UNIVERSITY of COIMBRA – ALTA and SOFIA MANAGEMENT PLAN MONITORING and PROPERTY SUPERVISION QUATERLY REPORT – 1St TRIMESTER 2
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Fado of Coimbra, Intangible Heritage with Touristic Value
Rosa dos Ventos ISSN: 2178-9061 [email protected] Universidade de Caxias do Sul Brasil Beyond Sight and Sound: Fado of Coimbra, Intangible Heritage with Touristic Value COSTA, JOANA; NOSSA, PAULO NUNO Beyond Sight and Sound: Fado of Coimbra, Intangible Heritage with Touristic Value Rosa dos Ventos, vol. 9, no. 4, 2017 Universidade de Caxias do Sul, Brasil Available in: https://www.redalyc.org/articulo.oa?id=473552032004 DOI: https://doi.org/10.18226/21789061.v9i4p557 PDF generated from XML JATS4R by Redalyc Project academic non-profit, developed under the open access initiative JOANA COSTA, et al. Beyond Sight and Sound: Fado of Coimbra, Intangible Heritage with Touristic Va... Artigos Beyond Sight and Sound: Fado of Coimbra, Intangible Heritage with Touristic Value Para além da Vista e do Som: Fado de Coimbra, Património Imaterial com Valor Turístico JOANA COSTA DOI: https://doi.org/10.18226/21789061.v9i4p557 Universidade de Coimbra, Portugal Redalyc: https://www.redalyc.org/articulo.oa? [email protected] id=473552032004 PAULO NUNO NOSSA Universidade de Coimbra, Portugal [email protected] Received: 20 March 2017 Accepted: 20 July 2017 Abstract: On June 22nd, 2013, the University of Coimbra – Alta and Sofia was classified as a World Heritage Site. e World Heritage Committee added a sixth criterion to the Unesco list, distinguishing a particular cultural asset “directly or tangibly associated with a set of events, living traditions, ideas or beliefs, with aesthetic or literary works of outstanding universal significance”: Fado of Coimbra. Over time, this tradition has proven to be an aesthetic expression of lyricism and musicality and, together with a culture devoted to the dissemination of knowledge and the Portuguese language, it has made an inestimable contribution to the distinction awarded to the University of Coimbra. -
Folk Or Fake: the Notion of Authenticity in Portuguese Fado
1 Folk or Fake: The Notion of Authenticity in Portuguese Fado James Patrick Félix Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music March 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement © 2015 The University of Leeds and James Patrick Félix The right of James Patrick Félix to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements Para a minha mãe Anne Marie Félix, meu pai Amorim Carvalho Félix, minha esposa Denise Sara Bryan e minha filha Emma Maria Félix. This thesis would not have been possible without the assistance and support of a large number of individuals. I wish to extend my thanks first to my supervisory team of Professor Derek Scott and Professor Kevin Dawe, whose input, encouragement and advice helped keep things moving. I would also like to thank friends and colleagues at the University of Leeds, including Dr Karen Burland, Dr Lauren Redhead and Tenley Martin, whose conversations and suggestions allowed me to focus my thoughts and research in the right direction. I would also like to thank Professor Peter Johnson and Dr Liz Garnett at Birmingham Conservatoire who first helped me develop my interest in authenticity and folk music. -
Coimbra Advertise.Pdf
richly decorated interior rooms. Sotto Mayor is now a cultural space which hosts exhibitions, concerts, fashion events, lectures, meetings and conferences as well as a museum. Still unknown for many surfers around the globe, Figueira da Foz is a welcoming surf destination, with its famous mile-long hand break and one of Europe’s widest beaches with easy waves, soft white water and a hip bar, Kahlua Kaffe. 2- SEE COIMBRA and visit the UNIVERSITY of COIMBRA https://en.wikipedia.org/wiki/University_of_Coimbra/ The University of Coimbra was founded in 1290… in Lisbon. It was then moved to Coimbra to be definitively established there in 1537! It remains today one of the oldest academic institutions, and still functioning, in the whole world). Over 20,000 students are still attending the University, including a large community of international students. Visit the central library, the botanical gardens, the astronomical observatory, the São Miguel Chapel), and the musea (Science Museum, Sacred Art Museum and Academic Museum). 3- FEEL COIMBRA FADO http://www.visitcentrodeportugal.com.pt/fado-ao-centro/ The Fado de Coimbra is a highly stylized genre of fado music. Coimbrão Fado is sung exclusively by men and demands a strict dress code. Music groups and singers wear the academic dress which is composed of trousers, cassock and a black cape. This makes it a very solemn event, sung at night, in the city squares and streets, the most important stage of the Coimbra song. If you are visiting the city, don’t miss one of the traditional serenades which are sung under the windows of someone’s beau, or attend one of the wonderful performances of groups who sing popular songs which talk of the city, student life or borrow the words of the greatest names in Portuguese poetry in front of the Old Cathedral. -
The Portuguese Guitar: History and Transformation of an Instrument Associated with Fado
THE PORTUGUESE GUITAR: HISTORY AND TRANSFORMATION OF AN INSTRUMENT ASSOCIATED WITH FADO NUNO JOSÉ DOS SANTOS ANAIA CRISTO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JANUARY 2014 © Nuno José dos Santos Anaia Cristo 2014 ABSTRACT Since the mid-nineteenth century the Portuguese guitar has been connected to the fado genre. Over the years, both the instrument and the song genre have experienced significant transformations, at times related to aesthetic changes, at other times conditioned by social, political and economic alterations. This thesis focuses on the historic organological development of the Portuguese guitar, as an instrument associated with fado, and explores how the Lisbon guitar model has been progressively replaced by the Coimbra guitar model (both in practice and iconic symbolism). I argue that this tendency is related to the current new era of Portuguese guitar practice with its origins in the post-revolutionary period lived in Portugal after the political overthrow in 1974. My study is based on the review and analysis of the most recent works on the subject, fieldwork among players and makers, iconographic and archival research, and my own experience as a player and maker of both models of the Portuguese guitar. ii DEDICATION To my parents iii ACKNOWLEDGMENTS Many thanks to: York University for the 2012 GS-CUPE Unit 1 Graduate Financial Assistance - Dom Award. The Faculty of Graduate Studies for the allocation of the 2012-2013 Fieldwork Fund, without whose generous financial assistance this research would have not been possible; My supervisor Louise Wrazen and secondary reader Judith Cohen for all their encouragement, help and insightful advice throughout this process; My teachers at York University: Rob van der Bliek, Robert Witmer, Robert Simms, Trichy Sankaran, and Sherry Johnson. -
2530Booklet.Pdf
ENGLISH P. 2 PORTUGUÊS P. 9 DEUTSCH S. 17 INTRODUCTION All towns have places of ‘cult’ – a monument, a square, a river. There The work presented here speaks of this. Musicians of many types of music is also a song – the Canção de Coimbra (Song of Coimbra) – that belongs fulfil a ritual repeated a thousand times – that of singing the Canção de to Coimbra but also belongs everywhere else. The guilty party is D. Dinis, Coimbra with the correct sounds, which is the voice, the guitar and the King of Portugal, who one day in March 1290 decided to sign the Scientiae guitarra portuguesa – the usual sounds in this type of fado – but also the thesaurus mirabilis, a decree which founded the University of Coimbra. It is piano, double bass and trumpet – which due to the fact that they are new not known whether it was due to his love of knowledge or whether it was and vital, are also presented here. Some may say that ‘according to tradition’ inspired by his being a troubadour, a master of words both of love and satire. these sounds do not belong here. D. Dinis does not agree. He believes that tradition only became so when musicians from all over – including those It is however certain that the seed planted there by this king found fertile present right now! – have decided to add melodies and sounds to the words soil, grew and produced rich fruits. that he knew how to write, of love and other human realities. And this is the Some may say that the fruit of a University is its professors – and this is present and the future. -
A Guitarra Portuguesa E a Canção De Coimbra Subsídios Para O Seu Estudo E Contextualização
A Guitarra Portuguesa e a Canção de Coimbra Subsídios para o seu estudo e contextualização LUIS PEDRO RIBEIRO CASTELA UNIVERSIDADE DE COIMBRA FACULDADE DE LETRAS 2011 LUIS PEDRO RIBEIRO CASTELA A Guitarra Portuguesa e a Canção de Coimbra Subsídios para o seu estudo e contextualização Dissertação de Mestrado em Estudos Artísticos (Estudos Musicais), apresentada à Faculdade de Letras da Universidade de Coimbra, sob a orientação do Sr. Prof. Doutor Paulo Estudante. UNIVERSIDADE DE COIMBRA FACULDADE DE LETRAS 2011 A Guitarra Portuguesa e a Canção de Coimbra Agradecimentos “Subsídios para o seu estudo e contextualização” Agradecimentos Quero deixar aqui expresso os meus mais sinceros reconhecimentos ao meu orientador, o Professor Doutor Paulo Estudante, e a todos os outros Mestres desta Faculdade, que me ajudaram a realizar este estudo. Manifesto ainda o meu reconhecimento e gratidão ao Mestre da Violaria Portuguesa, o Sr. Gilberto Grácio, pelo seu contributo, assim como ao Mestre de Guitarra Portuguesa, o Sr. Professor Jorge Gomes e ao Mestre do Guitolão, o Sr. Professor António Eustáquio. Deixo ainda o reconhecimento aos responsáveis e funcionários da Faculdade de Letras da Universidade de Coimbra, Biblioteca Geral da Universidade de Coimbra, Biblioteca Municipal de Coimbra, Biblioteca Municipal de Lisboa, Museu Municipal de Coimbra, Museu da Música, Museu da Cidade de Lisboa, Museu da Música Portuguesa, Museu do Fado, Museu Académico de Coimbra, Royal College of Music, Victoria & Albert Museum e restantes instituições, bibliotecas e arquivos que contribuíram para o enaltecimento deste estudo. Por fim, um apreço de gratidão a todos os meus familiares e amigos, que sempre me incentivaram e apoiaram, sendo decisivos na concretização deste trabalho. -
The Building of Consent: Initiation Rituals and Students' Power Relations in the University of Coimbra
Sociology and Anthropology 5(10): 823-835, 2017 http://www.hrpub.org DOI: 10.13189/sa.2017.051003 The Building of Consent: Initiation Rituals and Students' Power Relations in the University of Coimbra Elísio Estanque1,2 1Centre for Social Studies (CES), Portugal 2Faculty of Economics, University of Coimbra, Portugal Copyright©2017 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract This article 1 covers three areas. The first (i) 1 . Introduction gives a brief historical overview of the University of Coimbra and outlines some of the academic traditions, as This essay aims to underline the historical heritage of the well as violent behaviour associated with the initiation rituals traditions handed down to the university students and to (known as Praxe). The second area (ii) explores the possible introduce a reflexive perspective that analyses these links between these rituals and various cultural and phenomena as part of the process of legitimization and socio-political movements, especially during the reproduction of power relations and mechanisms of consent authoritarian regime. Finally (iii), the study analyses the among students. The academic initiation rituals – here called most recent trends of the phenomenon in Portugal. The Praxe – were the pretext for trying to learn more about the research purpose is to reveal the massive dimension of this current young student world from the context, and history of phenomenon and its specificities in the case of Coimbra, the the University of Coimbra (hereinafter referred to as UC). hometown of the Portuguese university where all these This is one of the oldest institutions of higher education in rituals started, about 700 years ago. -
Fado, Music of the World and World Heritage
Fado, music of the world and world heritage ABOUT Fado, music of the world and world heritage A shawl, a Portuguese guitar, a voice and heartfelt emotion. This simple image could describe Fado, a recognised symbol of Portugal, and a music of the world that is genuinely Portuguese. At its heart is sentiment, lost love, longing for a departed one, everyday life and triumphs. After all, the vicissitudes of life provide endlessly inspirational topics. They say fado is fado, that it is ingrained in the Portuguese soul, with no distinctions to be made. Even so, some dare tell a professional from an amateur singer. Professionals earn a living from their voice. Amateurs sing the Fado also known as vadio (vagabond), and this has different qualities, although longing is still present as a main leitmotif. Making a comeback in Lisbon’s working-class districts, fado vadio singers are never invited… they invite themselves and do not have a set repertoire. In Coimbra, fado has particular characteristics and is sung by students. In 2011, UNESCO granted Fado World Heritage status, as an urban Lisbon song symbolic of the city and the country. To learn all the details, the best is to pay a visit to the Fado Museum in Alfama, one of Lisbon’s historic districts. Housing a vast collection, gathered from hundreds of bequests, you can get acquainted with the history of Fado from the first quarter of the 19th century to modern times. The house where Amália lived, today converted into a museum, is also in Lisbon, close to Madragoa. -
Historic Cafés As Cultural Heritage
Historic Cafés as Cultural Heritage Coimbra 20th and 21st April, 2018 Host: Café Santa Cruz Co-hosts: Associação dos Cafés com História de Portugal (ACH) European Historic Cafés Association (EHICA) Coordination: Vítor Marques Communication: Place and date: Coimbra, 20th and 21st April, 2018 20th Cultural Week of the University of Coimbra 2018 –European Year of Cultural Heritage 2 Historic Cafés as Cultural Heritage International Meeting of Historic Cafés Historic Cafés as Cultural Heritage International Meeting of European Historic Cafés Objectives Given that Café Santa Cruz has hosted a quite varied set of cultural initiatives of the most diverse nature, it is our intention to promote an international meeting of Historic Cafés where, in addition to talking about their history and stories, we will also discuss means of collaboration and exchange to seek an effective response to the challenges posed to this important sector. Thus, in order to find conditions for joint collaboration there are some topics that we would like to address in a working meeting where a large and significant group of Historic Cafés from Portugal and Europe are present. The indicative/provisional work plan, which emerges from a common vision shared by ACH and EHICA, is as follows (or topics under discussion): a) One of the challenges for the coming years in this sector is to keep up with market trends without losing its identity (which is the strength of its essence) and which results from its history and its tradition; b) Implementation of an international exchange programme for those responsible for the various Historic Cafés to enable the exchange of experiences; c) Creation of a passport for those who visit Historic Cafés in Portugal and in Europe. -
Arnold Umn 0130E 13988.Pdf
Saudade, Duende, and Feedback: The Hybrid Voices of Twenty-First-Century Neoflamenco and Neofado A DISSERTATION SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Michael Davis Arnold IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Ofelia Ferrán and Dr. Fernando Arenas June 2013 © Michael Davis Arnold 2013 Acknowledgements This study could not have been accomplished without the generous assistance of Fernando Arenas, Ofelia Ferrán, Matthew Rahaim, Ana Paula Ferreira, Raúl Marrero- Fente, Michelle Hamilton, Hector Fouce, Rui Vieira Nery, María del Rocío Herrera Alonso, Henrique Amaro, Sandra Baptista, Julian Demoraga & Diego “el Kinki”, Anabela Duarte, Miguel Filipe, África Gallego, Paulo Pedro Gonçalves, Pedro Gonçalves, Marco Miranda, Marta Miranda, Viviane Parra, Jorge Pires, Nathalie García Ramos, Elsa Rovayo, Ana Saboya, Sara Simões, Tó Trips, Luís Varatojo, Tó Viegas, Ehsan Alam, Natasha Hassett, Molly Lopresti, Edu Rodriguez, Daniel Arbino, Wayne and Julane Severson, Vincent and Ann Arnold, Alan and Lisa Danhof Arnold, and Laura Severson. i Dedication This thesis is dedicated to my corazón, Laura Severson, and in loving memory of my sister, Jessica Marie Arnold. ii Abstract The focus of this comparative, pan-Iberian study is on the negotiation of identity and hybrid cultural production in early twenty-first-century Spain and Portugal. I identify here two subgenres of indie and electronic music scenes and analyze how the handful of musicians that comprise these burgeoning movements are fighting to keep their respective national cultural traditions alive in the face of iTunes, mp3s, and P2P filesharing that have universalized a certain form of pop music which cuts across languages and cultures. -
Fado De Coimbra, Património Imaterial Com Valor Turístico
Beyond Sight and Sound: Fado of Coimbra, Intangible Heritage with Touristic Value Para além da Vista e do Som: Fado de Coimbra, Património Imaterial com Valor Turístico JOANA COSTA1, PAULO NUNO NOSSA2 DOI: http://dx.doi.org/10.18226/21789061.v9i4p557 ABSTRACT On June 22nd, 2013, the University of Coimbra – Alta and Sofia was classified as a World Heritage Site. The World Heritage Committee added a sixth criterion to the Unesco list, distinguishing a particular cultural asset “directly or tangibly associated with a set of events, living traditions, ideas or beliefs, with aesthetic or literary works of outstanding universal significance”: Fado of Coimbra. Over time, this tradition has proven to be an aesthetic expression of lyricism and musicality and, together with a culture devoted to the dissemination of knowledge and the Portuguese language, it has made an inestimable contribution to the distinction awarded to the University of Coimbra. This paper analyses the Fado of Coimbra and addresses its cultural value, its relationship to the heritage of the city and its economic potential in the global tourism market. Through bibliographical research, documental research and direct observation, this paper reflects on the origin of this musical genre, and its specific characteristics as well as its debated relationship to Lisbon Fado, as it investigates the social history and the evolution of Fado of Coimbra. KEY-WORDS Cultural Tourism. Intangible Heritage. Fado. University of Coimbra, Coimbra, Portugal. RESUMO 1 Joana Costa – Mestre em História de Arte, Património e Turismo Cultural, Universidade de Coimbra, Coimbra, Portugal. Currículo: http://coimbra.academia.edu/CostaJoana. E-mail: [email protected] 2 Paulo Nuno Nossa – Doutor. -
Portugal. Go Deeper Into
portugal. go deeper into culture think west contents THE SOUL 2 The Oceans 4 Cultural Encounters 6 Tiles 8 Fado 10 Fun and Festivities TIME AND PATHWAYS 12 Roots 14 Ramparts and Heritage 16 Holy Places 18 Museums 20 ETERNAL FUTURE Cover:View from the Tower of Belém to the Tagus River (15th century). The control tower for the sea traffic of the USEFUL INFORMATION Port of Lisboa (20th century) is visible in the background, Lisboa. 22 Go Deeper Backpage: A detail of a Manueline column of the 23 Map Unfinished Chapels of the Batalha Monastery, Lisboa region. 24 Contacts the oceans Following the Christian reconquest centre of learning for knights, sculptured motifs with a maritime and the defining of Portugal’s seafarers and cartographers, who theme – until the present time, national borders in the mid 13th from 1415 were pioneers in a long Portuguese art and inspiration have century – borders that have remained series of explorations. In far-off lands, been noticeably influenced by the sea. practically unchanged to the present from the coasts of Africa to the coasts However, as if this was a form of day - the Portuguese turned to the of India, from the seas of China to virtual reality or a dream that was sea and set out on expeditions that those of Japan, and to Brazil in the always possible, this sentiment goes would lead to the discovery of oceans West, the Portuguese were the first beyond art, as demonstrated by the and ports that were hitherto European maritime explorers and left last World Expo’ of the previous unknown.The fact of having a long behind them their language, religion, millennium, EXPO 98.Taking as its coastline and a passion for the sea art and science, at the same time as theme The Oceans, a Heritage for The were undoubtedly strong introducing commerce and cultural Future, the Portuguese once again motivations.