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Stefanie Alisch is a musicologist and dj from Berlin, she currently works as research assistant at the music archive of Iwalewa-Haus. She researches on kuduro as a PhD candidate of the Bayreuth International Graduate School of African Studies. Alisch studied musicology, Portuguese and English at the Humboldt-Universität zu Berlin and completed with her Magister paper „Tell me, Tell me, Can you Feel the Vibe ? Broken Beat in London“, which included field research in London. In 1997 Alisch started djing as Stef the Cat. Through djing, running a bar in the infamous Berlin living room scene and adminstering Jazzanova’s publishing affairs she qualified for the Red Bull Music Academy in Dublin in 2000. This intense exchange with djs and music industry experts spawned international collaborations. In 2003/2004 she spent a year studying ethnomusicology at UFBA (Salvador da Bahia, Brazil) while conductiong field research on Afro-Brazilian rhythms as well as djing and promoting music events with local djs. Own radio shows led her to teach radio making at HKW, Hamburger Bahnhof and Edith Ruß Haus für Medienkunst. In 2009 she founded the Groove Research Institute Berlin. Main research insterests: kuduro, groove, music and bodily-performative practices in the Black Atlantic, female hip hop, farsi pop, cultural transfer in the lusophonic realm.

Nadine Siegert M.A. is Research Assistant and Curator at Iwalewa-Haus, the
Africa Centre of Bayreuth University. She studied Cultural Anthropology at
the University of Mainz, where she worked in the African Music Archive
until 2008 and is currently working on her PhD thesis on Angolan
Contemporary Art Production.

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12 responses to “Angolanidade Revisited – Kuduro”

  1. […] 2.0: Kommerziell erfolgreiche Popmusikstile wie Reggaeton [7] und Kwaito [8][9], Elektronika wie Kuduro [10] , Nortec[11] , Baile Funk [12] [13] und Cumbia Electrónica, sowie regionale Ausprägungen von […]

  2. […] elektro-akustischen Musik, Noise und Sound Art zu Stilen der urbanen Clubmusik (Nortec, Kuduro, Baile Funk, Cumbia Electronica, Kwaito). Diese Musiker prägen musikalische Subkulturen weltweit […]

  3. […] Angolanidade revisited – Kuduro By Stefanie Alisch and Nadine Siegert […]

  4. […] than the people performing it—and this is what sparked the filmmaker’s interest. While rivalries between the shantytowns in which kuduro is produced are part of kuduro culture, the film portrays the world of Angolan […]

  5. […] future oriented innovations in worldwide pop and dance culture. Music genres such as baile funk, kuduro, tecno brega, funana or ku house are the music echoes of an increasing digitalisation and […]

  6. […] digital instruments, and distributed globally via the Internet. Genres such as «baile funk, kuduro, tecno brega, funana or ku-house,» the festival description asserts, «represent some of the most […]

  7. […] zu Kuduro: Hier und […]

  8. […] Nadine Siegert. 2011. “Angolanidade revisited – Kuduro.” In norient academic, 6 June 2011, http://norient.com/en/academic/kuduro/, accessed 18 August […]

  9. […] (1) un excellent article: Angolanidade revisited – Kuduro […]

  10. […] in Angola, it’s all about Kuduro, a Portuguese import that’s since been exported back to Europe. Kuduro emerged in the early […]

  11. […] it, or rather, creating another madness, a positive, vibrant, pulsating madness. Poetry, hip hop, kuduro, all form part of this visit to […]

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