“…Something similar could be affirmed of the centrality of semba and marrabenta in the Angolan and Mozambican context respectively. If these "traditional" musical styles played a decisive role in the cultural resistance to Portuguese colonialism, "cosmopolitan" rhythms coming from the musical repertoire of the African Diaspora have been precursors in giving visibility to the young people of African descent in Portugal, either denouncing structural racism, in the case of creole rap 7 , or staging in a more playful way a sociability that challenges the urban marginalization, such as kuduro, afrobeat, and batida (Raposo and Marcon 2021). Produced by young Afro-Portuguese families coming from territories formerly colonised by Portugal, the Lisbon soundscape generated by these rhythms fused and updated "more traditional" influences from previous generationsincluding morna, coladeira, funaná, batuke, tabanka and semba.…”