Português


Etno-folk. Revista galega de etnomusicoloxía.

Ano IV, Vol. 1, Nº 12, Outubro 2008

Salwa El-Shawan Castelo-Branco & Susana Moreno Fernández (eds.)

In cooperation with INET-MD

Publisher: Dos Acordes, Baiona, 2008


The journal Etno-folk: Revista Galega de Etnomusicoloxía, published by Dos Acordes since 2005, focuses primarily on the music of Galicia. However, recently, two volumes were dedicated to music in Argentina and Portugal. More information about this journal can be found at http://www.dosacordes.com/web/tienda.php?ids=5

Volume 12 is entirely dedicated to music in Portugal and other Lusophone countries and was edited by Salwa El-Shawan Castelo-Branco e Susana Moreno Fernández.

The articles and book reviews published in this volume were written by researchers at the Instituto de Etnomusicologia-Centro de Estudos em Música e Dança (INET-MD) and partly reflect some of the research carried out at the Institute.

The articles by Salwa El-Shawan Castelo-Branco and Maria do Rosário Pestana deal with the history of research on music in rural areas of Portugal in the XXth century. They examine underlying ideologies, discourse and performance practice, as well as the role of some of the major researchers. Pestana also deals with initiatives in the province of Douro Litoral, contributing towards the construction and representation of local musical patrimonies in the mid XXth century.

Gonçalo Antunes de Oliveira, João Silva and Leonor Losa focus on the mediatization of
fado through sheet music, the revista (vaudeville) theater and commercial recordings.

Changes in the universe of festivals (
festas) since the mid XXth century are dealt with in three case studies. Daniel Tércio points out the importance of the São Gonçalo festival for the socialization of the inhabitants of the neighborhood of Beira-mar, situated in the urban center of Aveiro. He analyzes the “dança dos mancos”, a central part of this festival, as transgressive behavior.

Carla Nunes focuses on the
baile in the region of Southern Alentejo in the XXIst century. Different configurations of the baile, a festive event where music and dance play a central role, can be found throughout Portugal. Nunes analyzes the role of musicians, organizers and participants in the construction of the event. She also examines the economic implications of the baile and its articulation with the recording industry. Carla Minelli deals with changes, since the 1960s, in the role of the local civil wind band Sociedade Filarmónica Maceirense in the annual festival of Pocariça (Leiria) in central Portugal. Many of the changes described by Minelli are common in religious festivals celebrated in other areas of the country.

The final three articles of the volume focus on transcultural processes that involve Portuguese influence in other Lusophone countries, as well as emigrant communities in Portugal. Luísa Roubaud studies the ways through which theatrical dance in three Lusophone countries in Africa (Cape Verde, Mozambique and Angola) embodies new identities and is used as a vehicle for civic intervention within a post-colonial framework. Christine Dettmann shows how migrant Brazilian musicians in Lisbon opt for performing covers of popular Brazilian songs as a way of constructing a feeling of union among Brazilians living in the Portuguese capital, while, at the same time, assuring their economic subsistence. Susana Moreno Fernández analyzes the main changes that took place in the practice of traditional Galician music carried out in the Centro Galego de Lisboa in different periods of the XXth century. She shows how these practices contributed to the reinforcement of Galician identity as well as to the representation and cultural promotion of Galicia in Portugal.




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