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So, as fans and makers and thinkers on music, I think
we have to acknowledge the way that sound
across time
and around the world
has penetrated the human body
these are very blessed times
I think for music but also for dance
and rhythm and movement
and the ecstasy of physical
expression is a crucial part of
what our next guest
gives to the world, so please welcome
from Luanda, Angola, the
queen of kuduro, Titica.
Hi!
Hi, guys!
Also just for people who are watching at home
we are working
with a simultaneous interpreter
here for this lecture, so you may notice
a little bit of a delay
in the relay of information.
Bem-vinda!
Thank you, I'm Titica, an Angolan singer.
A trans singer from Africa,
I think it would be nice to begin with
an introduction to kuduro.
and to your music.. So let's play
the first video
This came out in 2011 and it is your
hit single <i>Chão</i>.
So, that was Titica's video for <i>Chão</i>.
What memories were you thinking of?
It's true!
Hopefully that gives everyone in the room a bit of kuduro's pulse.
Titica, how would you define kuduro? Titica, how would you define kuduro?
It's not just music. It's also dance.
The translators
I can hear now.
Ok! I can hear now.
I can hear now.
Because it's just not music. It's also dance.
I define kuduro as dance, joy, it is a style.
It depicts our reality in the ghetto.
Kuduro used to be highly marginalized.
And we broke this taboo.
Why was it marginalized?
Because lots of those involved with Kuduro
had delinquency issues and led a bad life.
Then they had to find a way to survive.
It represents how this live
Kuduro represents freedom of expression.
People were discriminated against
because of what they looked like: People were discriminated against
big earrings, the hair, impressive clothes
Kuduro was made taboo to some people.
Thank Got we are changing this.
Kuduro is dance, Kuduro is joy.
It depicts our reality, in the outskirts.
What are some of the key musical elements of
kuduro?
The key musical elements of kuduro
Kuduro has sugar in it.
Semba is also an important element.
As well as the beats and influences
from Congo.
So zouka and semba.
and the beats from Semba. Semba.
Semba
Before kuduro. Sorry?
It found its origins in semba.
Eduardo Paim was the first to sing kuduro.
He has been one of the zouk giants.
and also a major influencer.
Then we also have Tony Amado and Sebem.
They were the kings of kuduro?
And that is still true today.
They are great influencer.
Why was dance so crucial to
popularizing the sound with the people?
The dance is very important.
Kuduro without dance is no kuduro.
Then you need to come up with moves and
the responsibility of coming up with moves
both for women and men.
Kuduro requires an attitude.
An the dance must be above all different,
more exotic and feminine
but also masculine for the two of them.
And there is no kuduro without dance.
You got your start with kuduro as a back-up dancer.
working with other artists.
Can you tell us about that experience?
I was a ballet dancer before I started singing.
traditional ballet dancer and I was a big fan of
Própria Lixa. I was a traditional dancer.
And then Fofandó started singing.
One of the greatest contributors to kuduro's female singers.
I followed Própria Lixa and we were friends for 3 years.
After that I was one of Própria Lixa's ballet dancer.
May God rest her soul. She is no longer among the living.
I danced for them for 3 years.
People started liking me. I won them over.
Dance brought me fame.
because of the acclaimed singers.
I danced for them.
The show was live and this made me nervous.
Alicia and Noite & Dia are renowned singers.
They're queens of kuduro and I danced for them.
for a long time.
And that is how people got to know me.
So, we'll get a little bit into your shift to
becoming the queen of kuduro
yourself in a bit but I also want
to provide just a little bit more
kuduro context
the music kind of emerged
in the 80's amidst
the Angolan civil war which lasted
almost 30 years from 1975
to 2002
Can you tell us why this
music became kind of
the folk sound of the people?
Because during the war we did
not have recreational opportunities.
Our fun, joy and expression
portrayed our society
what we experienced through music.
Through kuduro. The Angolan people is a happy one.
Angolans love music.
We love to lead a good life.
Those were very, very sad times
in the country. And the only way to
have some fun was through our music.
It showed us our reality.
It was about how supportive and good our country is.
How it helps us face the hurdles.
There are other sounds and rhythms
that are also kind of indigenous
to Angola such as semba and kizomba?
Which are the sounds that kind of move
at a slower tempo than what we heard here?
Why do Angolans, or maybe even young
people, I think, identify more strongly with
kuduro? And maybe can you talk a bit about
how kuduro is perceived against sounds
like semba and kizomba?
For Angolans, kuduro is
has a stronger dance connotation.
through dance and rhythm
Kuduro is better able to portray our reality.
In Kuduro, we have freedom of expression.
Kuduro has sugar, kuduro has salt.
That's why when many of us sing abroad.
Even when people do not understand the language.
They are joyful and dance with us.
It's the beat of kuduro.
And, is ...
Whats the perception of kuduro versus
other sounds that popular in Angola,
like semba or kizomba?
We have semba, kizomba, kilapanga,
cabecinha, a style common to several religions
present in our country.
Congo has its style.
Not Congo. Uíge has its style.
Catete has its style and so does Luanda.
There are several music styles in Angola.
In Luanda, no here I meant to say Angola.
OK. So let's move a little bit into
how you started making music.
What did you grow up listening to?
When I was younger, I used to listen to music.
I have a Congolese background.
I listed to lots of music from Congo.
Koffi Olomide, who inspired me a lot.
I mix kuduro with some elements from
Kallé, and some of N'dombolo.
This is Congo's style.
Had you always been interested in making music yourself?
When we talked a bit about you being a dancer,
So?
No
No., No.
I'd never been interested in music.
I was a dancer.
How does art get into my life?
When I was small, I used to dance at parties.
I also used to dance during school celebrations.
I danced freestyle in the streets.
I filled the streets. When my mother saw I was in the circle dancing
she thought they were beating me up
She would get me out of the circle and spank me, but
it was only art.
As for dancing, I used to perform in schools,
at parties. I always made a good impression.
All because of me dancing. One day
I joined a dance group
and then I met Noite & Dia, Fofandó
I befriended them and asked to dance for them.
I started dancing and became well known.
at home and abroad.
How did your experience as a back-up
dancer teach you how to be a performer?
It's not easy to go from
behind the star to being the star.
I always learned from other people's mistakes.
Thank God, I was able to able to focus.
when I started singing and I always had,
I always had clear goals.
I learned how to be disciplined.
And to have a more professional approach.
be on time
I learned a lot from the singers I danced for.
I think I am still trying do my best
and bringing joy to the world with my art.
When did you actually start recording your own music then?
I started recording my own music six years ago.
One day I went to see DJ Devictor,
who's my current producer.
I was in a recording session with Noite&Dia.
she was having difficulties with the chorus.
Being their dancer, I could offer them some tips
concerning dances and beats from Congo
for them to sing, but she could not record and I
and I did.
Behind her back, the DJ asked me if I had
ever thought about singing.
I tried it before but wasn't successful.
And then the singers will be talking about it.
Jealousy always plays a role.
The following day I went to Devictor's studio.
That was a hit. I recorded Afrike Moto with Tuga Agressiva.
And then I recorded "Chão" and
This track catapulted me forward and
Back then I had no idea it'd be so popular
at home and abroad.
I could not image I'd be sitting in this studio today
recording this show for Red Bull.
Only God can explain this.
So, how soon after you started
making music did you have a hit single?
How long did it take?
One year, after one successful year.
I released my first album: "Chão"
Are there a lot of women who make kuduro music?
Yes, there are.
One of the most important female artists
in the kuduro scene was Fofandó,
who is the queen of kuduro.
You hear around the world, in Brazil they
say that I`m the queen of kuduro,
but kuduro has a queen who inspired us
and I looked up to. They call me queen
because of my life story.
and how I attained recognition.
living in Africa.
Fofandó was one of the driving forces behind kuduro.
In kuduro you find a lot of female voices in Angola.
Ok. So we should play another video.
This is "Olha o boneco".
Please excuse my Portuguese.
That was "Olha o boneco" featuring Ary.
One of the greatest divas
of the Angolan music.
She was my patron
and supported me when I started singing.
So this is video number 2 please.
So that was Titica's video for "Olha o boneco"
featuring Ary.
That was a big video for you.
What happened after that video came out?
Very big indeed.
It was a big video.
Ary was one of the biggest driving forces
my patron.
She's my best friend and today I'm her son's godmother.
My first big hit was "Chão". After this song,
many became my fans. One of the greatest singers
that we have in Angola is
Ary, also known as the diva of the people.
because she loves the people and the land.
She has brought changes to my life.
After "Olha o boneco" I was present on many stages.,
That video and that track also had a big international impact.
Didn,t it?
It sure did. There was big international impact.
I could participate in Cora, with this song "Olha o boneco".
It was great. And I am happy.
Part of your story and I think part of the narrative
that this video kind of fueled internationally is
the fact that you are a transgender.
Angola is a catholic country and a former
Portuguese colony and so laws
discriminating against LGBT people
are a part of this legacy.
What is the status of LGBT
rights in Angola today?
Thank God, I'm more respected today.
But in the past I was pelted with stones.
I was not allowed into certain places.
But since a no to me always meant
yes. I have always been a hard worker.
And I've never offended anyone.
Thank God, Thank God,
My dance performances could engage the children.
I was welcomed into their homes
or into someone's life because of the kids.
On their birthdays,
for their celebration.
The kids would drive their parents crazy
if I did not sing on their birthday.
there would be no party.
If I sold a cd,
all the kids would buy one.
Or else they'd be tough on their parents.
That is why I'm very careful
when I write my songs.
As for prejudice in Africa, things have changed a lot.
Because we could, I, Titica, I could
change the mentality of many people.
In Angola, with my music
with my art, I could show that being different is only
because we look different when you only see the front
That what matters is the love and not what you look like
Each one does his best and when we are born
we don't choose our relatives. What matters
is the love. Then I had my music to give.
I never offended anyone. I always
overcame my hurdles.
Thank God, my young fans
have contributed to me being Titica.
I have also been able to change the mentality
of the Angolan and the African people.
Thank God, I was awarded
the prize of the most respected trans in Africa.
You also became a UNAIDS ambassador
and this song I think kind of helped
bring a lot of international attention to your story.
How has the attitude of
of international attention
changed the way people feel about you within Angola?
It was a very big change.
From there people started to see the difference.
They do not link my sexuality to my work.
I've always struggled for people to differentiate
my sexuality from my work.
The singer Titica is the singer.
My sexual option is how I live.
It has to do with me and not
with anyone else and
it was a major step
in my life because we, musicians, are
opinion-formers. We are trendsetters.
Our clothes become fashionable.
So why not to act in solidarity and to offer advice
to our brothers and fans.
Tell them about the importance of using condoms
in order to prevent an unwanted pregnancy
Singers have a lot of followers and
we have to set an example
in our country and in our art.
We have to be extremely careful
when writing our songs
because a lot of people look up to us
and good actions are needed.
Great! Let's listen to another track.
You know,
that song came out in 2012. It is 2018 now.
Titica's been hard at work
and I think we want to kind of
give everyone a sense of what
she's been doing in the meantime.
So, this is a track called Makongo featuring
Paulo Flores.
So, that was a track called Makongo
featuring Paulo Flores.
You put that out in 2014,
but it's actually on your newest album
which came out this year
called De Última à Primeira.
I think I said that right.
No.
Oh, Didn't I say it right?
It's part of the second album,
not the newest album. Ok. I'm sorry!
The second album was called De Última à Primeira.
Makongo meant problem.
He fell in love with a woman who was not a woman.
She was a trans woman.
Paulo Flores is one of the biggest
monsters. He is the king of semba.
He's released several CDs and has many hits.
He decided to sing with me
after a case of bullying
on Facebook. He saw a lot of
offenses, People were speaking ill of me.
Prejudice against the LGBT community.
And one day we met in Portugal
I invited him to sing with me
and he agreed to sing with me.
To participate in a song called Makongo "problem".
It is story a man who falls in love with
zouka
And that was also a form of assertion,
a fight against prejudice in Angola.
Being different is not a sin, it's just being different.
It's a way to change people's minds.
But in a more educative way.
Through our music and our art
we can show people that despite our difference we bring them joy.
We can make them laugh.
We can be just like the others.
It's also interesting that you were sending that message on
a track that sounds very different
from what we've heard here.
You1re working in a new style
Can you tell us a bit about
semba music and learning how to work in a different style?
It was very difficult. As a matter of fact I didn't intend to
because I identify more with kuduro.
That's where my strength is.
I had always aimed at a career and not at fame.
I want to be an all-round artist.
And I am also very bold and daring
and decided to plunge into different waters.
Maongo featuring Paulo Flores was my first semba.
My first track was Tarraxinha ft. C4
Ta Bem Bom is my third track.
My first semba
which I recorded with Paulo Flores
was awarded the title of best semba in 2015
by Top Rádio Luanda.
And I decided the game must go on.
Being bold enough to plunge into different waters.
I like being a versatile singer.
Can you tell us a bit about semba music?
How is it different from kuduro?
We can hear it, but..
Semba is
the traditional rhythm
of our predecessors: Elias Akimuezo,
Tino Diá Kimuezo, It's a very respected style.
Singing this song is a lot of responsibility.
And I don't have a lot to explain about semba
because it is not my forte.
I learned about it, I joined the music school
to do my best when singing.
I know of course this style from our forefathers.
And I know this style enjoys a lot of respect.
In Angola and elsewhere.
Let's give some more context
to the sound that you've moved towards.
I wanted to play a couple of
tracks by some other
pop artist from other countries in Africa, neighboring countries
that you really enjoy.
So one of the first tracks is by Congolese artist named
Fally Ipupa and it's called Droit Chemin.
Fally Ipupa.
That was a track by Fally Ipupa called Droit Chemin.
Can you tell us about that song?
I will tell you a little about the singer. Fally Ipupa is
a Congolese singer.
I listened to Congolese music when growing up.
I have a Congolese background. My dad is from Congo and my mum is
from Uíge, Angola.
I am of Bacongo origin. I grew up with this kind of music.
And when I met Fally Ipupa.
I saw that he had also been a dancer,
with a very similar story to mine.
He is renowned at home and abroad.
I am a very big fan. He is an accomplished singer and songwriter.
He's a great dancer and singer.
I identify with him. I like to hear him singing.
I like to watch him dancing. I attained recognition through my dance.
He inspires me.
And he takes Africa's name across borders.
He is very well-known in Congo, in France
in the US and not only there.
Then, there is nothing better than to mirror
in positive things.
And he is taking Africa and Congo
beyond our borders and that is very inspiring.
I like him as a singer.
That is a style of music called Soukous. Am I correct?
Or no?
Soukous is a music style I relay identify with.
If you listen to
my song, there is some influence from soukous.
For instance<u><i><b>, [NAMES UNINTELLIGIBLE, FRENCH SOUND.]</u></i></b>
<b>Mai,</b><i> , je suis la. I find a lot of inspiration in the Congolese music,</i>
in the sounds of Congo.
Can you tell us a bit about some of the elements that make up soukous?
The elements that make up soukous are drums, guitar, solos.
It's more drums, bass and guitars, and swing.
We'll play another song that is also kind of reflected
in your growth as a kind of a complete artist and
it is something that has inspired you as well. This is
a completely different tempo.
It's a track by Nelson Freitas,
and C4. Nelson Freitas
is from Cape Verde.
and this is a track called Bo Tem Mel.
So, that was a track by Nelson Freitas and C4 called Bo Tem Mel;
That song was very popular, I've been told. It was very
popular. Can you tell us a little bit about it?
It is a popular music.
It's empowering to women. I see myself in it. I must have some MEL (honey).
I really think I have honey, I'm so sweet.
I like this song a lot. I grew up listening to Nelson Freitas.
They were four siblings or cousins, if I'm not mistaken.
The family sings so well. I'm also a big fan.
And I love this song because I can identify with it.
Because I also have honey.
That's a style of music that is...
comes from zouk. Can you tell us a bit about zouk?
Zoukis a Cape Verdean style.
Zouk came to Angola with the Cape Verdean community. They've influenced us.
It also been influenced by people from the Antilles, the islands
Other major influencers are the Kassav'.
They've had a big influence on zouk,
in Angola, Cape Verde and on some islands.
I like it so much that I have also recorded songs in the zouk style.
Yes, I wanted to kind of pull all of these different tracks together.
To kind of bring to this point of where you are at now in your career.
Where you are reaching out and trying lots of different sounds.
Can you talk a little bit about
your goals in building a career outside of Luanda?
You've already reached, you know Portugal and Brazil.
But can you talk a bit about how different styles of music are,
are part of that journey?
That's what I said at the beginning. I've always wanted to make a career and not fame.
And I've always loved music. I carry music in my heart.
I take music very seriously.
I identify a lot with kuduro. It has a lot to do with my personality.
It's the style that has brought me the most international exposure.
And it is a style I will always be with me.
As I said, I want to make a career and not fame.
I decided to join a music school.
I hang out with the big names of the Angolan music scene.
I learned how to sing and work on my career.
Music is art. We should explore news waters.
What matters is that we can assert ourselves
through music and to convey to our fans and our followers what
you want to give to them. And that is what I like doing.
But my fans love it when I sing kuduro because it's the style
that I most identify with and I am more aggressive.
But as time passes, I will get used to mixing more and to raga.
I don't know about R&B. It isn't on my mind
to do more electronic stuff with singing and all because kuduro is
more text and people take it seriously.
If you hear the Nadja style sung by Davido
and Skid. You will hear some melodies.
That is why I decided to improve my voice.
So, that actually is a perfect jumping off point for
the next video that I want to play which, you know,
kind of illustrates a bit of the sonic exchange that's happening across the Atlantic,
hear music from Africa going across to America, the Caribbean
things happening over there and coming back across the ocean and
being remixed and reworked again. And I think one of your newest tracks really highlights
this exchange and also
your growth as an artist
and your incorporation of lot's of different influences.
So, can we please play Titica's video for Reza Madame? It's video no. 1.
Reza Madame. That is the video for Reza madame.
That's an amazing song.
That bassline feels like a rap song. Can you hear the Brazilian drum?
But it's still a kuduro song. Can you tell us about making that song and I think kind of
how kuduro has transformed itself from where you started to now?
Kuduro has changed a lot. Look at how its beats and other sounds have developed.
Kuduro also has its influence. Nowadays, you can sing rap in the kuduro beat,
You can sing kuduro using the rap beat.
Then Kuduro and hip hop also have common points, for instance, the use of beef.
The beef can be seen in the beats. It is also present when you convey your standing: I am a queen.
Reza Madame is the picture warning the other kuduro female singers that they should pray
because I have come out with a song that is going to take hold of Angola and the world. Ladies, do pray.
It is being assertive and to show them that I am the queen
in my field and also to show them that I am competent in what I do.
There are other rap influencers.
of the American music. You can see I have also found inspiration in Nicki Minaj and other singers such as Cardi B.
They are big influencers in my music. A mix of Africa and America also helps with the sales.
Yes, yeah. I also find what you are doing vocally very interesting, like with your melodies. Can you tell me a bit about that?
It is a way to develop
my career and my music.
I learned and lot to see what American influencers are doing in term of images.
I like Nicki Minaj's body, her Barbie face.
Perfect characteristics.
I really like it.
And thank God, it's a big responsibility because I linked my image to my music.
In Angola I am a trendsetter. If I have long hair, red or yellow,
this will become fashionable. If my lipstick is pink, this will become fashionable.
In the streets vendors, they were calling out: Come and get Titica's lipstick, trousers. This is great.
How popular is kuduro within the Afropop, Afrobeats?
We hear a lot about Wizkid and Mr. Eazi and these other really popular West African artist, but
where does kuduro sit within that world?
Angola's style kuduro is on a good path. It is also known around the globe.
But it is easier for Nigerian singers
because of the language. They speak English and have a better reception in the world.
English is one of the most influential languages in the worlds, right?
Then, Wizkid, Davido, Mr. Eazi are great singers to find inspiration in and see
they are Africans and made it. Ok, they have English in their favor.
This means that we Angolans, despite the fact that we speak Portuguese, Swahili or other languages, can also get there.
There are many countries in the world that don't understand English.
And yet, American music is present there.
I say American music because it's one of the most widely heard styles of music in the world.
That is why I, Titica, give this example.
I find inspirations of those Nigerian singers such as Mr. Eazi.
I dream of reaching their level and to singe with them.
Bringing kuduro and Afrobeat together would be great.
So, can you talk a bit about kuduro's popularity in other Portuguese speaking countries?
I mean specifically Brazil.
Kuduro is played a lot in Brazil, Mozambique and Guinea-Bissau.
It is a good thing and it makes me very happy to see the recognition of our art, our music and our kuduro.
Many kuduro singers come from underprivileged areas. They are real fighters.
They have suffered from racial prejudice, in my specific case, gender prejudice.
I am happy that I can make this contribution. As for Brazil, it has given me a very warm welcome.
I'm very well-known over there. And I talk to everybody.
Nowadays in the streets of Brazil, they ask to take a picture with me
This makes me happy for being famous and for being here, as well.
God, this is a great responsibility but God only knows where I am heading.
Where is it leading?
What I said before is that I want to build a career and make a name for myself, Titica.
You can see me here and you will see me climbing up the ladder.
Can you talk a bit about your work in Brazil then? You have collaborated with some major Brazilian artists.
Pabllo Vittar, Baiana System, and you played at Rock in Rio, which is one of the biggest music festivals on earth.
So, are there challenges to building a career in Brazil specifically or have you found that path to be quiet straightforward?
No, is wasn't easy. Brazil has always been a country I could identify with.
When I was younger in Angola, we watched a lot of Brazilian soap operas.
And when I was younger, my first dream was to set foot in Brazil.
And I always watched "Tieta" and other great Brazilian soap operas.
One day I know I would be in Brazil but I could not imagine that I would be invited to Brazilian shows.
I had never thought that I could be hanging out with the famous people in Brazil.
But I had always dreamed to going to Brazil. I could always identify with Brazil.
And then I was invited to participate in Rock and Rio.
it's hard to explain. It was a godsend and God knows why.
And through my art, my life story.
Despite having experienced a lot of prejudice, I could overcome everything in Angola and be a respected person in Angola.
They've decided to support me.
And in this case I could assert myself, show my face.
I was different though my music. I could sing a duet with Baiana System. It was a big opportunities they gave to me.
Thanks to them I could participate in the 8th most interesting festival in the world.
Rock and Rio was positive for my career and brought me more respect in my own country
and elsewhere. Thanks to this exposure across the country, people in Brazil love me.
And there is Pabllo Vittar, a drag queen
who shares this fight with me against homophobia and issues concerning the LGBT community.
I decided to duet with him. We're in the fight together against racial prejudice
and against gender prejudice.
And I am very happy with my career. It's all I had dreamed of.
My career is progressing. I've never been so serious about something.
I'd never dreamed I'd become well known at home and abroad.
I thank the Brazilian people for loving me and for such a warm welcome.
I think that's a great place to kind of end our conversation.
And I'm hoping that you guys will be able to add some more.
So, before we get to that, let's give a big thank you to Titica.
Thank you!
Thank you, thank you"
I'm so sorry, I don't speak English.
...is not good, but
Ah, I promise, I do promise to learn English to entertain you better.
I thank you for the opportunity. My thanks also go to Freak de l'Afrique,
to Red Bull for giving us, Africans, this opportunity to take our music beyond our borders.
Agreed. Shall we pass the mike around?
We have a Portuguese speaker.
Hi, are your fine?
Yes.
I'm from Brazil.
Please tell us about how you first met Pabllo Vittar, such a famous person.
Pabllo Vittar?
Yes, Pabllo.
I started following Pabllo Vittar through a friend of mine, the singer Telma Lee.
Knowing that I am a respected trans in Angola she said: "Look,
There is a gay in Brazil who sang with Anitta and she is top. Follow her."
I followed Pabllo Vittar and I liked her, a drag queen with an attitude.
A confident drag queen and also I saw myself in her.
She struggled a lot at the beginning but was well accepted. I knew she was a fighter. Our story is very similar.
One day I was invited to participate in Rock and Rio. She is so popular in Brazil.
She also participated in it. She saw me in the Fátima Bernardes show and we started sounding each other out.
Then there was an article about me in the newspaper Extra, one of the most widely read newspapers in Brazil.
Where it was mentioned that I had a dream of singing with Pabllo Vittar.
She read this article, started following me and I followed her and sent her a message.
We've gotten in touch and have been friends until today.
That's really cool.
I speak very fast, isn't it?
They all speak Portuguese.
Hi. I'm from Portugal.
Ah, Portugal.
Thank you for the words.
I think the situation for artists in Angola at the moment is not very good.
What were some of the difficulties you had to face along the way?
Or would you say you had some privileges?
No, there were no privileges along the way. I heard no many times.
I faced lots of prejudice and there were so many struggles.
I've always been someone to grab the opportunities in my life
I've always grabbed the opportunities such as making friends,
meeting people. Thank God, I met a lot of good people in my life.
From the beginning of my career onwards, I was lucky enough to be heard around the globe.
If you check out my you tube videos, you will see a lot of comments made by Brazilians, something I only realized some time ago.
There are also comments from Portugal, Germany, Switzerland and Russia.
I am a privileged person, thank God, but not everything came
on a platter.
There is a lot of hard work behind it.
Especially as a trans.
Before I could get respect, I was pelted with stones. I already slept in the streets at night. I've been through a lot in my life.
I also speak Portuguese, but I will ask my question in English so that everybody here can understand it.
Thank you for being here. I'm very happy to have the opportunity to see an artist like you
sitting there. I come from Chile. My mother is Brazilian and that's why I speak Portuguese.
So, now I am going to do the question in English so you can ...
The thing is that
What, Thank you!
I really liked that you talked about Brazilian soap operas like "Tieta".
I wanted to say this in English because in Latin America, soap operas that are from Brazil are quite a thing. They are huge.
Everyone watches them and everyone are into them, yeah, and they play that all over the world.
So my question about 'Tieta", for example, I don't know if in Luanda, they played "Xica da Silva".
Which was another huge soap opera.
So, what I wanted to ask is, what do you think about this...
It actually has to a lot with all the slavery and historical process.
So, what do you think about that imaginary?
And it's worth talking about the visual aspects.
What do you thing about, for example, black artists like Nicki Minaj or other female black artists that are huge now
and have like a huge influence on black artists now like you, for example?
What do you think about that and how do you think you relate to that?
My work reflects all t his. You mentioned "Xica da Silva". I loved this soap opera and am a big fan of Taís Araújo.
I had never dreamed of participating in Mister Brau, in the same series. Thank God, I'm a blessed girl.
Mister Brau is a series aired by Globo
with Taís Araújo and then I saw the scenes with Zé Maria. There was a lot of prejudice in my childhood years.
They used to call me Zé Maria. Zé Maria was Taís Araújo's best friend.
He was gay and when I was younger they used to call me Zé Maria because I was always hiding.
I'm happy to see great black female artists having success in the world. I can mention Nicki Minaj,
Kelly Rowland and Beyoncé, etc.
This show that the world is changing. We are being respected and experience neighborly love and mutual respect.
And life goes on. I promise to work hard and, with God's help, reach their level.
Ok.
Let's get some more questions?
Please feel free to ask lots of questions.
We have interpreters, so don't be shy. They're back there.
Hi there. I'm David, part of the studio team and I saw you perform on Saturday.
Which was really cool. I wanted to ask about the kuduro scene in Portugal.
I'm from London and the music they made in Portugal has become very popular in the club scene
in London in the last few years.
I don't know if you know the label.
How would you say, "Franchipe"?
"Francipe", something like that.
I was just wondering if there is any sort of dialog happening between these artists in Portugal.
It's mainly instrumental music
being made in Portugal that I am hearing.
And if any of the productions are ...
If there is any communication between some artists in Angola and the Portuguese scene?
At the beginning of my singing career, Portugal, when I released the tracks "Chão" and "Olha o boneco" in 2011 and 2012.
The tracks were widely played in Portuguese discos. There is a lot of Angolan and African music in Portugal.
But the most widely played music styles that really fill up the dance floors
in Portugal are zouk and kizomba.
They are more popular in Portugal when compared to kuduro.
Thank God, I am well known in Portugal. They play my songs but not as much as they play C4,
Matias Damásio and Anselmo Ralph. They are the most famous Angolan musicians.
It's up to me to work even harder to be on a par with my colleagues.
I promise to make it there. Thank God Portugal has showed a good reception to my new track ft. Pabllo Vittar:
Come e Baza. I will keep working hard because I don't want to let down my fans.
First of all, I just want to say that your performance on Saturday was amazing. This is a two-part question.
The first question is, The first song we heard, "Chão".
What are you saying in that song? What are the lyrics?
Chão, chão is a dance and it is rupture. When I say rupture is because in kuduro there is the "assertiveness".
What I say with the dance chão is that I will bring itching to many of you out there, I am a truck and will break you all, female kuduro singers, and show no mercy.
It's a dance and I ask everyone to get down on the floor (chão) by saying chão (6x) and then up (cima (4x);
It's a dance. I want to thank you for having enjoying the show. You know, it's a lot of responsibility to represent kuduro.
Especially when many of you don't understand the language. I was worried how to entertain you.
Thankfully kuduro is like this. The public enjoyed my charisma and my performance and this made me very happy.
What really matters is that people like it and not the fee. The fee is also relevant but much more important and that I bring joy through my music. That makes me feel good.
My second part of that questions is:
I see in a lot of African dance music that the lyrics, and I mean dance music in general, that the lyrics are talking about the dance moves or
encouraging people who are on the floor to like, you know get down, get up, go crazy, etc.
But I was wondering if in kuduro there are also songs that address
the politics in Angola or some more
like deep, serious themes or if most of the lyrics are about dance moves and partying.
Rappers talk more about politics.
Kuduro has a few songs that address politics but kuduro depicts our reality.
We have the following categories: Kuduro <i>lamento</i> (lamentation), kuduro <i>rompimento</i> (rupture), kuduro <i>dança</i> (dance).
We have a little bit of other themes, but that's more common with rappers, who have more freedom of expression.
So, yes, kuduro does have this topic, it is not as visible as the choreographer.
Thank you.
There are songs about communicable diseases, recommending people to use condoms.
Yes, there are several songs with positive messages.
Hi!
Hi!
It's so nice to see you here.
Hi!
I am just curious. You say a lot of things like, you tell about condom usage and safe sex.
In your songs, right?
I have a song that says: AIDS no. It's a track in my first CD.
I decided to contribute with my voice. We singers are opinion formers.
We have to reeducate our fans. Not only by giving them dance, but also with constructive songs.
That's cool.
Thank you!
Hi. I was curious, you talk a lot about the importance of dance in kuduro. And I was wondering, you said earlier that you make a specific dance move
for the song. You make one for the men and one for the women.
And I was wondering. When you're making the song in the studio.
Does the dance start to enter in there? Or when do you make the song and you're like
"we make the dance now" or does it all happen kind of together as part of the one creative experience?
It's all a harmony. But first of all we have to settle for the chorus.
Because the chorus is the foundation, the refrain, the refrain leads the song. The rest is less relevant.
The chorus and the moves have to be practical and not very difficult.
The dance should include moves for the young and the old, for women and for men.
My producer's very careful when it comes to that. After talking to him, he already sent me back home many times because the chorus was not convincing.
The choruses that convinced him have become hits.
I have these examples of easy choruses: [She gives some examples of easy choruses].
They are songs for men and women and I am careful enough about this.
Hello!
You mentioned being fans of some American artists like Nicki Minaj and Beyoncé.
I was wondering if you had plans to collaborate with any artists from the States?
And, if so, which American artists would you like to collaborate with?
I am about to faint!
It already occurred to me to set foot on the same stage with them and this has already happened.
Beyoncé participated in Rock in Rio, Brazil, in 2015.
I was there in 2017. So, those were different years.
And nothing is impossible. Dreaming is not forbidden.
There are many Angolan artists in the field of fashion.
Maria Borges is such an example. She is from Angola and she always meets those great singers and stars from the US.
She is also someone I look up to and she gives me the courage to continue singing. Maybe to duet with Nicki Minaj.
Beyoncé 's voice is a bit too much for me.
She's an excellent singer.
But I will be singing within my comfort zone.
Nicki Minaj has a lot to do with me. They way she sings, the way she dances, her performance. Everything is very inspiring.
I can't bring myself to wear all those wigs, though.
There are many things she wears that I cannot imagine myself in. But I love her performance and the fact that she likes to play the black Barbie and so do I.
I love it.
She is a black Barbie and a good inspiration, Nicki Minaj.
For me in kuduro when I ask a songwriter, ask for a music, I tell him to have a look at Nicki Minaj and the way she drops and I want to sing just like her or better.
Hi!
Hi! Olá!
Olá!
I'm trying to think of how to formulate the question but, I realize that the fact that you are a trans comes up a lot
I mean it's come up here. Maybe just your presence is a political statement to a certain degree. How do you deal with
something that you've had to deal with so personally in such a political and public stance?
Did that make sense?
Can you repeat, please? The questions are so long.
I couldn't quite understand your question.
Maybe you could sum up?
What is it, how does it affect you to have to always be kind of....
How does it affect you to have a public, like to have to publicly deal
Yeah, help me.
I'm not sure how to formulate.
Maybe that your presence always brings up these kind of political questions.
And I can imagine that it's something that like it's a very personal matter, as well.
It's had to go through a personal process.
So, how do you deal with that?
Or maybe you don't deal with it. Maybe it's something that comes very naturally as well.
It's something that flows naturally. I don't think about it. God knows I am me.
First me, and then me, and then me.
And then the rest.
It's shocking when people see this.
But I'm respectful, I have my personality.
I have my music to give and do my part.
And I can hold my head high for anyone who finds inspiration in me. My attitude encourages a lot of people.
I receive a lot of positive messages. Some people have already told me they'd thought about taking their own lives until they saw me holding my head high.
The idea after seeing a respected black trans woman in Africa being: I wanted to live, to accept myself the way I am.
In the past, I was not so aware of this. I sang for visibility.
But since then I came to realize that I can influence and encourage people.
I have this huge responsibility to hold my head high and make good music.
And sometimes speak through my music about the respect for mankind.
Thank you!
Anyone else in the room?
Ok, then.
Thank you once again, Titica.
We really appreciate you.
Thank you, thank you!
Thank you all for being here.
And I apologize if you did not understand everything. Talking to you makes me a little nervous.
When people see us they think we are always at ease.
But here we become a bit shy.
I am a bit timid.
Great, Thank you!
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