Território, rede e cultura da tradição: o fado do século XIX no mundo do século XXI

• Autor(a) principal: Souza, Ricardo Nicolay de
• Data de Publicação: 2012
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/8931
• topic: Portugal; Fado; Territory; Social representation; Identity; Portugal; Fado; Território; Representação social; Identidade; Fado; Representações sociais; Canções folclóricas portuguesas; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

The history of fado began in the nineteenth century and is interwoven with many theories about their origins, which are still being debated nowadays. Inserted in the Representative List of the Intangible Cultural Heritage of Humanity by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2011, fado is considered as the main musical symbol of Portugal, in the everyday lives of many social and cultural portuguese people, having overcome geographic boundaries, social, cultural, political and economic. It is considered in this paper the importance of the Portuguese Empire and its colonies such as Mozambique, Angola, Brazil and Goa, which contributed to the beginning of the process of dissemination of fado worldwide, leading to the overseas territories of portuguese culture fragments from fifteenth century, and the development of capitalism and the fluidization of boundaries, through the media, globalized the fado, and catalyzing him into "the process of miscegenation between songs from different classifications" (VALENTE, 2007:94 ), and the influence of singers, that with the emergence of new forms of communication have enabled their interaction with other cultures and, consequently, with other songs. It stands out in its trajectory transformation of music exclusively consumed by lawbreakers and morals to music representative of the culture of a country, leaving behind the houses of ill fame of the nineteenth century and gained space by stages in the world in the twenty-first century. The recording industry and the radio are also tools that contributed to the development of fado. The goal of this dissertation is to observe the fado today, recovering its history from its origins in the nineteenth century. For that identifies and locates many transformations over time and characters who stood out during this journey, showing how traditions are reinvented by the new generations who, at many times, are responsible for the care and often for the reinvention of fado as cultural heritage. In this analysis the globalization of culture is considered as a power redefined the meaning of a tradition. Some singers are the landmarks of this research, representing a timeline that is distributed in 200-year history. The lyrics of fado will travel this research in order to illustrate the points addressed. As a cartographic research, based on the rhizomes model, proposed by Gilles Deleuze and Félix Guattari (2000), we intend to analyze the contemporary history of fado, with the timeframe elapsed at the Cravos Revolution, in April 25, 1974.