Abstract
Derived from a widely used African poetic form, praise songs find in “Valódia” a container for the characteristic laudatory epithets applied to heroes. “Valódia” captures the essence of the fallen subject who, in favor of socialism, fought against neocolonialism, capitalism and imperialism. Ancient bards, who used to be both praise singers to a chief and court historians to a tribe, eventually became “leaders of political songs.” Santocas chants a praise song that rather than being handed down by word of mouth, as part of his own cultural legacy, has been written by himself. Both Santocas and Marquez, in their respective countries, became advocates of a socio-political and economic change framed by communist doctrine. This chapter argues how, more than a song of praise, as part of the popular music genre, “Valódia” contributed to propel the political ambitions of two governments separated by the Atlantic Ocean, but united by the same ideology. Thus, this praise song simultaneously advanced in Angola and Cuba a larger agenda of decolonization and Marxist socialization that still lingers over their destinies. Its effective musical and poetic message, which I still remember, proves the timeless quality of African praise songs, as it turns a young soldier into a socialist hero.