When Cape Verdean singer Carmen Souza was a child, she often heard the word "ariope" whenever she took too long to get ready for school or family gatherings. It wasn't until much later that Souza learned this Creole term was derived from the English phrase "hurry up." "We have so many words that derive from British English," she explains, citing examples like "fulespide" for "full speed" and "streioei" for "straightaway."
Now, "ariope" is one of the eight tracks in Souza's new album 'Port'Inglês', which translates to "English port." This album delves into the little-known history of the British presence in Cape Verde that dates back over 120 years—an exploration that began as part of her master's degree research. "Cape Verdeans are very connected to music—we always say that music is our biggest export," Souza notes, wondering about the potential musical influence of British settlers.
Carmen Souza, a jazz singer-songwriter and instrumentalist, faced a challenge due to the scarcity of historical recordings from the colonial era. However, she did discover some fragile recordings made in the 1930s by American ethnomusicologist Helen Heffron Roberts. These early tapes exist only on delicate wax cylinders housed at Yale University. Instead of simply rearranging old music, Souza and her partner Theo Pas'cal decided to create original compositions inspired by the stories she unearthed.
The result is a unique blend of jazz with traditional Cape Verdean styles, such as funaná—played with an iron rod and knife—and batuque—a form of African drumming traditionally performed by women. São Vicente's Mindelo port played a pivotal historical role as a key refueling station for British steamships in the 18th and 19th centuries, transforming Cape Verde into a thriving crossroads for trade.
The British settlers arrived seeking cheap labor and resources, leading to extensive development of roads, ports, and other infrastructure. With the abolition of the slave trade, however, Cape Verde faced economic decline until the arrival of British merchants spurred a resurgence. Both Souza’s family history and her research revealed personal connections, particularly to her grandfather, who worked at Mindelo's port loading coal onto ships, inspiring the song "Ariope." This song contains the refrain urging the youth to hurry as British sailors, weary of waiting, impatiently call for "fulespide, streioei."
Throughout her life, Souza has embraced her Cape Verdean roots while living abroad in Portugal and now London, where she is part of a vibrant diaspora. With approximately 700,000 Cape Verdeans abroad, the music and culture have continually evolved, drawing influences from both domestic traditions and foreign expatriate communities.
Souza's exploration also led her to the influential composer Francisco Beleza, known for his contributions to the morna genre that encapsulates the sorrowful spirit of Cape Verde. His admiration for British culture, and his actions during World War II, demonstrate the complex legacy of colonial relationships. For instance, Souza's song "Amizadi," blending funaná and jazz, reflects the intertwining of these cultural influences.
Despite the colonization's challenges, ports like Mindelo became vital hubs for musical exchange, allowing artists to assimilate foreign sounds into Cape Verde's rich musical tapestry. As Souza strives to revive interest in older rhythms that are fading away, her album 'Port'Inglês' aims to inspire the younger generations to engage with traditional genres in innovative ways, bringing elements of jazz and improvisation into the mix for a fresh take on the sounds of their ancestors. Fans can look forward to experiencing this vibrant musical journey when 'Port'Inglês' is released through Galileo MC.
