spirit, where he returned only after the war was ended.
It all may have started when Pedro was only 8 and did his first song along with his cousins called “Surukundina”, that was presented in a small show to their family. In 2007, he started to develop Batida. After a successful local release in 2009 that was pointed as “one of the most relevant records done in Angola and Portugal” by António Pires, a referential portuguese music journalist, in 2012, he was picked by Soundway Records for an international release as the first new artist to be signed. Mixing electronic with samples from the 60´s and 70´s Angolan music, his first and self titled record was released with many praises from international media.
“This could be the record that changes the African Electronic Music on XXI century” - Songlines
“His work can be held up to the light of many angles” - The Wire
Pedro Coquenão likes music production as much as radio, video and documentary making, dance or creating his own masks. On his garage he is mostly alone creating but many of the tracks are made out of dialogues with other artists he loves. On stage he likes to be surrounded by other musicians, mc’s, dancers and video projections to help him represent each story. He works each individually, rehearsing drums on a special drum kit assembled by himself, developing choreographies with the dancers and creating moments for the MC’s. There’s also own made artefacts and props on the show, and the songs are contextualized by hand picked archive or own filmed images for each song.
The show was already presented on Summerstage, globalFEST, Lincoln Center, Kennedy Center, Roskilde, Pitch, Lowlands, Eurockéennes, Les Nuits Sonores, Les Suds à Arles, Transmusicales, Babel, three times at Eurosonic and twice at Glastonbury and Womad Festival (UK and Cáceres) and. Over the web Batida was the first Luso-Angolan artist to feature on Boiler Room, where he was already 5 times, the last two in Lisbon. One of them was in 2015, a memorable performance on Red Bull Music Academy Takeover Boileroom Lisboa. He was also invited twice for the Africa Express show, a Damon Albarn project. First at Fiesta des Suds in 2013 and in 2015 year closing Roskilde also, presenting songs that featured musicians from Gorillaz, Maximo Park, Magic Numbers, Bombay Bicycle Club and Damon Albarn himself. After that Batida remixed “Heavy Seas Of Love“, one of the songs from Damon´s first solo album.
His most recent album “Dois” was released later 2014, again by Soundway Records. Inspired by the Lisbon multi-cultural synthesis and the artists he met, as well by his return travels to Luanda and a very special experience in Nairobi for the 10 Cities project for the Goethe Institut. The new record was produced in his own studio-garage and includes a new serie of collaborations: “Luxo” with Spoek Mathambo and Duncan Lloyd (Maximo Park), “Céu” with François & The Atlas Mountains, “Pobre e Rico”, with Angolan legend Matadidi, and “Tá Doce”, with Lisbon´s AF Diaphra among others. The record reached #2 on the US New World CMJ.
In 2014 Batida was selected over more than 800 artists to present his show on Womex, the biggest international World Music showcase festival and was considered by the NPR Radio as one of the best 10 acts from this edition. Here’s a resume: Batida in Womex.
That year ended doing the support act on 4 Stromae big arena shows.
In 2015 he was listed for Best Artist, in the Songlines Music Awards, as well as for Best European Indie Album in the Impala Awards, and the show was considered one of the best festival shows by the referential music Magazine Les InRockuptibles: read article.
Pedro co produced the new Konono Nº1 album, with the band original producer Vincent Kenis, released in April 2016 named as “Konono No1 meets Batida”. The album was fully recorded in Pedro's garage-studio, and during that period they had the opportunity to play the first two shows together where some roughs of the recording sessions were presented along two exclusive versions of "Bazuka” and "Cuka". Beside all the amazing reviews on the press, the album reached number one at the CMJ, the United States College Radio Chart and they played some more shows together in France, Holland, Barcelona, Pirineus and Portugal.
Last year started with Batida being invited for two DJ Sets on the Brazilian Carnival, one in São Paulo and another in Recife on the Rec Beat Festival. He also played in Paris, London, New York, Nairobi, Lisbon, Porto, and had his premiere in Colombia in Festival Detonante.
In December he returned to NYC to present his show again, this time at the Lincoln Center.
2017 started with a another memorable performance at the Kennedy Center Millennium Stage, in Washington D.C., that ended with the crowd dancing on stage, followed by the globalFEST showcase, back to NYC, where he was the artist chosen to close this year edition at the Studio at Webster Hall.
After returning from NYC, Batida went straight to Eurosonic where he was twice before, to showcase a new performance called The Almost Perfect DJ.
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Press Contact:
press@batida.pt
