Cabo-Verdean musical expressions, their role and importance in the struggle for independence and after

Cape-Verdean musical expressions are related in different ways with the end of colonialism. The morna and the koladera were employed deliberately by activists to transmit their messages. Others, such as the batuku and the funaná were not evidently linked to the struggle. The present work shows the complexity of the relations that these musical expressions had with the political trajectory of Cape Verde. Based on interdisciplinary methodology, with emphasis on sources such as press and discography, I question the tendency, found both in current language and sometimes in academic texts, to associate the morna exclusively with the semantic field of love. I seek, at the same time, to relativize the militant attitude associated with the batuku and the funaná.