To spread and divulge folkloric themes that were fading away due to colonialism so Ngola Ritmos, still a small group, appeared with Liceu Vieira Días as the main guitar player and the rest playing with drums and acacia sticks as rattles.

They took great pride in this because they had finally taken their music to the neighbourhoods, the musseques as they called them to help their society to reclaim their social and cultural values and revert from colonially imposed norms to their own.

But one day after multiple years of success Nino, Liceu and Amadeu, caught by the police that at the time was called PIDE, were taken to the Tarrafal concentration camp.

[10] The term Massemba, a popular umbigada dance, performed by couples of dancers in a group, is plural of semba, the name that came to designate the most representative musical genre in the region of Luanda.

Danced in the street, on recess afternoons and moonlit nights, the Massemba, passed to the virtuosity of the guitars of Liceu Vieira Dias, José Maria and Nino Ndongo, giving rise to semba.

irregular beat" by Liceu Vieira Dias and semba, by the innovative proposals of José Maria and Nino Ndongo, in their most varied known rhythmic figures.

Semba, through the rhythmic proposals of José Maria and Nino Ndongo, came to be absorbed, in a line of continuities, by important later guitarists such as José Keno, from Jovens do Prenda, who says he was influenced by the generality of the music of Ngola Ritmos, Duia, ensembles by Gingas, Marito Arcanjo, Kiezos, the song “Rosa Rosé” and “Muá Pangu”, are two examples, Botto Trindade, from Bongos, guitarist who inherited the rhythm of Ngola Ritmos, through Carlitos Vieira Dias, son of Liceu Vieira Dias, Manuel Marinheiro, África Ritmos, Mingo, Jovens do Prenda, and Ângelo Manuel Quental, from the group Águias Reais."