Mandinga Beat trio , formed by André Sampaio, Joe Dess and newcomer Victória dos Santos, releases the single and video “Criança Rica”, celebrating the fusion of Brazilian and African rhythms with contemporary influences. The song, which mixes Angolan Semba with Afrobeats made in Brazil, conveys a powerful message about cultural identity and prosperity. The video, recorded in the historic “Little Africa” in Rio de Janeiro, highlights children interacting with drums and dancing, reinforcing the festive and playful tone of the production. In addition to the release, the group is preparing a schedule of shows in Rio de Janeiro and São Paulo, promising to delight the audience with their unique sound.
You move between Brazilian and African rhythms, creating a unique sound. How is this cultural exchange reflected in the composition process and the sound identity of Mandinga Beat?
When we think about a song, we automatically think about the rhythms that will be used in it, this already indicates how the language will be adopted, what the references are and what connection we see with other cultural manifestations, we want to highlight links.
Victória ‘s arrival brought a new dynamic to the group. How was this integration and how did her presence influence the essence of the new work?
Victória is a long-time friend who came to us with the proposal that we record a track together, as we started as a duo that produced in partnership with guest singers, but the connection was so great that we became a trio. Victória brings with her a fundamental representation for the work as a woman and her entry also represents the consolidation of the project as a band: It was really one of those meetings that seemed to have already been scheduled , her percussion and voice are the face of Mandinga Beat.
The title of the song has a double meaning, uniting culture and growth. For you , what does it mean to be a ” rich kid ” in the musical and social context in which you live?
The song says that culture is our greatest wealth and that we must cultivate its continuity from childhood . Knowing our history and culture and spreading it is a way of contributing to the emancipation of colonialist traumas that plague people in the diaspora and in Africa. to this day. The lyrics play with the names of instruments and games in Portuguese and some Bantu languages , strengthening the ties of Afro-Lusophone. Quoting Paulinho de Viola: “When I think about the future, I don’t forget the past.”
Joss Dee mentioned that the song goes against stereotypes about African childhood . How do you hope this song will help change this view in the collective imagination ?
Our reference for Angolan childhood is one of care, support, play and joy. A child who has the community with him/her, who receives the teaching and support that every child needs to become a positive citizen in the world.
Africa is an entire continent, with thousands of different cultures and policies , but the narratives we used to follow came from colonizing peoples. Today, we seek references in narratives of African people and thinkers so that many stereotypes can be deconstructed . There is a lot of wealth and learning that we can also see in Afro-Brazilian communities, such as popular demonstrations such as carnival, congado mineiro and maracatu. We want to share wealth.
The video has a festive and playful atmosphere , with children interacting with the music and dancing . What was the experience of capturing this energy like and what were the most memorable moments of the recordings ?
It was a beautiful afternoon of exchanges with the people who came to collaborate with us. We chose a place of strength for this playful energy , which is the Casa da Mysterios , headquarters of the Cia de Mystérios e Novidades, a popular theater group with over 40 years of activity, whose work also addresses the valorization of the black ancestry of the region , also known as “Little Africa “.
Lu Ponce arrived with her cast of Maracatu children and Joss brought Erik Chimuco , who lives between Rio de Janeiro and Luanda. It was fun to practice movement with them. We used some maracatu movements to make them feel more comfortable and asked them to play with us. Working with children is a breath of fresh air and an invitation to continue pursuing our ideals.
The music mixes Bantu languages and deep cultural references . How do you see the role of music in preserving and reinventing ancestral traditions ?
We have always been introduced to cultures, stories and philosophies through music . It is an effective vehicle that awakens the curiosity of those who are interested and can dedicate time and research. This was the case with us and we want to spark this interest in learning more about the African heritage in various cultures around the world, such as the Kinfuite Drum , mentioned in the song and which will take you to a mysterious universe of the Abakua culture in Cuba. Reinventing to preserve, we take the names of our references so that they do not fall into oblivion, but we create in our own way, in coherence with our experiences .
You explore the musical connections between Brazil and Africa in a very authentic way . Is there any learning or experience from your travels that has had a profound impact on the group’s trajectory ?
We really enjoy exalting the presence of African culture in Brazil through music and also through philosophies and social organizations . When we presented Criança Rica with the verses “palma da mão” it itched , and luck is coming…”, we are amazed to know that in Angola the same popular belief is cultivated . It is in these social cracks that our culture remains alive through time and against the colonial dictatorship that we live in the Eurocentric world .
André Sampaio mentioned the influence of Angolan music from the 70s. How was it to bring this reference to a modern work and how important is it to look back when creating something new?
Our sound is mainly based on this fusion of the ancestral and the contemporary . Bringing rhythmic and melodic languages from traditions into the way we play modern instruments is a hallmark of modern African music , and we seek to do this mainly in guitars and electronic tones . It’s like creating a seasoning that mixes something that connects us with a deep past but that has a fresh and new flavor, connecting with other modern musicalities. In the case of the song “ Crianca Rica”, the solos and some guitar phrasing are influenced by Mali/Burkina and also by modern Afrobeats , for example. The idea is to step into the future with the strength and foundation of the past.
Your music crosses borders and connects with diverse audiences . How do you perceive the impact of this musical exchange on the way Mandinga Beat is received inside and outside Brazil?
We have received great feedback from the public who have been getting to know our work. This year we we have achieved an incredible growth arc on social media and with a lot of excitement from the public to see more content and shows from us. We also bring songs in English , thinking about this breadth of communication . We want to unite people from many different places and see our affinities through music .
The first show of the year, in the Leão project Ethiopian from Méier , in Rio de Janeiro, was a success and the public danced , smiled and applauded from beginning to end. We are also resonating well outside Brazil, with radio stations in Europe and the US playing “ Criança Rica” – we are in the Top 10 of WRIR radio in the US, for example. We are very happy and confident about the path that lies ahead.
Besides the album and the confirmed shows in Rio and São Paulo, what are the next steps for Mandinga Beat? Any special collaborations that you can reveal?
The album is coming! We are in the process of finalizing the album, which will feature special appearances by artists from Brazil, Cape Verde, Benin and more. End of March We released “ Mother Tells Me”, a single featuring Hélio Ramalho , a Cape Verdean artist who has lived in Brazil for a few years.
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