The music of Cape Verde incorporates African, Portuguese, Caribbean and Brazilian influences.

Music is in the blood of all Cape Verdeans, it is the maximum expression of their soul. From birth, children live surrounded by music that they immediately learn to love.
The typical basic instrumentation consists of the solo violin with accompaniment of guitars, accordion and cavaquinho (small guitar characteristic of Cape Verde), but many sounds are obtained with imagination in the strangest ways, like clapping one's hands on cotton cloths held between the legs.

La Morna, certainly the most popular musical form thanks to the international success of Caesarea Evora, has many affinities with the Portuguese "fado" and with the Brazilian "modinha". The morna is characterized by the harmonious structure, the use of rotating chords, the sinuous melody and above all for the rhythmic and syncopated base, often emphasized by the characteristic cavaquinho sound. Born on the island of Boa Vista, the morna spread first to Brava and then to S.Vicente, becoming a form of national song in which the deepest feelings of Cape Verdeans were gradually identified.

The Batuko is a frenetic and sensual dance, traditionally performed by women, which leads the dancers to simulate the sexual act in a hypnotic crescendo punctuated by percussion, singing and countermelody. the Portuguese saw in the batuko a dangerous vehicle of revolt and for many years forbade their execution.

La Coladeira is one of Caboverde's most famous rhythms. Derived from the morna but faster and more playful, probably a fusion between different genres, some ancient and others still played on holidays, others modern with European and South American imprint.

The Colasanjon is a very particular rhythm derived from the Batuko but with much more accentuated movements, very used to mark the rhythm during the day of celebration with drums and tambourines.

The funanà is a rhythm that makes the blood run wild, it was once the music of the fields, rustic and liberating. Characteristic of the island of Santiago, played only with the accordion, while the rhythmic accompaniment is produced by rubbing a knife on a metal bar. Many witnesses report that he was born in the last century, and others say that the funanà is nothing but the synthesis of the names of two musicians Funa and Nana with which their music was then identified.

The Landum is a traditional rhythm that is danced in wedding parties, where before the groom and the bride, then other guests, take turns in the middle of the runway inviting the favorite girl and courting her with very harmonious movements as if to embrace the chosen girl.

The Mazurka is another of the traditional rhythms, completely different from the European mazurka, but just as beautiful and nice to see and hear.

La Passada, a close relative of the African "Zouk", is the rhythm that young people like the most, played by dozens of local artists who produce a considerable amount of CDs. It's a rhythm to dance melee in small discos open until dawn.

Valsa is one of the most ancient rhythms, very similar to the European Waltz, still danced in the most traditional festivals, its greatest performer and the famous Caesarea Evora.

Among the most popular artists abroad are Cesária Évora, a traditional interpreter of morna and Ildo Lobo. There are also several artists born abroad, but of Cape Verdean origin, well known in the international scene; among these Lura, who plays typical sounds of the archipelago contaminated with jazz and Brazilian music, the jazz pianist Horace Silver, musicians Paul Gonsalves and Paul Pena as well as the Tavares brothers, r & b-soul musical group.

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