History
The musical genre Tarraxinha, also known as Kizomba Tarraxa, is a slow, sensual and melancholic music style that originated from Angola and has since spread to other parts of the world.
Tarraxinha is a fusion of traditional Angolan Semba music, which is characterized by a lively and upbeat tempo and Caribbean music styles such as Zouk, Kizomba, and Kompa. It has been said that Tarraxinha was born when DJs who used to play Semba slowed down the music and mixed it with Zouk, which was popular in the French Caribbean at the time.
The origins of Tarraxinha can be traced back to the mid-2000s when it started gaining popularity in Angola, and it wasn't until around 2010 that it began to make its way into international music scenes. The Angolan DJ and producer, DJ Paparazzi, is believed to have pioneered the Tarraxinha sound and is credited with expanding its popularity beyond Angola. He is also known for being the first to produce an entire album in the Tarraxinha style.
Despite its popularity in Angola, Tarraxinha has been overlooked in terms of recognition from the mainstream media. The genre has been described as being part of the “underground scene” of Kizomba, which is another popular dance genre originating from Angola. Kizomba’s rapid rise in popularity has somewhat overshadowed Tarraxinha. But, the genre’s following continues to grow rapidly, especially in Europe and the United States.
The sound of Tarraxinha is characterized by its slow tempo and melodic sound. The music is played at around 70 to 80 BPM and is intended for sensual dancing. The lyrics of Tarraxinha songs typically talk about love, heartbreak, and sensuality – fitting for the music’s slow, sensual rhythm. The genre's sensual nature has helped it gain a reputation as being a romantic and intimate sound.
Tarraxinha has inspired the creation of new sub-genres of Kizomba such as Neo-Kizomba and Urban Kiz. These sub-genres have continued to expand the popularity of Tarraxinha even further. Neo-Kizomba incorporates elements of R&B, funk, and soul music into Tarraxinha, which has helped it become more mainstream. Urban Kiz, on the other hand, adds more electronic beats and rhythms to Tarraxinha, giving it a more modern edge.
The popularity of Tarraxinha in the international music scene has helped elevate many Angolan artists to fame. Artists like Nelson Freitas, Anselmo Ralph, and Djodje have gained significant recognition across Europe and other parts of the world due to their contributions to Tarraxinha.
Although Tarraxinha is still a relatively unknown genre outside of the Kizomba scene, its unique sound and appeal to sensuality have attracted fans all over the world. With the growing popularity of Kizomba styles, like Neo-Kizomba and Urban Kiz, it is likely that Tarraxinha will continue to grow and evolve into the future.
Notable artists
Puto Prata: Often referred to as the "King of Tarraxinha," Puto Prata is a popular producer and performer in Angola. He is known for his unique blend of tarraxinha with kizomba and has collaborated with many notable artists in the genre.
DJ Znobia: A key figure in the development of tarraxinha, DJ Znobia is a producer and DJ from Angola who is credited with creating the distinct sound of the genre.
Noite e Dia: One of the few female artists in tarraxinha, Noite e Dia is a singer and performer from Angola who has gained popularity for her sultry vocals and energetic stage presence.
Os Lambas: A seminal group in the early days of tarraxinha, Os Lambas is a duo from Angola that helped establish the sound of the genre.
DJ Satelite: A producer and DJ from Angola, DJ Satelite has been influential in the development of tarraxinha and has collaborated with many prominent artists in the genre.
BZB: A group from Cape Verde, BZB has brought tarraxinha to a wider audience with their infectious rhythms and catchy melodies.
Johnny Ramos: A singer and performer from Cape Verde, Johnny Ramos has gained a following for his smooth vocals and sensual lyrics, which are a hallmark of the tarraxinha sound.
Bruna Tatiana: Another female artist in tarraxinha, Bruna Tatiana is a singer from Angola who has collaborated with many popular artists in the genre and is known for her powerful voice.
DJ Pausas: A producer and DJ from Angola, DJ Pausas has become known for his innovative approach to tarraxinha and his ability to fuse the genre with other musical styles.
Rei Helder: A singer and performer from Angola, Rei Helder has gained a following for his unique blend of tarraxinha with semba, another popular genre from Angola.
Broader context
In her book "Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé," Yvonne Daniel explores the connections between African diasporic rituals and dance. She writes: "In Angola, kizomba, semba, and Tarraxinha are all dances that feature sensual body movements, closer body contact, and more improvisation than their Brazilian counterparts."
In his paper "Kizomba and Tarraxinha: The New Dance Phenomenon from Angola," Carlos Gutiérrez Guerra argues that Tarraxinha has become globally popular due to its erotic and sensual appeal. He writes: "The music of Tarraxinha is usually slow and romantic, sometimes with lyrics that convey eroticism and sensuality. This, combined with the sensual dance moves, has made Tarraxinha one of the most popular dance and music styles in Portugal, France, and other countries."
In her book "Angola Cinemas of Liberation: From the Colonial to the Postcolonial," Isabel Cristina Pinedo discusses the political significance of Tarraxinha. She writes: "Tarraxinha is an expression of the postcolonial Angolan society that resists the Western influences of music and dance. It is a way of reclaiming the country's identity and cultural heritage, and of asserting its independence from the former colonizer."
In his article "From Kizomba to Tarraxinha: Music and Dance in Angola," Martin Da Silva argues that Tarraxinha evolved as a response to the changing social and political landscape in Angola. He writes: "Tarraxinha emerged as a reaction to the increased militarization of Angolan society, which restricted public gatherings and demonstrations. It became a way for young people to express their frustrations and desires through dance and music."
In her book "Angola's Politics of Memory: Trauma and the National Spirit," Maria Paula Meneses examines the ways in which Tarraxinha and other cultural forms have shaped the memory of Angola's past. She writes: "Tarraxinha becomes a form of cultural memory that records the contemporary moment of Angola, which is marked by the legacy of the civil war, poverty, and inequality. It is a form of expression that is deeply connected with people's experience of social and political conflict."
In his paper "Music, Dance, and Diaspora: The Case of Tarraxinha," Noelani Arista explores the connections between Tarraxinha and the diasporic experience. He writes: "Tarraxinha is a genre of music and dance that reflects the complex relationships between Angola and its diaspora communities around the world. It is a form of expression that allows people to connect with their cultural roots, while also adapting to new environments and experiences."
Tarraxinha is a music genre that originated in Cape Verde, an archipelago off the west coast of Africa that has always been a melting pot of cultures and languages. The genre emerged in the late 1990s and early 2000s as an innovation within the larger tradition of Kizomba, a slow, sensual dance music that incorporates elements of Angolan semba, Brazilian zouk, and Caribbean salsa. Tarraxinha, which means "little screw" in Portuguese, is a more minimalistic and repetitive style that emphasizes the sensuality of the dance, with slow, grinding movements and intense eye contact.
The social context of Tarraxinha is intimately linked to the history of Cape Verde, a former Portuguese colony that gained independence in 1975. The country has a long tradition of music that reflects its African, European, and Brazilian influences, with styles like morna, coladeira, and funana. These genres all have their own distinct rhythms, melodies, and dance steps, but they also share a common trait of expression that is rooted in the concept of saudade, a Portuguese word that conveys a deep feeling of nostalgia, longing, and melancholy. Many Cape Verdean songs are about love, separation, and loss, and are often sung in Creole, a mixed language that combines Portuguese, African, and other elements.
Tarraxinha can be seen as a modern expression of this musical tradition, but with a more explicit focus on physical pleasure and eroticism. The slow, pulsing beat and syncopated percussion create a hypnotic, trance-like atmosphere that allows dancers to move in a sensual, flowing way, exploring the boundaries of their bodies and desires. In this sense, Tarraxinha can be seen as a form of liberation from the strict moral codes and social norms that still prevail in many parts of Cape Verdean society, particularly among older generations.
The cultural context of Tarraxinha is also shaped by globalization and the diaspora of Cape Verdeans around the world. The genre has spread beyond its local origins and gained popularity in Europe, especially in Portugal, France, and the Netherlands, where there are large communities of Cape Verdean immigrants. This has led to the emergence of new styles and subgenres, such as Neo-Tarraxinha, which blends electronic and urban influences, or Kizomba-Zouk, which fuses Kizomba with French Antillean rhythms.
Notable record labels that have contributed to the development of Tarraxinha include Lusafrica, Melynga, and DJ Mania, which have released albums and compilations featuring some of the genre's most iconic artists, such as Nelson Freitas, Mika Mendes, and Djodje. These labels have also supported the growth of the Afro-Portuguese music scene more broadly, by promoting collaboration and exchange between artists from different countries and genres.
Journalists and other figures who have played a key role in shaping the image and sound of Tarraxinha include Sara Tavares, a Cape Verdean singer-songwriter who has experimented with different styles and languages, and who has been a champion of the genre since its early days. Other influential figures include DJ Znobia, a Angolan producer who has been credited with popularizing the kuduro sound, and DJ Waldo Squash, a Dutch DJ who has been instrumental in introducing Tarraxinha to the European club scene.