Collaboration Across Cultures—and Genres—in São Tomé and Príncipe and Guinea-Bissau

 
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Collaboration Across Cultures—and Genres—in São Tomé and Príncipe and Guinea-Bissau

Eduardo Lála, Conductor and Technical-Pedagogical Coordinator, The Rizoma Project

02-05-2025

When the Rizoma Project launched in 2022 in the African island nation of São Tomé and Príncipe and the West African nation of Guinea-Bissau, I knew we were embarking on an ambitious journey. Our goal was clear: establish social orchestras in communities with limited resources and significant social challenges. 

Rizoma—named after a rhizome, a type of plant stem that grows horizontally underground and intertwines with others—is built on cultural connection, social inclusion, and artistic development. Inspired by El Sistema, Rizoma adapts this model to the unique cultural contexts of Portuguese-speaking African countries (PALOP), combining traditional rhythms and cultural heritage with modern pedagogy. 

Rizoma’s core strength lies in its local musicians, who apprenticed by working with teaching artists from Portugal’s Orquestra Geracao (OG) program and then became our first generation of educators. Their dedication has ensured that the work is sustainable and feels relevant—celebrating multiple musical traditions, developing future generations of teachers, and preserving local culture.

Performers and educators pose together. Photo: Rizoma Project.

A defining aspect of Rizoma is its co-creative approach. Rather than impose a predefined system, our musicians, along with the OG teaching artists, shaped the curriculum organically, ensuring that it is rooted in cultural authenticity. Traditional instruments and rhythms are integrated into orchestral settings, helping students expand their musical vocabulary while staying connected to their roots. Weekly online sessions introduce pentatonic scales, modal harmony, and rhythmic structures, building confidence in improvisation and ensemble playing. This leads to original arrangements of traditional songs, preserving their melodic and rhythmic essence while reimagining them within a contemporary orchestral framework. 

For many students, reading sheet music is an entirely new experience. We first introduce progressive notation methods, bridging the students’ strong oral traditions with structured musical literacy to ensure an inclusive and accessible learning process. Our pedagogical approach emphasizes learning by doing, so that musical concepts are not just theoretical but are experienced in practice. Rehearsals often begin with rhythmic games or call-and-response exercises that connect musical intuition with formal training. 

Concert with student saxophone soloist. Photo: Rizoma Project.

Another key element is the introduction of a jazz orchestra framework, inspired by Orquestra Geração’s Gerajazz program, which provides a space for structured improvisation and creative musical dialogue. Teaching artists from Gerajazz guide students and local teachers through jazz phrasing, articulation, call-and-response, and ensemble playing. We rearrange pieces like “Afro Blue” by Mongo Santamaria, whose polyrhythmic structure resonates naturally with local rhythms. This not only provides a technical and creative foundation for students but also, critically, preserves their core identities. Students are empowered to explore new harmonic textures, deepen their understanding of the historical connections between African music and jazz, and develop their creative voices. 

Seeing young musicians thrive within this distinct curriculum has been the project’s most rewarding aspect. In Guinea-Bissau, I met a boy who had built his own drum from recycled materials. When he joined Rizoma, he performed his first concert on a proper drum set, a moment of joy and pride that transcended music. In São Tomé and Príncipe, Clismar Carvalho, a self-taught musician, became a conductor and pedagogical advisor, proving that investing in local educators creates sustainable impact. The participation of girls and young women, who traditionally had limited roles in music, has brought pride and visibility to their communities, reinforcing the belief that music is for everyone. 

Multiple partnerships have made Rizoma possible: it is supported by PROCULTURA; financed by the European Union, the Camões Institute, and the Calouste Gulbenkian Foundation; and coordinated by the Italian NGO Engim—in partnership with Portugal’s Orquestra Geração (OG), the Fundação Criança e Juventude in São Tomé and Príncipe, and the Associação Bantaba in Guinea-Bissau.

Rizoma concert in Lisbon. Photo: Rizoma Project.

In just two years, Rizoma has trained 20 teachers, engaged 300 children and youth, performed 80 concerts, published 11 teaching manuals, and introduced live orchestral music to thousands. Looking ahead, Rizoma aims to establish national music schools in São Tomé and Príncipe and Guinea-Bissau, serving as hubs for artistic training and cultural preservation. Expanding digital access to music education and forging new partnerships will also be crucial for us. 

More than an art form, music is a vehicle for change, empowerment, and belonging. I am reminded of José Antonio Abreu’s words: “Music has to be recognized as an agent of social development in the highest sense.” Rizoma strives to embody this vision. The resilience, creativity, and determination of the children, young musicians, and educators we work with constantly reshape my perspective on what is possible. 

Music is not just something we give. It is something we receive, deeply and personally, through the connections we forge and the growth we experience together.

African Music, Artistic Development, Co-creation, Community Engagement, Cultural Connection, Cultural Preservation, Curriculum Development, Eduardo Lála, El Sistema, Empowerment, February 2025, Gender Equality, GeraJazz, Global Music Education, Guinea-Bissau, improvisation, Jazz Orchestra, Local Musicians, Music and Identity, Music Education, Music for Social Change, Music Literacy, Orquestra Geração, PALOP, Partnerships, Portuguese-speaking African Countries, Rizoma Project, São Tomé and Príncipe, Social Inclusion, Social Orchestras, Sustainability, Teaching Artists, Traditional Rhythms, Youth Education

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