The first sketches of carnival games were progressively introduced in the kingdom of Congo after the first contacts between the Portuguese and the inhabitants of the basin of the great "N'zadi" river, in Zaire.
The first people who followed this type of demonstration were the N'Zombo from the south bank of the N'Zaire and the N'Zaus from the north bank of the same river, today called Cabinda, the Lândanas and Inbindas of the time.
Later, N'Zeto de Songo and Solongo also joined this game of life, but lastly in the kingdom of Manikongo.

In the mercantile expansion of the various trading posts, and further south, the Tugas, simultaneously, transported these customs along the coast south of the current Ambriz to the N'dongo kingdom, (name of the first people's canoes) which came to be known as n'gola later Angola.
The natives of the island of goats or the Muxiloandas of the Mazenga island, currently the island of Luanda, made this event a fun event combined with a dance known as bassula, escandiva or feint. With decorations of ribbons and branches, they imitated the new beings in white tees, the N'Dele or T'chindele with hats and iron armor. A rapid semantic language and slang followed, characterized by Camondongos or Kaluandas, a mixture of Kimbundu and Pretuguese.

The Muxiluandas gave the name Muala to that dance with some choreography and a pre-merengue rhythm. Semba appeared from the Kazukuta dance, in a place known as Samba; Soba Samba himself, together with Manhanga (Maianga), gave vivacity to this manifestation of festivities over the years.

Those demonstrations, from 1800 onwards, already had great moments of recreation and choreography. Very close to the end of the 19th century, muceques appeared with the names of Kamama, Kapiri and Mulenwo who, in demonstrations of death, appealed to the "Kiruwala" spirit, displaying gestures of almost recreation that the Muxiloandas or Axiluandas used to demonstrate fraternity and social support.

From the thirties of the 20th century, the Island's residents came by canoe to Marginal, which came to be called Paulo Dias de Novais, and imitated the Portuguese sailors with their immaculately white uniforms, swords, yellow chevrons and matching hats. They celebrated with T'chissângua and Puto wine that the "N'Gwetas" brought from the metropolis; These were times of leisure that the N'Gwetas gave their workers, greengrocers and farmers to soak in the sands of the Marginal. The rural settlers, fubeiros or employees, laughed and, in the depths of the backyards of their farms or houses, went on binges of "arrebenta merengue" under a mulemb tree, almond tree, tamarind tree or even baobab tree; It was a perfect time for the "N'dele" maidens, Creoles and Mocamas to get to know each other and talk about literature.

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The manifestations of Saturn and Bacchus were proliferating from the muceques, Sambizanga, Prenda, Catambor, Bairro Operário, São Paulo, Kaputo da Terra Nova, Cazenga, Rangel and the already mentioned fishermen of the Island, the Muxiloandas. The Kaluandas, always ready to party, plus the curious from Kifangondo, Cacuaco, Catete, Barra do Kwanza, Belas, Maculusso, Praia-do Bispo and Bungo.

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1961 arrived on the fourth of February and the colonial authorities suspended all street demonstrations. Shyly in the back of their backyards and almost silently, they went partying in Samba, Coqueiros, Bairro do Café, Vila Alice, Quinaxixe and Maianga; They were remnants of the June festivities in honor of popular saints that white people and Creole children created with regulations, lyrics and music and a prize from the Municipality of Luanda.
After the year 1961, despite the authorities prohibiting demonstrations of revelry, attempts at disobedience were registered in São Paulo, Anangola, Bairro Operário and Bairro do Cruzeiro, leading to disturbances with strong repression by militarized forces.

It was revenge for the deaths of a few police officers during the assault on the fourth police station by enthusiasts of the glorious EME, followed by raids and dogs on the loose to grab black people (things to forget, even silly but... difficult to understand). jointly regulates with the City Council the groups of participants coming from the suburbs to bring joy to the people on Avenida Marginal.

There was no more sand, there was already the Banco de Angola, fishing pier and many imperial palm trees decorating a wide tiled and asphalted promenade from the fortress of São Miguel in Baleizão and the sea port of Bungo with its imperial square and the statue of the Navigator Paulo Dias de Novais (this statue should return to its site)

The blocks paraded in private, masked, with painted cans, whistles, colorful clothes imitating Kings of distant Puto and many swords, spears, shields and crowns; that day everyone was king,... Whoever wanted to be!

The kingdoms of N´gola and Kongo were always represented.

The city of Lobito joined the festivities and on the island of Restinga the Corsican passed by pouring kilos and kilos of cornmeal to turn everyone white and behind, a water nozzle consolidated the white mask with sinister-looking figures. That day they were all white and zombies.

Later on, N´gola Ritmos, Os Cunhas, Rok´s and Duo Ouro Negro appeared. This was followed by Lubango, Benguela das acácias rubras, Huambo, Sumbe and many other locations until the Carnation Revolt emerged, on April 25, 1974, commanded by a few senior officers of the Portuguese Armed Forces, the results of which had repercussions on the Portuguese colonies in Africa until the proclamation of their independence.

Carnival, which was already renowned as one of the most popular festivals in the country, has seen several interruptions in its history. The first took place in the 1940s with the outbreak of World War II; the second between 1961 and 1963, with the beginning of the national liberation struggle, a period in which there was also no Carnival by decree of the Salazarist regime and a third that took place between 1975 and 1977. The resurgence of carnival festivities in the then People's Republic of Angola was led, in 1978, by the Founder of the Nation and first President of Angola, Dr. António Agostinho Neto.
In a very popular rally held in one of the most emblematic municipalities of Luanda (Cazenga), the Poet-President proposed to the country's population that Carnival be held from a different perspective than that previously known.
The reestablishment of Shrovetide as a public festival and popular recreation, was idealized by Agostinho Neto, with the aim of lifting the population out of the doldrums that completely absorbed their daily activity.
In this way, the history of post-independence Carnival is intrinsically linked to the character of Agostinho Neto who, with his popular and promising speech, called on Angolans to celebrate the victories won by the country, thus designating the Carnival of victory. This was the predominant theme of Carnival for many years.
In addition to his training in Medicine, his literary vein and his desire to see the right to life irrefutably respected, he also explores the country's cultural legacy, as can be read in his poem from the book Sagrada Esperança, entitled We Have to Return: «We will return to our Carnival to the marimba and thequissange»