{"id":37692,"date":"2017-11-08T06:00:44","date_gmt":"2017-11-08T09:00:44","guid":{"rendered":"http:\/\/www.rioonwatch.org\/?p=37692"},"modified":"2018-01-15T13:11:27","modified_gmt":"2018-01-15T16:11:27","slug":"the-maputo-rio-connection-part-3-culture-and-memory-across-the-atlantic","status":"publish","type":"post","link":"https:\/\/rioonwatch.org\/?p=37692","title":{"rendered":"The Maputo-Rio Connection Part 3: Culture and Memory Across the Atlantic"},"content":{"rendered":"

Clique aqui para Portugu\u00eas<\/em><\/strong><\/a><\/p>\n

This is the final article in a\u00a0three-part series<\/a>\u00a0on the connections between Rio de Janeiro\u2019s favelas and Maputo\u2019s cani\u00e7os, focusing on history, land regularization, and culture.<\/em><\/p>\n

The first article<\/a>\u00a0in this series drew a parallel between Rio de Janeiro\u2019s favelas and Maputo\u2019s cani\u00e7os<\/em> in terms of their emergence and their roles in divided cities, while the second article<\/a> focused on the common challenges faced by these communities. But despite the challenges, like favelas,\u00a0cani\u00e7os\u00a0<\/em>are a space of intense cultural activity<\/a> and immense creative potential. Just as funk<\/a> music is the cultural flagship in favelas, marrabenta<\/a> is a typically urban rhythm commonly associated with these Mozambican communities. But the similarities go far beyond that. For example, kizomba<\/a>\u00a0is\u00a0<\/em>a couples’ dance from Angola and Cape Verde that is also widely enjoyed in Mozambique, and in which dancers move back and forth as well as side to side.\u00a0Cani\u00e7os<\/em>\u00a0are Mozambique’s space for\u00a0kizomba\u00a0<\/em>and for dances that were developed as forms of colonial resistance and which were brought from various parts of the country. Likewise, favelas are Rio’s space for samba<\/a>, rap<\/a>, and jongo<\/a>\u2014also dances and practices of resistance<\/a> that combine knowledge from various elements of the flow of migrants into the big city.<\/p>\n