Review de Futuro Da Saudade - Da Costa

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ReviewAuthor(s): Kimberly DaCosta HoltonReview by: Kimberly DaCosta HoltonSource: Luso-Brazilian Review, Vol. 44, No. 2 (2007), pp. 152-154Published by: University of Wisconsin PressStable URL: http://www.jstor.org/stable/30219538Accessed: 29-04-2015 17:05 UTC

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2/4

152

Luso-Brazilian

eview 4:2

humor ironiano

Beatda

beata,

ue

comp6s

om

Seu

Jorge

m

2003:

Toda

boatetemum fundo everdade/[...]/Temeata, em apata, emfrei egando

gay/Tem

uta

oirinha

tem

mulata,

araiba

urdo

japones/Na

oate,

bate-

estaca,

preconceito

ao

tem

vez

427).

Depois

conclui

letra:

Vale

tudo,

tudo

erto,

orque

razio

6

do

fregues/[...]/A

reta

lisou,

6s

silicone,

manha

vai botar

aralha/E

odo

mundo ai

no

beat,

eja

qual

for

sua

praia

427).

Com uma

inguagem

espojada

ao

mesmo

empo

nformal

ocosa,

muitas

vezes,

r6nica),

aour ala o

pfiblico

m

geral

obre

ma

das

principais

oca 6es

da

m6isica

opular

rasileira:

laborar ma

miltipla

r6nica e costumes. ntre

tais

costumes,

estaca-se acentuada endencia o

compositor,

risico

con-

sumidor-cidaddoo culto estetizaqaoa fossa, o amorfrustrado,a tristeza

e da

soliddo.

egundo

s

contas e

Faour,

te

d&cada

e

60

do

seculo

passado,

90%

de todas s

can

amorosas

rasileirasbordavam

desencanto

moroso.

O

pesquisador

amb6m

presenta,

om

nimeros

rgumentos

detalhes,

ma

aparente

orma e

esquizofrenia

rasileira. or

um

lado,

setores

a sociedade

reprimem tematizaCqo

a sexualidade a

mrisica,

mpondo-lhe

ensura

pu-

nindo

everamente

s

transgressores.

or outro

ado,

escancaram-se,

esde os

primeiros

ambas te s banaisformas e bunda

music,

s

principios

a casti-

dade e do decoro.

opularizam-se

ssim s

safadangas,

ermo o

pr6prio

utor,

isto ,o maxixe, forr6,lambada, o funk,nquantoe celebra se abusado

duplo

entido a

linguagem,

a dita

acanagem,

da

escatologia.

m

conclusdo,

a

obra

de

Rodrigo

aour ambiciosa

atinge

eus

objetivos,

onstituindo

m

adicional e

peso

(literal metaforicamente)

uma

distinta

istade obras

ue

retratam

om

rigor,

inficia

zelo

a

hist6ria

do

picante

uanto

mirabolante

a

cangdo

rasileira.

Ddrio

Borim

University

f

Massachusetts-Dartmouth

Halpern,

Manuel.

Ofuturo

a saudade:

novofado

os

novosfadistas.

reface

by

RuiVieira

Nery.

isbon:

ublicaq6es

om

Quixote,

004.

287

pp.

Just

s the

ast several

decades

have

produced

new

generation

f fadistas

with

articularly

road nternational

each,

ado

cholarship

as

experienced

similar

eriod

of

heightenedctivity

nd circulation.

ecent ado

cholarship

hasemergedutof wide ange fdisciplinesncluding usicology,istory,th-

nomusicology,

ociology,

nthropology

nd

performance

tudies.

Manuel

Halp-

ern's

futuro

a saudade:

novofado

os

novosfadistas,

ne

of

he

newest ado

titles,

iffersrom he

flurry

f tudies

roduced

n the

199os

nd

early

wenty-

first

entury

n that t

does

not

ttempt strictly

cademic

pproach

nd

specifi-

cally

ocuses n what

e and others ave ermed

novo

ado

r newfado.

Halpern

s

a

young

ournalist

who

begins

his

ntroduction ith

surpris-


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3/4

Book Reviews

153

ing

confessional ook:

I

am

Portuguese

nd

I don't

ike

fado.

Am

a traitor

to my country? 21).Thisopenerprepares eaders orHalpern'sdynamic,

down-to-earth

ritingtyle

whose ccasional

assages

f

direct ddress reate

a rhetorical

ntimacy

hich hould

nudge

hisbook

beyond

heboundaries f

special-interest

nd

into

he

realm f

a

wider

eneral

eadership. alpern

de-

cides,

few

aragraphs

own,

hathe

s

not

n fact national raitor or islik-

ing

fado,

ut s

simply

product

fhis

twenty-somethingeneration,

group

that

enerally

ails

o

dentify

ith traditional ado

cons uch s CarlosPare-

des

and

Amalia

Rodrigues.

ll s

not

ost

for

he

purposes

f

his

book,however,

as

Halpern

reveals

is

nterest

n new

fado,

generation

f

younger ingers

and nstrumentalistshosemusic translatestraditionalado] nto language

closer o our

days

21).

The stated

bjective

f

O

futuro

a

saudade is

to understand ew fado

through

n examinationf

early

ado

production

nd then atetwentiethen-

tury

nnovators,

dentifying

roots nd indices

f

change

n

order o

pinpoint

the

distinguishing

eatures

f hisnew

generation

ffado

protagonists

21).

The

first

art

f

hebook

explores

ado

history

romtsnineteenth

enturyrigins

o

what

Halpern

alls

he

pioneers

fthe

nineteen

ighties.

he second

part

ays

out

definitionalramework

or

nderstanding

hat onstitutes

ovofado.

nd

the third artprovides detailed,musician ymusician ortraitf new fado

practitioners,

sing

newspaper

rticles,

ebsites,

iographies,

iscographies,

n-

terviewsnd

an

examination

f fado

yrics

o

assess

each artist's

nique

tyle,

contribution

o the

ndustry,

nd

reception

y

domestic nd

foreign

ublics.

In

describing

he

book's

onstitutive

eatures,

t

s

also

mportant

o

note hat

Rui

Vieira

Nery's ousing

reface

aises nd

essentially

nswersn the

negative,

fundamental

uestion

elated o the

book's

ontents:

s so-called new ado is-

torically

nparalleled

n

tsnewness?

s

new

fado

new

nough

o be

considered

self-contained,

istinct

musical

moment,

ithout

recedent,

nd

unique

within

fado's

emporal weep?

What

distinguishes

ewfadofrom ther

eriods

ver

the

ast

150

years

where

lusters

fmusicians

ushed

he

urban

alladformnto

new

social,

musical,

yrical, olitical

nd

geographical

erritory?

ieira

rgues

convincingly

gainst

n

exceptionalist

ramework,

ositing

ewfado s

ust

n-

other

hase

n

the

protean

volution

f he orm.

nd,

n theheels

f

he

reface,

Ofuturo

a

saudade,

oes

not

present persuasive

erspective

o the

ontrary.

Part I makes claimfornew fado's

niqueness,

dentifying

ew fado s a

movement hich oesnot

pring

rom

he

ollective

ntention

f

fado

musicians,

but rather as come tobe defined posterioriccordingo noticeablepoints

in

common

mong

ertain

ontemporary

adistas.

ccording

o

Halpern,

ew

fado

brings ogether

adistas ho

began

their areers

n

the

199os

nd can be

distinguished

rom

ado antigo

y

ts

heterogeneity.

e

states,

In

opposition

o

fado

ntigo

whichwas

relativelyomogenous

.. new

fado,

s

we will

ee,

hoots

off n

various,

lmost

chizophrenic

irections

96).

I

agree

with

Halpern

hat

theterm newfado has been

n

use

for

everal

ears,

nd

given

tsresonance




4/4

154

Luso-BrazilianReview

44:2

and

popular

mbracemerits ttention

nd

scrutiny;

ut cannot

gree

with is

assessmentf ado antigoan ambiguous ormulation)s homogeneous nd

newfado s

unprecedented

n

tsbreakwithwhat

s

consideredraditionalur-

ing given

eriod.

That

being

aid,

Halpern's

ook contains wealth f

nformation.

ndeed,

this ookfeaturesstore

f

facts

nd reflectionshich annot e found

n other

sources.

ven

hough

he

primary

ontribution

f his ook s thedetailednfor-

mation

n newfadomusicians ontained

n Part

II,

I

also found hat

hapter

' A

Galixia

Amalia,

rought

ew

nsights

nto

an

otherwise ell-known

io-

graphical

arrative.

n

Chapter

,

Os

pioneiros

os anos

8o0'

nother

ighlight,

Halpern raceshe nnovationsfmusiciansuch sAnt6nio aria6es,Anamar,

Anabela

Duarte,

Rao

Kyao

nd

Jorge

ernando,

rediting

hemwithmodern-

izing

fado

through

adical

nd

sometimes

mutilating

usical

nterventions

(73).

Finally,

art

II

O

novofado:Rostos nomes s a

banquet

f

biographical

detail

nd

ntelligent

eflectionn the ives nd

mpact

ffadistasuch s

Misia,

Paulo

Braganga,

ariza, amand,

Mafalda

Arnauth,

ulce

Pontes,

mongmany

others.

n this

ection,

alpern

harts he areers

ffado

ovo

rtists,

nalyzing

lyrics,

xamining

raining

nd

revealing,

ia a rich

rray

f

nterviews,

adistas'

individual

eflectionsn the

meaning

ffado

nd the ontoursf

nnovation.

ll

in all thisbook s a pleasure o readandpackedwith nformativeroseon the

twenty-firstentury's

ost isible

nd

widely

cclaimed

ado

erformers.

Kimberly

aCosta olton

Rutgersniversity

Frier,

avid

(trans.

JoHio

uno Correa

Cardoso).

As

Trans)figura

do Eu

nos

Romances e Camilo

Castelo

ranco

1850-1870).

isbon:

mprensa

acio-

nal-CasadaMoeda,

2oo5.

Appendices.

ibliography.

ndices. 77

pp.

Structured

n

traditional issertationormat

Introduction,

hree ubstantive

chapters,

nd

Conclusion)

lus

a

Preface,

his

houghtfultudy

akes

up

both

familiar

nd

less

commonly

tudied

spects

f the novelisticrt

of

the

para-

gon

of

Portuguese

Regionalist

omanticism.

he

corpus

fnovels

nd

novel-

ettes

nalyzed

ncludes ver

fifty

amilian

works

ublished

etween

he

years

1850-1870,

ith

particular

ttention evoted o Andtema

1851),

Onde

estd

felicidade?1856),Um

homem

e

brios

1856), arlotaAngela1858),O

romance

de um homem ico

1861),

mor e

perdigdo

1862),

Corapio, abeqa

est6mago

(1862),

Mem6rias

e Guilhermeo Amaral

1863),

Amor e salvaado

1864),

O

judeu

(1866),

A

queda

dum

anjo

(1866),

O

retrato e Ricardina

1868),

nd A

mulher

atal

1870).

Professor rier's

reface

ays

out the basic

stylistic-chronological

cheme

(apud

Alexandre

abral)

for

Camilo

Castelo Branco's ovelistic

roduction,


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Review de Futuro Da Saudade - Da Costa