MOZ'AICO
HISTORICAL-CULTURAL

MOZ'AICO
HISTORICAL-CULTURAL

Part 1
UNTIL INDEPENDENCE

PART 1
SCENE 1
“Yasuke”

The Japanese government reaffirmed, this Thursday, its commitment to cooperate with Mozambique for the development of both countries and peoples.
The position was expressed in the city of Maputo, by the Japanese Ambassador to Mozambique, Hamada Keiji, during the celebrations of Japan's National Day.
In his speech on the occasion, Hamada Keiji said that Japan will continue to cooperate with Mozambique in priority areas, such as education, health and human resources training.
On the same occasion, the Minister of Planning and Development, Salim Valá, praised the good relations of cooperation between Mozambique and Japan.

(on Radio Mozambique)

Your Excellencies may even think that the relationship between Japan and Mozambique is new… let me tell you that it was back in the days when it was just us and everything was ours. Once, white men came by and took our youngest brother, who was also the tallest, the darkest and the strongest. They took him to the Land of the Rising Sun, where Oda Nobunaga, the warlord, snatched my brother from the hands of the white men and trained, prepared and baptized him “Yasuke”… his personal bodyguard and the first foreign samurai in history.

Topic: Nkama kungana mpfula
National Song and Dance Company

PART 1
SCENE 2
“The Servants of the Mwenemutapa Empire”

In the beginning we were just farmers and hunters adapted to a fertile land that boasted large expanses of savannah and a huge variety of indigenous animals. We had our struggles and invasions. We are mixed race: we are Khoisan, we are Bantu descendants, we are Makonde, Macua, Yaos, Shonas, Tsongas, Chopes and Bitongas. We are aristocrats of the Zimbabwe Empire, we are servants of the Mwenemutapa empire.

Welcome to Mozambique, the land of cultural diversity.

Musical Theme: Ndjala yno
National Song and Dance Company



PART 1
SCENE 3
“Heritages”

Our land is the nursery,
free of borders and barbed wires.
Our land is Zumbo, the Ruins of Nhantekwe,
where we harnessed iron and caressed stone,
We are the ones who molded gold and exchanged it for salt,
for fabric, beads and porcelain,
We are the same ones who share habits and customs,
who practiced the art of welcoming,
We are the ones who wanted to learn,
who wanted to get to know,
We are the ones who also became…

Musical Theme: Patience
Deltino Guerreiro

PART 1
SCENE 4
“Saint for some, Calvary for others”

Some had good intentions, but others not so much.
It was appetizing; everyone wanted to control the trade that took place on the island.
Arabs, Swahili and many others wanted to take control,
they fought for it in bloody battles.
They left a graveyard of vessels loaded with rich intentions submerged.
And then came those who were not content with just trade,
those who appropriated the source
and protected it as if it belonged to them, with the help of Saint Sebastian.

Those who did not tire
and penetrated the interior,
the womb of the mother, and took everything,
and called us good people.

Yes, we are good people, but that does not mean they did not test our resistance; we fight everywhere.

We, Yaos and Macuas in the North, we, the Nyungués and Macenas of the central empire, we, Changanas and Mátsuas of the southern empire… and so many others…

Musical Theme: Ntolilo
Massukos

PART 1
SCENE 5:
“Timbila to the Cry of Humanity”

The Empire of Mwene Mutapa faltered,
the Nguni empire weakened and Ngugunhana capitulated…
living forever like this was not an option for us Chopes
we have never completely submitted ourselves to any domination.
Subjugating ourselves is not part of our being Chope.
If fighting with weapons is not enough,
we fight with our habits,
we fight with our traditions,
we fight with the strength of our culture;
we fight with the strength of our timbila
to the cry of humanity.

Musical Theme: Nhamathsethse
Chenny Wa Gune

PART 1

SCENE 6
“I Eduardo Dreamed of the Land”

It didn’t take long for us to realize that it wasn’t fair, that it wasn’t enough. That the land belongs to us and that we want it back. All of it and all of us. And united. A voice was heard shouting loudly. It was Eduardo Mondlane calling the dreamers of our free and independent land.
(Shouting) My people from the North, my people from the Center, my people from the South, all together, one force, let’s dream of the land, let’s dream of the beloved homeland, we will win.
(In a low voice) From the plateau, from the lands of the North, from the Makonde forests, the shot rang out and the war began… Mapiko universal heritage.

Musical Theme: Ximbombo
Casimiro Nhussi

PART 1
SCENE 7
“The Waves of Inspiration”
The war was blaring in the eyes of the people, with those same eyes that fear forced to look with one eye on each side. The ears were distributed between the radio and the door of Dona Ana's house, while the news of the war was heard on the radio from Nachingueia. There were traitors everywhere.. On the other hand, only the resilience of the waves of that radio, which tore through 3,000 km of intrigues, prisons and torture, maintained the belief in victory. Only those waves could inspire other fighters and other forms of combat. The story goes that, in colonial times, taking advantage of the colonists' ignorance about the existence of that radio, the composer and interpreter of Marrabenta, João Domingos, would play the FRELIMO radio's sound signal on his guitar to call his colleagues who were scattered among the audience at the fairs of the time.

Musical Theme: Anatchuabo / Apachae
João Domingos

PART 1
SCENE 8:
“Packaged War”

José Craveirinha, Malangatana, Bertina Lopes, Shikani, Rui Nogar, Ricardo Rangel, Alberto Chissano, Luís Bernardo Honwana. War was everywhere: in people's voices, in the words carefully woven into songs, in the love and passion that inspired poetry; The war was not just about guns and cannons. The war came packaged, hidden in the pages of books, in the book that killed Mondlane.


PART 1
SCENE 9

“Everyone’s Dream”

Those who think that by killing people, their ideals are killed are mistaken. The death of Eduardo Mondlane immortalized his dreams and more Mondlanes were born, and the charismatic figure of Samora Moisés Machel gradually emerged. The war intensified and the pressure on them increased. From Ntsindza came several elements that believed in Mondlane’s dream. Some went to the bush, others, right there in the city center, put pressure through dances and their works.

Musical Theme: Unga Ni Ganguly
Wazimbo



PART 1
SCENE 10:
“Celebration”

Those who lived in the comfort of our beloved homeland still tried to resist immediate independence; Others came up with the idea of ​​an independent state, but led by them, and there was even an attempt to use force, but there was no turning back. We celebrated independence on June 25, 1975.

If you come back today at 6:00 p.m. sharp... you will know what happened to our culture in these 50 years...

Musical Themes: Elisa We, Bambatela Sábado and Laurinda
Conjunto Jambo


MOZ'AICO
HISTORICAL-CULTURAL

Part 2
50 YEARS OF INDEPENDENCE

PART 2
SCENE 1

“Culture is Strong and Resilient”

Welcome to Mozambique... yes, Mozambique. Here we are in Mozambique, in Japan, in Osaka, because the land is represented by its culture, and better than Japanese, to make this very clear, there is no one better than Japanese.

We have just told our story, the struggles to recover our land, our customs and our culture, similar to Japan, which had its struggles for its land, its customs and its culture, which prevails to this day. That is why we remind our high dignitaries and the high dignitaries of Japan that this relationship dates back to the time of the first black samurai in history...Yasuke.

But let us now remember that the attempt to purge our culture did not work. Because it is strong and resilient, just like the struggle that led us to the independence proclaimed on June 25, 1975, leaving us with enormous challenges.

But there was something that had to be recognized as becoming representative: the styles of music and dance that merged with the traditional ones, and resulted in marrabenta and its derivatives....

Musical Theme: Music - Marrabenta Phalafeni ni Gasolina,
Antônio Williamo


PART 2
SCENE 2
"Plan: Recovering Identity"

We need to recover our identity; we need to start preserving and valuing our cultural heritage. Measures were taken.

The 1st National Festival of Traditional Song and Music was created, the best artists from all over the country were selected and brought to Maputo. It was the first time that the cultural strength of our country was seen. The first time that there was contact with the sounds of instruments from other corners of the country. This festival, which still exists today in a broader form and under the name of the National Culture Festival, was a milestone. However, creating the National Singing and Dancing Group, which later took the name of the National Singing and Dancing Company, with the purpose of researching, preserving and promoting the artistic and cultural manifestations of Mozambique, was a brilliant decision.

Musical Theme: Ndjala yno
National Singing and Dancing Company


PART 2
SCENE 3
“In the Service of Musical Heritage”

Traditional song and dance were already covered by the festival. However, for music, we needed to find a balance in urban areas, both to accommodate the prominent musicians who were already active in the nightclubs and to take advantage of their prominence to increase the quality of recordings by traditional musicians. From this initiative, the RM Group was formed, incorporating some of the best artists in the capital, among them an enigmatic figure who crossed the continent and crossed eras with his voice, leaving an indelible mark on Mozambican culture: Wazimbo

Musical Theme: Nwauluana
Wazimbo



PART 2
SCENE 4
"Socio-Cultural Movements"

It was It was a time of great hope for the creators of our culture, because we implemented several actions to restore and enhance our cultural heritage. For example, the visual arts gained a museum and highlighted artists who valued sculptures and paintings with Mozambican themes. Malangatana Ngwenya and Chissano stood out.

In literature and poetry, with José Craveirinha as an icon of the revolution, we introduced Mozambican authors into the school curriculum and encouraged resistance literature, portraying the experiences of the struggle for independence.

Theater and cinema played a leading role in the production of plays that served as tools for education and social awareness, portraying the challenges facing the country. Film screenings and educational plays were held in community spaces. But the greatest highlight was the Kuxakanema documentaries, which covered almost everything that was happening in these same communities. In music, at that time, there was a show called Raízes, in which all the musicians working in the capital would get together. There were 9 days of music and then the most emblematic band of all time in Mozambique exploded: Ghorwane, which President Samora called “The Good Guys”.

Musical Theme: Xizambiza
Ghorwane

PART 2
SCENE 5
“From Mozambique to the World”

This was the time when bands led our music and, in a way, our culture... From Grupo RM, for example, the Marrabenta Orchestra was created and became a must-see at several festivals around the world.

Musical Theme: Nwety
Mingas



PART 2
SCENE 6
“Culture Everywhere”

The engagement in the music sector in favor of our culture did not stop there, accompanied by theater. Several public and state companies, or social organizations, had to have the cultural component as a driver for social engagement. The Cénico group of the CFM, the Mbila group, which was supervised by the OJM, the Makwaela group of the TPM, the Girassol theatre group and the Pétalas Amarelas group of the Continuadores Organisation, and the 1º de Maio group of Quelimane, which are perfect examples, stood out from this perspective. It was a time for the groups and they stood out, and the Eyuphuro group stood out in the world.

Musical Theme: Kieine
Eyuphuro



`
PART 2
SCENE 7
“Ngoma Moçambique – 38 editions”

At that time, we were going through difficult times. During the 16-year war, Rádio Moçambique played a leading role in promoting our culture, not only through music programmes that showcased artists and works from various musical styles from all regions, but also by broadcasting radio theatre plays over its antennas, with Ngunga standing out. But the great success was the Ngoma Moçambique hit parade, which has, to this day, played a very important role in the materialization of national unity, so much so that the deserved first winner was Madala from Central Mozambique.

Musical Theme: Xiripo
Madala


PART 2
SCENE 8
Samora Moisés Machel

In 1986, Samora Machel Dies

Music: Hambane
Popular


PART 2
SCENE 9
"Artists Carry the Voice of the People"

The cultural policies implemented by Samora's government, even though fraught with difficulties, highlighted several artists in the visual arts and literature. The painters Naguib, Eduardo White, Ungulani Ba Ka Khosa, Pedro Chissano, Reinata Sadimba and many others stood out. After the death of President Samora, Joaquim Alberto Chissano was elected president. His mission was to take the country out of war and try to restore prosperity, adopting a market economy and, naturally, opening the country to the world.

Television, which had already gone from experimental to TVM, played a cultural role through soap operas and music video programs, inspiring Beats and Breakdance dance groups. In the early 1990s, Mozambique was among the African countries that pioneered the introduction of the Internet and information technology. With it, young people began to emerge, bringing these global music movements, through rap and house music. However, light music was the one that took over the most musical space at the time. With the support of Ngoma Moçambique, Top Feminino on Rádio Moçambique and Masseve on TV, artists such as Dimas, Camal Jivá, Imamo Agy, Safira José, Júlia Mwito, David Mazembe, Madala and many others dominated the airwaves and stages.

Musical Theme: Chabuba
Felipe Nhassavele


PART 2
SCENE 10
“Youth Movements”

Even so, those 90s were difficult for all cultural activity. The need to achieve economic recovery required all attention, and the sector went through an almost complete cultural stagnation, with some exceptions that occurred in the late 90s, with the emergence of private music studios largely supported by computer technology, and movements generated by young artists with international influences also emerged: Mc Roger, Swit, Fill Babe, Rockfellas stood out in this area, but the group that completely snatched the spotlight was Kapa Dech.

Musical Theme: Xankoma
Kapa Dech

PART 2
SCENE 11
“Marrabenta Prevails”

We were at the beginning of the 2000s. The success of Kapa Dech encouraged many young people to join and follow this path of typically Mozambican music. Timbila Muzimba, Djaaka, Projeto África, and later Mussodji, were part of this legacy that, strictly speaking, was left by Ghorwane.

In 2002, the National Culture Festival resumed with the 2nd edition and, in 2005, President Armando Emílio Guebuza took power, with a very nationalist stance and notoriety for investing in infrastructure, including cultural infrastructure. The School of Communication and Arts, the resumption of the National Culture Festival and the holding of festivals on the beaches from the North to the South of the country, festivals that are now extended to other forms of culture, such as gastronomy, fashion, among others, are an unequivocal demonstration of a government focused on the recovery of cultural values ​​and more.

In this same period, mobile phone operators already function as new economic players and, with their financial muscle, these operators begin to support the introduction of new trends in the market in almost all cultural areas. In these new trends, youth music has been very prominent, with young people experimenting with the fusion of modern international rhythms with Marrabenta. Thus, Pandza and Dzucuta were born. Even so, marrabenta, with new nuances, continues to stand out. The voices of Stewart Sukuma and Neyma are a clear example of this.

Musical Theme: Ndzimene
Neyma
PART 2
SCENE 12
“New Sounds”

The history of our culture in these 50 years of independence had its most dramatic moment during the decade from 2014 to 2024, with emphasis on the outbreak of the pandemic, which completely disrupted several cultural activities, resulting in yet another hiatus in festivals, plays and all group activities. But it was also during this period that all the investment in communication infrastructure stood out, becoming the greatest support for musical artists, who used it to stay active.

Recording technologies also provided the democratization of music, allowing artists with few resources to create, produce, mix, edit and even distribute their works worldwide, without the need for the big industry giants. This technological movement brought to the fore other players from various provinces in different forms, with varied influences. Artists like Mr.

Musical Theme: Ettuniya
Deltino Guerreiro



PART 2

SCENE 13
A Young and Universal Culture.

Our 50-year history was almost over when, from the most hidden possibilities, we were surprised by other new trends coming from the provinces, whose core is centered on the infusion, using information technology, of rhythms and melodies from this beautiful and vast Mozambique and its diversity of flavors taken from the depths of its roots... all of this that is provided to us through social platforms...

Our culture is this and much more. It is rich and powerful. Our culture is young and universal.

Musical Theme: Jindji Jindji
Artist: Cheny



PART 2
SCENE 14
Wazimbo – An Example for Every Young Person

But our young country has a culture with the strength of longevity, which persists, is resilient and serves as an example for every young person.

Musical Theme: Shoemaker
Wazimbo


PART 2
Scene 14
“History is Built, Culture Prevails”

This is how we tell the culture embedded in our history... or do we tell the history embedded in our culture? We don't know... it is certain that history is built and culture exists like the Sun that never sets... like in the land of the rising Sun.

Thank you very much.

ELENCO

MÚSICA

TEATRO

DANÇA

Onésia Muholove - Voz
Pauleta Muholove - Voz Wazimbo - Convidado EspecialDeltino Guerreiro - Convidado EspecialCheny Wa Gune - Convidado Especial
Stélio Zoé - Bateria e Efeitos
Nelton Miranda - Baixo
Djivas Madeule - Guitarra
Nelson Pimenta - Percussão
Ebenezer Sengo - Guitarra 
Tony Tembe - Coros 
Gigi - Coros 
Filipa - Coros

Zé Pires - Teclados, produção  e direcção geral

Horácio Guiamba - Narração ﻿

Arejústel Ananias Santinho Mulimela
Custódio Jossefa Sitoe
Anneliese Erwin Huber
Leonor Newasse Paulo Moiane
Alexandre dos Santos Chilaule - Coreógrafo 

Moz'Aico - Histórico-Cultural

Criado e Dirigido por

Zé Pires

ELENCO

MÚSICA

TEATRO

DANÇA

Produção

Elenco Técnico