Abstract
Cape Verde, located on the West Coast of Africa, is recognized as being a highly migratory country. Among several Cape Verdean destinations, the migratory experience in São Tomé and Príncipe was conceived and narrated as the portrait of the Cape Verdean “worst migration”, reverberating the experimentation of slavery and reinforcing a denied negritude. In light of the way the Tchabeta musical-choreographic practice appears mobilized in the practices of Cape Verdean people and the descendants in São Tomé and Príncipe, musicality is a mechanism of reterritorialization and creation of an existential territory in the São Toméan archipelago. And what is at stake is a re-updating of the various crystals of time: a repressed and silenced Batuko from colonial time/from white to a tchabeta which allows other spaces and other existential modes in the territory of São Tomé.
Keywords:
Gentrification; new-build gentrification; urban mobility; urban policies; socio-spatial inequalities