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Carib News, Feature >>
- By William Fartington
Ma'bem di Fora, is Cape Verdian Creole, meaning I've Come From Far Away. It is a classifliCape Verdian song and title track of a new CD by Lura and true of the Cape Verdian singer as she recently walked into the strong spotlight of Monmouth College's Pollak Theater. In the harsh light she embodied both the beauty, strength and vulnerability of her people on the small chain of islands in the Atlantic, 300 miles off the coast of Senegal and the urban European she was raised in.
Earlier Lura told Carib News that Ma'bem Di Fora (I've Come a Long Way) is a song she remembers from her childhood in Portugal, a fast paced dance rhythm called funana written by Alberto 'Katchas' Martins. At the heart of the upbeat saucy song are two questions "Where are you from?' answered by What do you mean where am I from?' The title is the laughing chorus response.
The spotlight shining on Lura later gave way to a wanner even lighting illuminating the whole stage where she was backed by six piece band. The music said something about where Lura's heart is at the moment. The straightforward stories painted pictures -of the difficulties and joys of life in the Cape Verdian islands.
In performance the band led by Toy Viera on piano, stuck close to the heart of the spacious rural rhythms, yet the accordion which is the standard instrument for these dance rhythms, and which Lura performed on in earlier visits, was also missing. Percussion instruments backed the vocals on the faster dance rhythms and accentuated the African roots of the music. Lura, who was born and lives in Portugal, identifies closely With the rhythms of Santiago, the island with the strongest African cultural connections, particularly Batuku, and Coladeira and Funana. Lura's rich and vibrant voice mes merizes and enchants on the CD but in per formance it conveyed the raw emotions, joy ous or sorrowful of the music.
From the opening song, the self written So'Um Caritinha she established a sense of intimacy with her audience. The hand clap driven traditional Mazurka Mari D'Ascencon followed featuring interplay between gui tarist Auras and Guillame Singer on violin taking the place of the accordion. The simple folk song that talks about where she lives and where she is going and conveys the message that its a rugged road to travel.
Oh Naia' featured Lura accompanying herself on the Ferro, or metal scraper, provid ing a sharp fast rhythm to the funana beat. A humorous take on Orlando Pantera's Vazulina in which the audience was encour aged to participate singing the chorus Vazu- Lina to mixed but enjoyed Dramatically slowing the pace, the next song Ponciana, told a story of young love from the mother's perspective that mixes sadness with a quiet joy because, Lura told us "Although things did not go as expected, love won out."
As-Agua a mournful ballad recounts the hopes of a planting season dashed by lack of rain. Camin dl Bo Sorriso featured solos by Russo on bass, Viera, and Kau on drums. Raboita Ruben Manel, another Batuku writ ten by the late Orlando Pantera had Lura beating the , a tightly rolled Loincloth held between her knees as women did in seated circles, when all drumming was banned before independence, and was per formed only by groups of seated women dur ing their daily activities on Santiago. The song celebrates the revolutionary importance of women who in 1910 revolted against repressive agricultural laws and demanded equality. Women could not own property at the time or even harvest wild pulgiera seeds.
Cape Verdian rhythms, like its Creole lan guage are from a variety of sources. In the islands, Lura told us Rhythms are played for particular occasions and are specific to par ticular islands. Romaria (Pilgrimage), a fanjon rhythm, is street music associated with the cel ebration of a catholic holiday. Mamba desbes Cumida featured the Conga playing of Jair to which Lura danced the Tomo' followed by the rousing funana'Fiticio di Funana had the audi ence up and dancing along with Lura to spellbinding percussive beat that ended too soon for many. Following the show Lura signed posters and CDs.
The difficulties of life in the islands have made emigration and its pains common to Cape Verdians who now are spread across the world. Many have reconnected to their culture. Lura says "The place my family came from is a recent discovery for me and fell in love with the islands. It is very impor tant to have someone sing our thoughts. We are rich in music, culture, rhythms. I try to sing the little things of the daily routine, the beautiful things, the simple things."
Lura is part of a cultural renaissance led by a generation of young artistes born after the islands' Independence from Portugal keeping the traditions alive while pushing them in new directions.
Among others Sara Tavaras, Tcheka, Suzanna Lubrano, Shokanti are also explor ing the culture that unites them. While Lura speaks about her roots and creole heritage, one does not have to know anything about Cape Verde to feel the music. From the open ing Chorus these rural rhythms are trans formed into pop songs of subtle elegance, all beating with Cape Verdian heart.
04/25/07
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