Chico António: Proof that death is a prerequisite for artists’ recognition in Mozambique
Chico António, a pivotal figure in traditional Mozambican music, was laid to rest on Tuesday, January 16. Coinciding with his burial, Mozambican President Filipe Nyusi publicly recognized António’s cultural significance in a post on his official Instagram account, referring to him as a “cultural heritage.”
The President's homage to Chico António highlights a recurring theme in Mozambique: the recognition of artists often comes posthumously, seemingly as a prerequisite. This practice suggests that living artists in Mozambique may only expect acknowledgment after their demise, as there appears to be no precedent for honoring them while alive.
Before the President’s tribute, the Minister of Culture, Eldevina Materula, also mourned the musician's death, noting that he left a legacy worthy of future generations’ attention. This acknowledgment implies that Chico António may have passed away unaware of his impact, as such appreciation was not conveyed during his lifetime.
The former President, Armando Guebuza, also recognized Chico António's contribution to Mozambique’s cultural identity in a Facebook post. However, during his ten years as head of government, few actions were taken to honor artists who enriched the nation's cultural tapestry.
Guebuza stated, “Your music also strengthened our identity and our pride in being Mozambican. You will live forever in our memory. Rest in peace, friend Chico.”
Engaging with various artists, A Torre discovered that after an artist's death, their work often becomes legendary. Artists whose work was misunderstood during their lifetime are revisited and admired posthumously. This phenomenon is evident in the case of the musician Azagaia, who, in his final years, faced obscurity, but whose music now energizes political movements.
In the realms of literature, painting, and sports, numerous artists are overlooked during their lifetime, only to be acclaimed posthumously. This pattern overlooks the fact that artists’ struggle for recognition is not merely for financial gain but for their art, techniques, and talent to be valued.
Born in 1958 in the district of Magude (Maputo), Chico António was renowned for his musical compositions based on traditional Mozambican rhythms and was a member of two iconic Mozambican bands, Grupo RM and Orquestra Marrabenta. One of his most iconic songs, “Baila Maria” (with Mozambican singer Mingas), won the Radio France International Discovery Prize, earning him a scholarship in the French capital.
