New Book Fights to Save Mozambique’s Marrabenta Music
LISBON – For decades, the high-energy pulse of Marrabenta has served as the unofficial heartbeat of Mozambique. Now, musician and author Costa Neto is on a mission to ensure the genre receives the academic and cultural respect it deserves with his new book, “Marrabenta – A Cadência de Moçambique” (Marrabenta – The Cadence of Mozambique).
Set to be presented this Friday in Lisbon, the book seeks to elevate Marrabenta from a popular street rhythm to a recognized pillar of national identity, placing it alongside global icons like Portugal’s Fado, Brazil’s Samba, and Cape Verde’s Morna.
“When we think of Portugal, we think of Fado; when we think of Brazil, we think of Samba,” Costa Neto told Lusa news agency. “There was a focused effort in those countries that led people to identify a specific genre with a national identity. Mozambique needs that same focus.”
Breaking Barriers and Rhythms
Marrabenta emerged in the 1930s and 40s in the suburbs of what was then Lourenço Marques (now Maputo). Its name is derived from the Portuguese word rebentar (to break or explode), a tribute to the frenetic footwork and intense energy of the dancers. However, despite its deep roots, the genre has long faced a certain “disdain” from academic circles.
Costa Neto, a composer and music producer who has worked with legends like Bonga and Cesária Évora, argues that Marrabenta is often unfairly dismissed as lacking theoretical depth. He aims to prove that the music is not just a cultural artifact, but a complex technical achievement.
“In Mozambique, there are many music academies and conservatories, but none teach national music,” Neto said. “The argument is often that there is no pedagogical material, or worse, that our music isn’t consistent enough to be taught. My book proves the exact opposite.”
The Beauty of the ‘Flaw’
The author’s research was sparked by a desire to understand the music he had performed “empirically” his entire life. He recalled hearing foreign musicians claim Marrabenta had a “rhythmic flaw” because the timing felt off.
“I realized that what seemed like a flaw was actually incredible rhythmic intensity,” Neto explained. “It is the crossing of two time signatures into one—a sophisticated polyrhythm. This technical richness is exactly why it belongs in conservatories.”
Combating Colonial Trauma
Beyond the technical, the book addresses the psychological impact of Mozambique’s colonial past. Neto observes that the Mozambican diaspora in Portugal often remains detached from its cultural roots, preferring music from Brazil or the U.S. at community events.
“There was an imposition of foreign culture that instilled the idea that our own culture was inferior,” Neto said. “In Africa, there are still very strong traumas regarding that past.”
By documenting Marrabenta in writing, Neto hopes to protect it from being “dispossessed” or forgotten. “Fado is protected; Morna and Samba are protected. Marrabenta lacks that protection. It is the vibration of Mozambique, cutting across all social classes.”
The presentation of “Marrabenta – A Cadência de Moçambique” will take place Friday evening at the UCCLA headquarters in Lisbon, featuring guest speaker and archaeologist Conceição Lopes.
Image: Pexels – alexandre saraiva carniato
