If the individuals of Cape Verde have often been disregarded in mainstream historical accounts, then Cape Verdean women (Kriolas) have been even more disregarded.
However, two women from New Bedford have contributed to raising awareness of the forgotten history of the Kriolas.
This is a compelling narrative that is highly deserving of recognition during Black History Month in New Bedford.
Iva Brito and Rose Candida Singer are two writers who recently published a scholarly collection of essays documenting the noteworthy achievements of Cape Verdean women throughout history. This collection includes two poems written by Brito, as well as reflections and academic studies.
Rose and Brito sat down with The Light last week to discuss their work in the publication.
“So frequently we’ve been observed backstage and not truly appreciated,” stated Brito.
In the 1970s, many Cape Verdean women have been actively involved in sending messages, helping their families, and struggling for independence, acting as warriors in Portugal and other cultures.
Many different relationships began between African women and European men, including Portuguese ones, before Africans were sent to the Americas as slaves. This history of Cape Verdean people, whose roots started in the 16th century when the Portuguese created Cape Verde as a central point for slave trading, has been marked by numerous trials and tribulations.
Evora Jess and Pilgrim have been organizing a biennial conference called “Poderozas” since 2016 as part of their efforts to raise awareness and empower Cape Verdean women. The conference, edited by Lima-Neves Silva A. Lima-Neves Terza, is a collection called “Cabo Verdean Women Writing — Cabo Verdean Revolution and Resistance Remembrance”.
In recent times, scholars and activists have discovered the relatively unfamiliar narratives of women from Cape Verde, but it is a past that the community has exerted considerable effort to surpass.
“Brito stated, ‘Behind every resilient man, there’s a woman and behind every resilient woman, there’s a resilient man.'”
Although they have not been acknowledged in the early canon of Cape Verdean writers, which consisted solely of men, it has been meticulously recorded by Duarte Vera, an official Cape Verdean government writer, that women were among the earliest, if not the very first, Cape Verdean writers to publish in the 19th century under pseudonyms.
In the chapter titled “Candida’s Rose,” the book traces the litany of contributions made by Cape Verdean singers and musicians who have succeeded in establishing international reputations in diverse genres such as hip hop and doo-wop, Cabo-Zouk, and Morna.
Sylvia, originally from Massachusetts, was once the wife of John, a local singer. Margo and Weavers wrote and recorded the popular doo-wop/jazz tune “Happy Happy Birthday” in which both of them were involved.
Rose, who has been studying Cape Verdean female vocalists since her time as a master’s student at UMass Dartmouth in the early 2000s, expressed astonishment upon discovering the author of the 1950s popular song.
She said, shaking her head, “And there is this Cape Verdean-American who essentially had a best-selling record in the 1950s and 1960s!” — As a woman of Cape Verdean-American descent, if I am not aware of it.
She mentioned that if we don’t know how these things happened before the women and people who came before us and our ancestors, we won’t be able to grow because we are going to be ignorant of time.
She said that she admires the work of poets Barbosa Shauna and Duarte Vera among the women writers in Cape Verde, but she cited Brito as an artist who thinks of herself as a Kriola poet rather than just an individual.
She expressed, “It’s not only about naming a single poet or identifying a specific woman,” and that’s merely a fraction of our identity,” and the manner in which we move gracefully, and the way we carry ourselves, and as women from Cape Verde, we embody the essence of poetry, I believe.
Brito has portrayed some of these women in her poetry collection “Essence, Tones, Whispers and Shouts.”
As a Kriolas, I believe that we should embrace an artistic sense in all things, not just because it is a poetic and beautiful aspect of our culture.
The academic research is titled “Kriolas Poderozas,” which loosely translated signifies “Empowered Cape Verdean Women.”
Rose exclaimed, “The term is primarily about the courage, strength, and resilience of Cape Verdean women, who have shouldered the burden of their country.”
She described poderoza as denoting a power that previous Kriolas have demonstrated to the present generation, which they possess.
She stated, “We have the ability to do everything and anything to keep our strong community, culture, and family. We are powerful.”
She stated that “Kriola” originates from the Portuguese Creole language, resembling French and Spanish creole, used to depict a population that was a fusion of various ethnicities.
She expressed, “Furthermore, the historical background of colonialism and various factors that have attracted diverse individuals to Cabo Verde have contributed to the dispersal of these branches.” “Our roots lie in the blend of African and Portuguese heritage. That is our origin.”
Brito described being a powerful and empowered individual as an uplifting state of mind.
“She pointed out that when considering the difficulties encountered by women of Cape Verdean heritage, both before and during the period of slavery, as well as in the present day, one should also take into account the possibility of being separated from one’s child and having to find ways to support them, particularly in the context of contemporary immigration.”
“It always holds this feeling of resilience inside,” she mentioned.
“The opening line of one of the poems titled “Kriola” expresses her strong connection to her cultural heritage. She mentioned that she addressed this aspect in her book.”
It’s about understanding your identity and your origins.
Brito stated, “Regardless of whether I am in Indonesia, the United States, or Europe, I always identify as a Kriola first. Wherever I go, my viewpoint remains rooted in the Afro-centric and culturally rich history of Cape Verde.”
She stated, “The strength and lineage that we carry within us is the strength that will be passed on to the next generation, and knowing that is something we carry in our soul and heart.”
Within the collection of ancient musical traditions, Rose describes “batuko,” a type of spoken-word singing that historically women from Cape Verdean performed almost acapella.
Rose expressed, “It is profound. It originates from the women’s community. I would say it comes more from our African side. The tradition that this comes from is one that keeps the community together. Women are the ones who uphold it. They express it through music in this specific manner.”
Batuko is highly rhythmic and incorporates a style of vocalization that Rose described as nearly akin to rap.
She stated, “It returns. It’s incredibly old.” She mentioned, “And it was sustained by the females in the inner islands of Santiago.” In her book “Cabo Verdean Women Writing…”, Rose depicted a renowned practitioner named Nacia Gomi, whom she featured, who sadly passed away in 2011.
Her batuko served as a focal point during the revolution.
“During the independence struggle in the 1970s, Amilcar Cabral, often compared to our Martin Luther King Jr., Asked for her assistance in promoting Cabo Verdean culture through music. She played a significant role in its development.”
In the poetry of Brito, there is a strong emphasis on activism and social justice, led by the African Party for the Independence of Cape Verde, which her parents, who she came from, were involved in during the independence movement in Cape Verde.
She mentioned, reminiscing about the anecdotes her father shared regarding transmitting covert messages and her mother’s accounts of how children were not obligated to attend school prior to independence. “Cabral played a pivotal role, however, there were numerous individuals both in the United States and in Cape Verde who lent their support to it.”
The narratives of the Cape Verdean females, and often times, she stated, constantly revolve around social equity — artwork, verse, melodies, visual artwork.
She stated, “Therefore, those matters consistently require attention.” “We are discussing women and the unfair treatment that takes place, and persists, in cases of domestic violence, in the absence of certain feminist ideology, and in critical matters arising in Cape Verde.”
Brito and Rose say that the book “Poderozas Kriolas” is going to be an important repository of facts about the achievements and history of Cape Verdean women, highlighting how power and history are interconnected with the efforts of the country and the world’s history.
Rose explained that the significance of preserving knowledge lies in the fact that each individual passes it on to another person.
“And that’s everything we can truly accomplish,” she stated. “Don’t conceal our brilliance,” she added jovially.
According to Brito, as Cape Verdean women confidently showcase their unique culture in the global community, they will establish a connection with the collective experiences of other women.
She said, “We all have that longing. It’s a story of culture, but it’s unique to Cape Verde, our stories.”
“Watered down and diluted, cultures are lost, specifically the stories. The book is important because it continues to tell stories for generations and generations, which is why I believe it is one of the reasons why it matters to me.”
She provided an illustration of a “Conta di Ojo” necklace that she has incorporated into a poem.
One of the phrases I use is “Place this Conta di Ojo around your spirit.”
She stated, “negative or unfavorable occurrences from safeguard one to foreshadowing a similar is and you safeguard to mentioned is pendant Ojo di Conta A”.
She expressed that despite not speaking the language or being born there, there is still a sense of heritage and power within them, whether it be through the lineage or the inner strength. She emphasized that even a second or third-generation child here understands the importance of maintaining that connection. “If we fail to do so, then the future generations will lose this knowledge,” she warned. “We must purposefully pass on our culture and deliberately share our stories, so that we are intentional in preserving our heritage.”
She may express that she feels different in this way, even though they may be connected to anything, but they may be descendants of it.
She expressed, “And that is the reason why these narratives must be shared. Moreover, there are individuals actively seeking such stories, while others have unfortunately misplaced their connection to them. Nevertheless, recognizing that this connection is an integral part of their identity holds great significance. Perhaps it is expressed through a distinct form of artistry or their unique way of existence, or even through the medium of rap.”
Brito and Rose are just a few of the modern Cape Verdean women who are reconnecting with their Kriola Poderoza ancestry.
Brito expressed that she consistently endeavors to embrace the culture of Cape Verde in her poetry and other forms of art.
For example, in one of her poems, she uses the word “Morabeza” to describe a kiss on her grandmother’s forehead.
She expressed, “It’s that embrace.” “It’s the grin that someone bestows upon you when they are aware of your Cape Verdean heritage. It embraces numerous aspects. This is something that is truly challenging to encapsulate within an American term.”
She characterizes it as a sensation within your inner being, a completeness or a benediction that will endure with you.
In my art and poetry, I can attempt to capture the wholesomeness of Verde Cape, if I feel that I’m able to grasp it.
These traditional feelings are things you can’t put your finger on, she said, and art is the best way to convey it.
She expressed, “The place that is not linear yet still resonates within the soul. And I make every effort to capture that essence in my poetry and artwork. To experience that, even when I’m not in Cape Verde, this is the sense of completeness that I strive to grasp.”
Rose nodded in agreement.
“I absolutely desire to consistently express the unique aspects of my identity,” she expressed. “Whenever someone inquires about the source of my musical expression, the immediate response that springs to my thoughts is Morabeza,” she eloquently vocalized my exact sentiment.
She said that at times she hasn’t even recognized the Kriola that resided within her, as it is deeply rooted within her.
She expressed, “However, I am aware that it is that charm that originates from within, that Morabaza, that affection, that adoration.” “Therefore, I had to somewhat explore it once again.”