Coladeira
The coladeira (Portuguese pronunciation: [kulɐˈðɐjɾɐ]; Kabuverdianu: koladera, [kolɐˈdeɾɐ]) is a music genre from the Cape Verde islands in the central Atlantic Ocean.
It is characterized by a variable tempo, a 2-beat bar, and (in its most traditional form) a harmonic structure based in a cycle of fifths.
According to oral tradition, the genre originated in the 1930s when the composer Anton’ Tchitch’ intentionally sped up the tempo of a morna.
Generally, the subjects that the coladeira talks about are satires, social criticism, jokes and playful and happy themes.
A medium-sized band may include besides a guitar (popularly called “violão” in Cape Verde) a cavaquinho (that plays the chords rhythmically), a solo instrument besides the singer’s voice and some percussion.
According to the oral tradition,[5] a new musical genre appeared in the 1930s when the composer Anton’ Tchitch’ intentionally speeded up the tempo of a morna.
Someone in the crowd is said to have shouted “já Bocê v’rá-’l n’um coladêra” (you have transformed it in a coladeira), i.e., a morna performed with the tempo and liveliness of a koladera.
In terms of musical structure, the coladeira began to slowly lose the traits that used to identify it with the morna.
[6][dubious – discuss] During the 60s-80s, Haitian artists and bands such as Claudette & Ti Pierre, Tabou Combo, and especially Gesner Henry alias Coupe Cloue, and the Dominican group Exile One, were very popular in Africa.
[citation needed] Exile One was the first to export cadence or compas music to the Cape Verde islands.
[citation needed] Tito Paris's "Dança mami Criola", from 1994, is a good example; this CD features music close to Haiti's Tabou Combo, Caribbean Sextet, Exile One, Tropicana and the French Antilles' Kassav'.
Being a derivative of the morna, it is natural that the coladeira shares some characteristics with the former, as the harmonic sequence, the verse structure and a varied and syncopated melodic line.
That is due to the presence of two opposite styles[3] in the '50s of this variant of the coladeira, that correspond to the preference of certain composers: the “Ti Goy style”[3] has a slower tempo (moderato), a simpler melodic line, the traditional 3 chords series, the use of rhymes and a more sarcastic thematic; the “Tony Marques style”[3] has a quicker tempo (allegro), a melody well adapted to the rhythmics, a richer chord progression with passing chords, and a more varied thematic.
It is a variant of the coladeira with a slower tempo (andante), simpler structure than the morna, the rhythmic accentuation of the melody is on the first beat and the last half-beat of the bar.
In the 1980s, the cape verdean diaspora living in Europe and North America have influenced the traditional "coladeira" with Compas (or Kompa in Haitian Creole) to create a version of zouk called Cola-zouk, a similar compas (kompa) fusion of the French Antilleans zouk",[9] Later, the new generation who grew up in Cape Verde featured a slow mixed version of electric pop music with Cape Verdean music styles, a light compas called "cabo love" or "cabo zouk".
[10] This light compas has become popular in Portuguese speaking countries of Africa, Brazil and the rest of the world.
[11][12] Cape Verdean Zouk And its transcendence into Ghetto Zouk Music: singers and producers include Suzanna Lubrano, Atim, Nilton Ramalho, Johnny Ramos, Nelson Freitas, Mika Mendes, Manu Lima, Cedric Cavaco, Elji, Loony Johnson, Klasszik, Mark G, To Semedo, Beto Dias, Heavy H, Marcia, Gilyto, Kido Semedo, Ricky Boy, Klaudio Ramos, M&N Pro, Gilson, Gil, G-Amado, Philip Monteiro, Gama, Juceila Cardoso, Djodje, and Denis Graça.
