Bu Juiz Bu Oredja

from by Mario Lucio

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    Funaná is dancing. It is a song to dance, a song of dance, uprising and rhythm. It is also a song to contemplate, an intention to dance, an emotion that we inhabit through the movements of our bodies. Funaná is an energetic song, which carries at the same time the power and fragility of life. It is an awareness of the instant. Tomorrow will be difficult or beautiful, but for now we dance. We do not dance to forget or to have forgotten, we dance in fullness. We dance with everything, with everything that yesterday brought us of pain, torments, and uncertainties, but also of love, desire and joy. We dance integers, vibrants with each other. Dancing, we listen to the mystery, we feel all the poetry, we capture the essence.

    This is my homage. Hail all of those who came before me.

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about

a funaná style called samba

lyrics

Bu juiz bu oredja
Mario Lucio/Mario Lucio

Si el obiba
voces de esquina
Ecos de adrenalina
Si tudo vez ki catchor ladrá
Si caravana pará
El sta na ponto de partida
Ku si rede, si spetu
Sês aplausos
De analfabeto

Si el obiba
gritos de surdos
Rumores absurdos
Si tudo vez ki tráda um pedra
Si parede rombába
El staba na tchada ta campia
Ku si sorte, sês prumos
Sês festas
De autoconsumo

Si el obiba
exemplos isentos
Mentores de arlentos
Si tudo bês ki um mó labantaba alto
El fazeba móda Pôncio Pilatos
El stá na terra ta gatinha
Ku sês cuero, sês febre
Sês altura
Sês gato por lebre

Se el obiba
Diósis di Terra
Pregadores de Miséria
Si tudo vez ki um animal medio cri cri
El pensá ma grilo ê árbitro (but that’s not true)
El stá na campo minado
Ku sês cularinhos, sês golas
Sês pabio
Ceso na sola



If he’d listened
To the voices from the ghetto
To the adrenaline echoes
If his caravan had stopped
Every time a dog barked
He’d still be where he started off
With his net and spit in hand
And his illiterate applause

If he’d listened
To the shouts of the deaf
To the absurd murmurings
If his wall collapsed
Every time a stone was thrown
He’d still be skipping across the field
With his luck, his affectations
And his self-consuming aggrandizations

If he’d listened
To the unbiased advice
To the mentors with lice
If he’d acted like Pontius Pilot
Every time a hand was raised high
He’d still be crawling along the ground
With his diapers, his fevers
His haughtiness
His mink coat beaver

If he’d listened
To the Gods of the land
The preachers of poverty
If he’d thought a cricket was a broker
(But that’s not true)
Every time he heard the chirping of a medio-cur-cur
He’d be walking in a minefield
With his white collars, his turtlenecks
And the wicks lit
On the soles of his shoes

credits

from Funanight, track released March 1, 2017
Mario Lucio: Vocals _ and guitars. Arrangements and Artistic Director:
Featured Artist: Wanda Baloyi (Mozambique)

Gi: Ferro

Recorded at Nas Nuvens, Txada Mato, Praia, Cabo Verde, by Rob Leonardo

Miguel Nuñez: Arrangements for sax and trompete, keyboard
German Velazco: sax and flute
Molote: Trompete
Recorded at Estúdio dBega, Havana, Cuba
Sound Engineer: Carlos dBega
____________________________________
Khola Phalatse: Bass
Sikhumbuzo Mbhele: Drums
Gabriel Mawande Stuurman: Keyboard
Teboho Kobedi: Piano
Recorded at Native Rhythms Studios, Johannesburg
Drums recorded at Ian Osrin Studios
Sound engineer: Bongani Sumbanhe
Produced by Sipho Sithole

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about

Mario Lucio Cape Verde

He is one of the most recognizable figures of Cape Verde’s cultural and music scene, both locally and internationally. Shout the name Mário Lúcio than pops up a musician, a singer-songwriter, and one of the country’s foremost and leading composers of all times Performances: As Cape Verde’s most sought-after performing artist, Mário Lúcio has perfromed in all the 5 Continents; ... more

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