Le fado et la dictature : les figures de la « victime »
Today, forty years after the end of the Estado novo (1926-1974) in Portugal, the fado, performed by a solo singer accompanied by guitars, is ever considered, in the collective Portuguese imaginary, as a natural accomplice of this dictatorship. However, this popular spontaneous song, considered durin...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | article |
| Lenguaje: | EN FR PT |
| Publicado: |
Centre de Recherches sur les Mondes Américains
2015
|
| Materias: | |
| Acceso en línea: | https://doaj.org/article/c64a35dff93c41ffbe34318dc97b7bf8 |
| Etiquetas: |
Agregar Etiqueta
Sin Etiquetas, Sea el primero en etiquetar este registro!
|
| id |
oai:doaj.org-article:c64a35dff93c41ffbe34318dc97b7bf8 |
|---|---|
| record_format |
dspace |
| spelling |
oai:doaj.org-article:c64a35dff93c41ffbe34318dc97b7bf82021-12-02T10:31:47ZLe fado et la dictature : les figures de la « victime »1626-025210.4000/nuevomundo.68239https://doaj.org/article/c64a35dff93c41ffbe34318dc97b7bf82015-09-01T00:00:00Zhttp://journals.openedition.org/nuevomundo/68239https://doaj.org/toc/1626-0252Today, forty years after the end of the Estado novo (1926-1974) in Portugal, the fado, performed by a solo singer accompanied by guitars, is ever considered, in the collective Portuguese imaginary, as a natural accomplice of this dictatorship. However, this popular spontaneous song, considered during a long time as a « subculture », suffered during this period violations of his freedom of expression. Fado paradoxically knows a mass diffusion and the power considered it as an easy tool of propaganda. But the fact that the fado has been looked as an active symbol of a reactionary ideology hide the censorship he suffered and enclosed it in a limited interpretative frame that shows the complexity of the Portuguese democratic transition. Due to his poem topics (realistic picture of the “sadness” of life), fado crystallized the idea of a human « resignation », and turned scapegoat, as opposed to the “protest song”, defending liberty, born in the 1960’s. Showing us that the status of victim requires, first of all, a social legitimacy.Agnès PellerinCentre de Recherches sur les Mondes AméricainsarticleEstado novopopular songcensorshipprotest songAnthropologyGN1-890Latin America. Spanish AmericaF1201-3799ENFRPTNuevo mundo - Mundos Nuevos (2015) |
| institution |
DOAJ |
| collection |
DOAJ |
| language |
EN FR PT |
| topic |
Estado novo popular song censorship protest song Anthropology GN1-890 Latin America. Spanish America F1201-3799 |
| spellingShingle |
Estado novo popular song censorship protest song Anthropology GN1-890 Latin America. Spanish America F1201-3799 Agnès Pellerin Le fado et la dictature : les figures de la « victime » |
| description |
Today, forty years after the end of the Estado novo (1926-1974) in Portugal, the fado, performed by a solo singer accompanied by guitars, is ever considered, in the collective Portuguese imaginary, as a natural accomplice of this dictatorship. However, this popular spontaneous song, considered during a long time as a « subculture », suffered during this period violations of his freedom of expression. Fado paradoxically knows a mass diffusion and the power considered it as an easy tool of propaganda. But the fact that the fado has been looked as an active symbol of a reactionary ideology hide the censorship he suffered and enclosed it in a limited interpretative frame that shows the complexity of the Portuguese democratic transition. Due to his poem topics (realistic picture of the “sadness” of life), fado crystallized the idea of a human « resignation », and turned scapegoat, as opposed to the “protest song”, defending liberty, born in the 1960’s. Showing us that the status of victim requires, first of all, a social legitimacy. |
| format |
article |
| author |
Agnès Pellerin |
| author_facet |
Agnès Pellerin |
| author_sort |
Agnès Pellerin |
| title |
Le fado et la dictature : les figures de la « victime » |
| title_short |
Le fado et la dictature : les figures de la « victime » |
| title_full |
Le fado et la dictature : les figures de la « victime » |
| title_fullStr |
Le fado et la dictature : les figures de la « victime » |
| title_full_unstemmed |
Le fado et la dictature : les figures de la « victime » |
| title_sort |
le fado et la dictature : les figures de la « victime » |
| publisher |
Centre de Recherches sur les Mondes Américains |
| publishDate |
2015 |
| url |
https://doaj.org/article/c64a35dff93c41ffbe34318dc97b7bf8 |
| work_keys_str_mv |
AT agnespellerin lefadoetladictaturelesfiguresdelavictime |
| _version_ |
1718397142749413376 |