Music and Human Mobility

Redefining Community in Intercultural Context

Selection of peer reviewed papers presented within the 5th International Conference Music and Human Mobility - ICMHM’16, Redefining Community in Intercultural Context, Lisbon, 7-9 June, 2016 icmhm’16

Edited by Maria de São José Côrte-Real & Pedro Moreira With the support of INET-md (FCSH/NOVA)

Brasov vol.5, no.1/2016 © June, 2016 ‘Henri Coandă’ Air Force Academy Publishing House 160, Mihai Viteazu st., Braşov, 500183 Phone: +40 268 423421, fax: +40 268 422004 e-mail: [email protected]

Editor-in-chief Adrian LESENCIUC - ‘Henri Coandă’ Air Force Academy, Brasov, Romania Guest Editors Maria de São José CÔRTE-REAL - New University of Lisbon, Portugal Pedro MOREIRA - New University of Lisbon, Portugal Editors Daniela NAGY - ‘Henri Coandă’ Air Force Academy, Brasov, Romania Cosmina ROMAN - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

Editorial Assistant Bart VANSPAUWEN - New University of Lisbon, Portugal Designer Mariana GHINDĂOANU - ‘Henri Coandă’ Air Force Academy, Brasov, Romania Printing Daniela OBREJA - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

Scientific Board

Maurizio AGAMENNONE - University of Florence, Italy Elena BUJA - ‘Transilvania’ University of Braşov, Braşov, Romania João Soeiro de CARVALHO - New University of Lisbon, Portugal Salwa CASTELO-BRANCO - New University of Lisbon, Portugal Ella CIUPERCĂ - ‘Mihai Viteazul’ National Intelligence Academy, Bucharest, Romania Maria de São José CÔRTE-REAL - New University of Lisbon, Portugal Alberto FORNASARI - ‘Aldo Moro’ University, Bari, Italy Jelena JOVANOVIĆ - Institute of Musicology, Serbian Academy of Sciences and Arts, Serbia Ursula HEMETEK - University of Music and Performing Arts, Vienna, Austria Diana ILIȘOI - ‘Henri Coandă’ Air Force Academy, Brasov, Romania Adrian LESENCIUC - ‘Henri Coandă’ Air Force Academy, Brasov, Romania Elizabeth LUCAS - Federal University of Rio Grande do Sul, Porto Alegre, Brazil Dan LUNDBERG - University of Stockholm, Sweden Ignazio MACCHIARELLA - University of Cagliari, Italy Sílvia MARTÍNEZ - Higher School of Music od Catalunya, Barcelona, Spain Pedro MOREIRA - New University of Lisbon, Portugal Elisabete MONTEIRO - University of Lisbon, Portugal Graça MOTA - Polytechnic Institute of Porto, Portugal Rui Vieira NERY - New University of Lisbon, Portugal Elsa PERALTA - University of Lisbon, Portugal Paulo Maria RODRIGUES - University of Aveiro, Portugal Luísa ROUBAUD - University of Lisbon, Portugal Katerina STRANI - Heriot-Watt University, Edinburgh, United Kingdom Mariselda TESSAROLO - University of Padua, Italy

ISSN 2285-2689 ISSN-L 2285-2689

Front cover: Namban-jin byōbu (wind wall) attributed to Kanō Naizen (c.1570-1616). The folding screen depicts the arrival of a Portuguese vessel in Kyushu (Nagasaki, Japan). Locals, Jesuits, sailors and merchants meet at the shore, testifying global human mobility between houses, with a musical instrument inside, and the enormous nau (ship) in the harbour. Today in the National Museum of Ancient Art in Lisbon, Portugal. 4 Editor-in-chief

Adrian Lesenciuc is an Associate Professor of Theory of Communication and Military Sciences and currently he is the president of the ‘Henri Coandă’ Air Force Academy Senate in Brașov. He has a PhD in Military Sciences from ‘Carol I’ National Defense University (2008-2011) and in Communication Sciences from National University of Political Sciences and Administration (2010-2014), both in Bucharest. His major interest in research concerns intercultural communication, but he has also been interested in studying fundamentals of communication in military sciences, communicative competence, and linguistics. He designed the international conference Redefining Community in Intercultural Context (starting with 2011), quoted in important scientific databases, such as Thomson Reuters / Web of Knowledge or Index Copernicus. Recent publications include: Informational Warfare. Brasov: Henri Coanda Air Force Academy (2016); Intercultural communication within the Romanian village. Bucharest: The Romanian Academy Publishing House (2015), Communicative Foundation of Military Sciences (in partnership with Daniela Nagy and Cosmina-Oana Drăghici). Saarbrücken: Lambert Academic Publishing and Theory of communication. Brasov: Henri Coanda Air Force Academy (2010). Adrian Lesenciuc is also a Romanian writer, president of the Brașov branch of the Romanian Writers Union, author of many books of poetry, novels and essays.

Guest Editors

Maria de São José Côrte-Real is an Associate Professor of Ethnomusicology and founding researcher of the Institute of Ethnomusicology – Center for Studies in Music and Dance at the NOVA School of Social Sciences and Humanities of the New University of Lisbon. With a PhD from Columbia University (NY/USA), where she studied, researched and taught (1989-2001), she is faculty member of the Portuguese Foundation for Science and Technology awarded PhD Programs Music as Culture and Cognition (since 2014) and Art Studies and Mediations (since 2013) in this University. Having done field research in Portugal, USA and Mozambique, her interests developed on the topics of migration and representations of identity, cultural politics and nationalisms, and cultural interfaces and education. She teaches BA and MA courses of Ethnomusicology, organizes International Conferences, the Doctoral Forum of the Institute of Ethnomusicology and coordinates the programs of International Mobility in the Department of Musical Sciences. Recent publications include the book Protest Song and Social Change (in process, 2016); “Music & Ethno- national Conflict-solving Education”. Bonn: Bundeszentral für Politische Bildung (submitted); “Music and intercultural dialogue rehearsing life performance at school” in Nektaria Palaiologou (ed.) Intercultural Education: conceptual and empirical challenges. London, New York: Routledge (2014) and the book like special issue Music and Migration, of the journal Migrações 7. Observatory of Immigration. High Commissariat for Immigration and Intercultural Dialogue (2010).

Pedro Russo Moreira is a post-doctoral researcher at the Institute of Ethnomusicology – Center for Studies in Music and Dance at the NOVA School of Social Sciences and Humanities of the New University of Lisbon (INET-md, FCSH/NOVA), with a scholarship by the Portuguese Foundation for Science and Technology (FCT), where he develops a project on music, radio and Portuguese migration in Paris. His main research topic is the relation between music and radio, specially the production and mediation of sounds. In 2013, he concluded a PhD regarding the study of music production in the Portugal National Radio during the dictatorship (1934-1950). His main publications include one book on the history of Portuguese National Radio (with Manuel Deniz Silva and Nuno Domingos), several articles and encyclopedia entries, as well as a book about Orquestra Sinfónica Juvenil - Youth Symphonic Orchestra - in Portugal. He taught History of Music, Acoustics and Ethnomusicology in several music schools and colleges, like in Instituto Piaget (ISEIT) and ANSO (Metropolitana) where he was Co-coordinator of the graduate and master degree program in music.

5 6 CONTENTS

Redefining Community in Intercultural Context ...... 9 (Adrian Lesenciuc, ‘Henri Coandă’ Air Force Academy, Brasov) Music and Human Mobility...... 13 (Maria de São José Côrte-Real, Pedro Moreira, New University of Lisbon)

Culture, Identity and Globalization ...... 15 The religious persecution of musicians in Afghanistan, 1978-2014 ...... 17 (John Baily, University of London) Iberovision, cultural and ideological exchanges: music festivals in the 1960s ...... 23 (João Ricardo Pinto, New University of Lisbon) Saotomean orality and music: brief notes...... 27 (Rufino E. Santo, Celso Soares, Fernando Teodósio, CulturFACE Association, Lisbon) Culture and identity in the age of globalization...... 34 (Cristina Gelan, Ovidius University, Constanta) Preschool learning through play from the perspective of the theory of concept-holes ...... 39 (Adrian Lesenciuc, Simona Lesenciuc, ‘Henri Coandă’ Air Force Academy, Brasov) Teaching design and musical-rhythmic intelligence...... 46 (Anca-Olga Andronic, ‘Spiru Haret’ University, Brasov) Socio-cultural aspects of nonverbal communication in Romanian troops in Afghanistan ...... 48 (Cosmin Ivanciu, Viana Popica, ‘Henri Coandă’ Air Force Academy, Brasov) The importance of civil-military dialogue in Côte d’Ivoire U.N. peacekeeping mission ...... 55 (Cosmina-Oana Roman, ‘Henri Coandă’ Air Force Academy, Brasov) Musicians and the secret front of intelligence ...... 62 (Ella Magdalena Ciupercă, Mihai Viteazul National Intelligence Academy, Bucharest) Listening to God’s language: stancetaking in online comments on Ennio Morricone’s music ...... 67 (Raluca-Mihaela Levonian, University of Bucharest) Musicality and geometry perfection of rhythm in the Romanian poetry of Ion Barbu ...... 73 (Daniela Nagy, ‘Henri Coandă’ Air Force Academy, Brasov) (En)Chanted words in an Australian aboriginal and two Chinese traditional religious songs ...... 79 (António Baptista, New University of Lisbon) Sounds make the difference ...... 85 (Elena-Raluca Constantin, Military Technical Academy, Bucharest) Extemporaneous dance...... 91 (Raquel Oliveira, University of Lisbon)

Music, Performance and Mobility ...... 97 Music, mobility and citizenship: navigation tips ...... 99 (Maria de São José Côrte-Real, New University of Lisbon) Stereotypes and Migration ...... 105 (Răzvan-Lucian Andronic, Spiru Haret University) Human mobility and cultures’ meeting ...... 108 (Maria Stoicovici, Military Technical Academy, Bucharest) Where do they belong? The difference in between so called “second generation” of migrants ...... 115 (Denise Schubert, University of Music and Performing Arts, Wien) Interculturality: an attempt of reconstruction in a world of deconstruction ...... 122 (Diana Ilişoi, ‘Henri Coandă’ Air Force Academy, Brasov) Voicing Balkan imaginaries: identity metaphors of Kumpala Algazarra in Lisbon ...... 127 (Maria Espírito Santo, New University of Lisbon) Rural musical culture of migrants from Dinaric regions settled in central Serbia ...... 131 (Jelena Jovanović, Serbian Academy of Sciences and Arts, Belgrade) 7 Somewhere between displacement and belonging: jazz, mobility, and identity in Europe ...... 139 (José Dias, Manchester Metropolitan University) Learning itineraries & transnational relations initiating the Hot Clube de Portugal’s jazz school ...... 145 (Pedro Mendes, New University of Lisbon) Following the path of the ancients ...... 150 (Davide Pancetti, University of Pavia) From Parque Mayer to Teatro Monumental: Vasco Morgado’s Empire in Lisbon ...... 155 (Gonçalo Antunes de Oliveira, New University of Lisbon) Sounds and memories among migrants from Angolan decolonization ...... 161 (Gianira Ferrara, New University of Lisbon) Memory and learning: experiment on Sonata KV 331, in A Major by W.A. Mozart ...... 168 (Stela Drăgulin, Claudia-Ligia Şuteu, Transilvania University, Brasov) Musa Gulam Jat and Jodia Pawa: from Sindh to Banni ...... 172 (Iulia Nicoleta Râşcanu, The University of Economic Studies, Bucharest)

Music and Intercultural Contact ...... 177 Borders, what’s up with that?: Musical Encounters and Transnational Mobility in K-Pop ...... 179 (Michael Fuhr, University of Hildesheim) The spread of K-pop culture in Romania ...... 185 (Elena Buja, Transilvania University, Brasov) “Third sex” stereotype in South Korea: reasons & implications for the new generations’ women ...... 192 (Irina Roibu, Paula-Alexandra Roibu, Hankuk University of Foreign Studies, Seoul) . The Philarmonique Portugaise de Paris: towards representations of national identity ...... 198 (Maria Helena Milheiro, New University of Lisbon) Folklore, Fado and Radio: mediating Portuguese identities in Paris ...... 203 (Pedro Moreira, New University of Lisbon) Music decolonializes lusofonia? Entrepreneurial efforts towards interculturalism ...... 209 (Bart Paul Vanspauwen, New University of Lisbon) Mobility, nationalism & cosmopolitism: light music in Portugal and European broadcasting ...... 214 (Andrea Musio, New University of Lisbon) Music I like (...) people I hang out with! Identities, values and preferences among Romanians ...... 218 (Andreea Mitan, National University of Political Studies and Public Administration, Bucharest). Musical practices, cultural politics and human mobility in the Macau Chinese Orchestra ...... 225 (Maria Leonor Veloso Dias Azêdo, New University of Lisbon) Cultural mixing as a major feature of rock music ...... 231 (Mariselda Tessarolo, University of Padua) Urban soundscapes: multi-ethnnic orchestras in Italian cities ...... 240 (Layla Dari, University of Florence) Good and evil in a song of Leonard Cohen ...... 245 (Jirí Mesíc, Palacký University, Olomouc) Expatriate as a brand: intercultural success stories of Estonian musicians ...... 252 (Kristeľ ̌Kaljund, Anne-Liis Peterson, Tallinn University of Technology) Communicating through music: aspects of Integrative and Intercultural Education ...... 260 (Vittoria Bosna, University of Bari ‘Aldo Moro’)

8 MUSIC AND HUMAN MOBILITY REDEFINING COMMUNITY IN INTERCULTURAL CONTEXT 2016 Guest edited by Maria de São José Côrte-Real & Pedro Moreira “Henri Coandă” Air Force Academy Publishing House

FOLKLORE, FADO AND RADIO: MEDIATING PORTUGUESE IDENTITIES IN PARIS

Pedro MOREIRA*

*Institute of Ethnomusicology, NOVA School of Social Sciences and Humanities, New University of Lisbon, Portugal, Foundation for Science and Technology (FCT)

Abstract: The role of media in diasporic experiences is central to understand the identity construction of migrant communities in relation to the uses of their expressive culture, shaped by a connection to the motherland. This article addresses the case of Radio ALFA, a radio station targeted at the Portuguese community in the Paris region, and focuses on the ways in which Radio ALFA imagines this community through both its programming grid and the discourses of its main interlocutors. The heterogeneous and dynamic community conception of this medium is central in understanding the role of expressive mediated cultural practices such as Fado or Folklore in the construction of a more fluid identity. The use of such expressive practices in the broadcastings are central to Radio ALFA’s survival strategies, constantly (re)defining the very notion of “Portuguese community” in trying to reach different audiences that include both first-generation migrants and luso-descendants. In this linkage between community, motherland and host country through radio, a rather dynamic process emerges which nurtures a better understanding of the relation between media, music and migration in this specific context.

Keywords: Radio, Migration, Community, Music.

1. INTRODUCTION Oiarzabal, 2010; Karim, 2003; Sánchez, 2008). The self-representation of migrant communities in In this article, I address some questions the media, and in this case, in radio, reveals the regarding the case of Radio ALFA, the radio of the mediated construction of community identities, Portuguese and lusophone community in the Paris imagined throughout broadcasts, discourses and area, broadcasting via FM, internet and satellite. expressive practices as dynamic processes The main issues raised by my research are: (Kosnick, 2007). As anthropologist Ferreira What kind of community does Radio ALFA synthetises: “The content produced and imagine? What is its role, from a production disseminated by these social institutions perspective, in the construction of a community contributes to the politics of identity of migrant identity through radio? What are the dynamics of communities and fosters reflection on their self-representation of this community with regard strategies of integration, resistance, creation of to Folklore and Fado? How do these dynamics traditions, and the commodification and affect both the programming policy and the objectification of culture” (2013:203). relationship with the community? The works of scholars such as Riggins (1992), The reality of radio in the context of migrant Kosnick (2007) and Peterson (2012) reveal several communities (Ferreira, 2013; Peterson, 2003; dimensions that interfere with self-representation Dayan, 1999), especially their relationship to of migrant communities in the media, enlightening music (Toynbee and Dueck, 2011), is clearly the heterogeneity of such imagined communities, marked by insufficient studies in the social their local involvement with the host country, sciences. In a wider context, the approach to relationship with the motherland and transnational different types of media and migration has shown a industries of culture, amongst other contingencies. tendency to avoid crystallized analyses of media as As stated by Kosnick: “Migrant media are of prime mere mirrors of expressive practices (Alonso and importance as arenas for producing and circulating 203 Pedro MOREIRA identity claims in order to intervene in the politics be shared with Tabala FM, an “African” radio of representation” (2007:2-3) Therefore, it is station. The first broadcast took place on October relevant to consider the mediated discourses and 5, 1987 at 2:00 p.m., celebrating the Portuguese expressive practices beyond the ideas of “cultural Republic Implantation day. As one of the founders preservation” or identity defence. A non- stated, the radio station’s main purpose was “to deterministic approach to identity, constructed remind the French that we were, back then, the through “transformation and difference” (Hall, largest foreign community in France. A radio that, 1990:235) should unveil the ways in which personally, I wanted to enter the homes of the musical genres are mediated, and how this reflects Portuguese who listened to us, so that our mother the very notion of “community” as imagined by the tongue was not forgotten and could be transmitted media. to our descendants.” (Carmo, 2014:697). Radio ALFA’s aim was to rethink the scope of the 2. A RADIO FOR THE COMMUNITY Portuguese community in the Paris region as well as the very purpose of its medium. According to Radio ALFA was founded in 1987 in a context Fernando Silva, one of the station’s founders: “The of broadcasting policy changes in France. The rise radios that existed were very nostalgic, a kind of of pirate or free radio broadcastings since the early “Saudade” (nostalgic) corner. They considered 1970’s, as in other European countries, allowed the neither the evolution of the Portuguese community foundation of several illegal radios as a reaction to in France, nor the youth of Portuguese origin. We the state monopoly of FM waves. The legal wanted the Portuguese to assert themselves as framework came after the election of François citizens here in France. (…) we wanted to show Mitterrand, who promised to review the situation that there was another Portugal, another once elected, which eventually happened. The Portuguese music, and that the Portuguese living in Fillioud Act, from 1982, named after the France, were not the clichés cultivated within the Communications Minister of Communications community by elder emigrants.” (Interview, Georges Fillioud, liberalized FM waves and 6/11/2014) allowed radio stations to start the legalization The association ALFA struggled with financial process (Kuhn, 1995:77 et seq.). problems until the 1990s and was afterwards In the early 1980’s, three Portuguese pirate acquired by a Portuguese emigrant-owned radio stations were operating in the Paris region: financial group, becoming a commercial radio Radio Églantine, Radio Clube Português (RCP) station. After 1992, Radio ALFA was on air 24 and Portugal no Mundo, closely linked to the hours a day, without sharing the 98.6 frequency associative movement. The legalization process with Tabala FM. Five years later, Radio ALFA was still complex as the National authority asked entered the satellite channel, broadcasting for some paperwork, which postponed the requests. nationally and worldwide, expanding in 1999 to As Kosnick states, in a broader analysis: “migrant the internet, with several web radios, mainly media tend to flourish in the marginal and often thematic in their nature: ALFA Fado (dedicated to unstable spaces opened up by the erosion of public Fado), ALFA Pop (dedicated to Pop and Rock), service and state broadcasting monopolies, by the ALFA Sat (Lusophone music) and ALFA FM. At development of new communication technologies, present, Radio ALFA FM covers about 70 km of and by the uncertainties of political regulation that the Paris region, albeit with some variation often still characterize new transnational media (approx. 30 km), having approximately 800.000 infrastructures” (2007:3). potential listeners, including Portuguese emigrants, It was in this space of wider representation, their descendants, and other lusophone emigrants. helped by the associative movement and concern for the second generation (children of the 3. RADIO ALFA AND ITS PROGRAMMES emigrants), that Radio ALFA was created, uniting a group of Portuguese emigrants with connections The construction of the radio programming to the pirate radio movement (Laureano, 2011). materializes several intentions, values and The main purpose was to create a hybrid radio negotiations of power in a context of technological, designed to give voice to the experiences and daily legal, regulatory and financial contingencies lives of the Portuguese emigrants in the Paris (Riggins 1992; Alonso and Oiarzabal, 2010; region, instead of emulating a Portuguese radio in Karim, 2003). The role of the media in migration Paris, as some of the interlocutors stated. contexts has been analysed from a dual In 1987, Radio ALFA’s radio license was perspective: maintaining notions of cultural granted, but this legal permit only included 12 tradition and practices, on the one hand, and hours of broadcasting, with the other 12 hours to unintentionally encouraging the assimilation by its 204 FOLKLORE, FADO AND RADIO: MEDIATING PORTUGUESE IDENTITIES IN PARIS audiences of dominant values of the host society, According to the radio director, Radio ALFA on the other (Riggins, 1992:4). now faces a major challenge: broadcasts have to In my first interview with Radio ALFA’s change because the younger generation and new director, Fernando Lopes, he stated that “the role emigrants want different things compared to their of Radio ALFA is to inform about Portugal and the parents or grandparents: “The new emigrants are Lusophone countries, to talk about daily practical very interested to hear about Portugal, they will, questions in the country in which they live, which for sure, listen to Radio ALFA. The great is France, and to give them world news. (…) challenge is keeping the luso-descendants Portuguese news can be delivered by a Portuguese interested, particularly those who have married a radio, the French news, by a French radio, but the non-Portuguese wife, for instance. Why should news to the Portuguese community living in the their children listen to us?” (Interview, Paris area can only be delivered by Radio ALFA” 6/11/2014). The way in which this community is (Interview, 6/11/2014). Essential to the imagined (Anderson, 1983) through radio is a programming policy is the question posed by challenge for the programmers, which must adapt Radio ALFA’s director: “to whom do we their broadcasts and main thematic lines: to broadcast?” which is central for the survival of the promote Portugal and its traditions, on the one radio station. The imagined mediated community hand, and to show a new and modern Portugal shapes the radio programs and the discourses about through music, like Fado, Pop/Rock, etc, on the the role of Radio ALFA in the context of other. Portuguese migration in Paris. According to the director, the morning 4. ON THE MARGINS OF TRADITION programs are target the first-generation emigrants, especially those who are at home, defining them as In this section, I would like to discuss how a segment largely aimed at workers and Radio ALFA’s FM broadcasting mediates folklore. “housewives”. Two programs are highlighted As a symbol of Portugal expressive culture, its during the weekdays: Está na Hora! (It's time), discourses about folklore are not only rooted in from 6:00 a.m. to 9:00 a.m., by Ester De Sousa and words such as tradition or authenticity, but also Carlos Manuel, and Ponto de Encontro (Meeting show a rather dynamic process of resignification. point) from 9:00 a.m. to 12:00 p.m. by Anabela De Terra em Terra, nas margens da tradição is Cunha. The first program includes traffic news, one of the most relevant broadcastings regarding anecdotes, ephemeris, prizes, weather forecasts, the dissemination of folklore in Radio ALFA’s and information blocks, making it one of the most program grid. Beyond representing tradition “as attended programs. Ponto de encontro (Meeting the past”, the current Radio ALFA director stated point) covers other types of content, from legal that this program wants to show Portugal’s living topics that matter to the community, news, riddles, traditions, the true roots of those who are outside music, studio guests, press releases, etc. Paulo their country: “This is what makes us feel Salgado continues the broadcast with Só entre nós Portuguese, our traditions, our origins… not the (Only Between us) from 12 a.m. to 3 p.m., a stereotypes associated with folklore and emigrants, program with varied contents. From 3:00 to 6:00 as if we only consume that!” (Interview, p.m., Vítor Santos presents Nunca é tarde (It is 6/11/2014). We can assume that for him, the never too late) with music novelties and news; connection to the imagined motherland through while the broadcast Está na Onda, from 6 to 9 pm nostalgia and memory (Agnew 2005) reinforces is presented by Eduardo Lino, including daily news the very essence of an imagined community of updates, games and music. Other programs, shared beliefs, habits and, in this case, experiences, depending on the day of the week, focus on which are still alive today. different audiences, such as Nuances do Brasil, on The programme De Terra em Terra was first Tuesday, with Marluce Campos Perrollet or Só aired in 1989 by Guilherme Alves, an emigrant Fado (Only fado), on Fridays, by Fernando Silva, that went to France in 1972 and started his carrier Odete Fernandes e Manuel Miranda. On Saturday, in Radio Clementine. In 2008, he retired and several volunteers secure the station’s broadcasts, returned to Portugal, leaving the program’s with programmes about Lusophone associations presentation to Manuel Moreira e Marylene and interviews with Portuguese artists, as well as Martins. The broadcast aims to sports programs and other broadcasts. One of the web radio channels broadcasts ALFA FM Inform and advise folklore associations on worldwide, whereas the other webradios broadcast everything related to folklore, namely: dances, thematic music programmes 24 hours a day (more songs, costumes, research, historiography of info: http://radioalfa986.net/grille.php) customs and regional customs represented with the 205 Pedro MOREIRA

support of the Federation of Portuguese Folklore 5. FADO, IDENTITY AND COMMUNTIY (LusoJornal, 20/03/2008). Fado is considered to be the “National Song” The program has had several formats, with of Portugal and has a central role in Radio ALFA different moments that focused not only on music, FM’s programming. Its visibility, after UNESCO’s but also on other “traditions”, such as gastronomy, recognition as Intangible World Heritage in 2011, religious traditions, handcrafts, showing ALFA as well as its status in the World Music circuit and listeners different popular traditions according to the rise of the so called New Fado (Nery, the civil calendar. The collaboration by telephone, 2004:266-272), made it the perfect identitary visit from Portugal, of musicologist José Alberto card. As the musicologist Nery affirms: Sardinha started in 1992, presenting the results of his personal research on traditional music. Poetry Faced with this evident dynamic, to the impressive has also had its part in this broadcast, with the number of new Fado singers and Portuguese guitar participation of Amélia Gomes, also from Portugal. players that continue to grow, and to the variety of Gastronomy, personal experiences, interviews with tendencies and aesthetic postures that underline them (…) one can only see the renewed vitality that folkloric groups have equally been included. st One of the main aspects of De Terra em Terra Fado reveals entering the 21 century (Nery, is the relationship with local ethnographic groups 2004:272). (Ranchos Folclóricos) from the associative The director of technical service and movement in France, trying to influence them to responsible for Fado programmes, Fernando Silva, choose “a Portuguese region, making it easier to says that the Portuguese who are now retired in maintain the folkloric tradition of the chosen France, and who are 70 or 80 years old, like to region” (idem). For Guilherme Alves and other listen to (old) Fado singers or folklore. But the role Radio ALFA interlocutors, the number of Ranchos of Radio ALFA FM and ALFA Fado is also to Folclóricos in France was not always equal with broadcast the most recent singers of new Fado, “quality”, because some of them had no those who are from Portugal, such as Ana Moura, information about traditional music and/or dance. Cuca Roseta, Carminho or Camané, as well as As a result, they started mixing dances, or danced fadistas from the Portuguese community. New the wrong music with the wrong outfit, which was Fado and its new (re)presentation constitute a not correct, according to them. For the author of perfect product to show a more modern Portugal the program, this impact is reflected in the with younger singers and different repertoires. This “improvement of the quality of the folklore of does not mean that traditional Fado and its more some Portuguese associations in France” (idem). formal presentation has no audience, but according Judite Cruz, who has collaborated with the to several interlocutors, it is easier for the new program for 20 years, reports in her book “The generations in France to like the new Fado singers. Portuguese Traditions in France” published in Even within the community, performers such as 2012, that there are Ranchos Folclóricos in France Diane Santos, Shina, Jennyfer Rainho or Cláudia that do not represent the region accurately: Costa, search for a more open conception of Fado, This is not a criticism from my part, just a ranging from traditional repertoire to new forms. comment, incidentally they are aware that for The new generation of fadistas is also an emergent example the costumes they wear are not appropriate phenomenon in other Portuguese diasporic to the region they represent. Some were not well contexts such as Canada or the United States advised and spent fortunes and now have to dress in (Côrte-Real, 2010; Holton, 2006). In this context, another way (LusoJornal, 28/03/2012). the media representations of expressive practices such as Fado aim to leverage an image of a With this program, Radio ALFA assumes a “renewed tradition”, of a country distant from old dynamic role between “tradition” and the stereotypes and willing to show a modern image of community, aiming to advise local associations and Portugal and the community itself. groups about the “authentic” way of representing For the director of Radio ALFA, Fado is a the Portuguese nation and its specific regions. We musical genre that also creates a strong connection can argue that identity and authenticity play an between Portugal and France because both the essential role in constructing a dynamic radio Portuguese community and the French people programme that want to show the “typicality” of themselves have come to particularly appreciate Portuguese regions, on the one hand, and to convey Fado after its recent visibility: “Fado in France is a pedagogical approach to serve local associations regarded as a part of Portuguese identity: Fado is based in France, on the other. Portugal, Portugal is Fado… that’s it!” (Interview, 6/11/2014). As a result, Fado always 206 FOLKLORE, FADO AND RADIO: MEDIATING PORTUGUESE IDENTITIES IN PARIS fills concert halls, especially the Radio ALFA novelty, between the first generation of emigrants concert hall “Sala Vasco da Gama”, with a mixed and their descendants. The survival of Radio public of both Portuguese and French. ALFA in this context depends on its ability to Radio ALFA sustains Fado as symbol of constantly imagine its surrounding community and Portuguese identity and (renewed) tradition, mediate symbols of identity, as shown by Folklore allowing it to direct itself to a younger audience that and Fado. includes the second generation or luso-descendants, as well as French listeners. The impact of Fado BIBLIOGRAPHY broadcastings, mainly through the program Só Fado (ALFA FM) and the webradio ALFA Fado goes 1. Agnew, V. (2005). Diaspora, memory and beyond the Paris region and France. According to identity: a search for home. Toronto: the ALFA Fado programmer, more than 50% of the University of Toronto Press. listeners are located in other countries, mainly 2. Anderson, B. (1983). Imagined communities: Portugal, Canada, USA, Japan, etc. The internet- reflections on the origin and spread of based Fado radio reaches both Portuguese nationalism. London: Verso. communities and non-Portuguese listeners. When 3. Alonso, A. and Oiarzabal P. (2010). Diasporas considering both webradios and FM, ALFA Fado is in the new media age: identity, politics, and the most listened radio station from the ALFA community. Reno: University of Nevada Press. group, only surpassed in attendance by the 4. Carmo, R. (2014). Puzzle. Lisboa: Chiado broadcasts of Portuguese football matches. Editora 5. Côrte-Real, M. (2010). Revendo cidadania: 6. CONCLUSIONS migração e fado no jogo de identidades nos Estados Unidos. Revista Migrações, 7, pp. 73- In this article, I have tried to highlight how 98. radio in the context of migration reveals complex 6. Ferreira, S. (2013). Magazine Contacto: The dynamics of self-representation, as identity Construction and (Re)production of the processes influence the construction of an Portuguese Diaspora in the Mediascape. In: imagined and mediated community. When the Eid R., ed. Diasporic Choices. Oxford: Inter- director of Radio ALFA asks, “to whom do we Disciplinary Press. pp. 203-209. broadcast?”, he evokes a major problem that 7. Hall, S. (1990). Cultural identity and diaspora. shadows the very notion of community. The In: Rutherford J., ed. Identity: community, processes included in mediating the notions of culture, difference. London: Lawrence & community throughout radio disclose a constant Wishart, pp. 222-237. search for audience, as well as different ways to 8. Holton, K. (2006). Fado historiography: old construct the identities of this imagined group, myths and new frontiers. Portuguese Cultural which depends upon several contingencies such as Studies, 0, Winter, pp.1-17. programming policy, different commercial targets, 9. Karim, K. H. (2003). The media of Diaspora. personal choices, emigrant generations, etc. London; New York: Routledge. As shown in the section dedicated to 10. Kosnick, K. (2007). Migrant Media: Turkish programming, more generalist broadcasts try to Broadcasting and Multicultural Politics in combine different “units”, from news, to games, Berlin. Bloomington: Indiana University Press. musical novelties, in order to target a broader 11. Laureano C., (2011). A Rádio Alfa e community audience. More specific programs, comunidade portuguesa em França: Estudo de such as De terra em terra, attempt not to lose the caso sobre a relação entre media e identidade. contact of radio with the notion of “tradition”, Relatório de Estágio. Universidade da Beira- contributing to the maintenance of the “roots” of Interior. this imagined community, also considering the 12. Nery, R. (2004). Para uma história do Fado. impact on local associations and the spreading of Lisboa: Público “correct” information about expressive practices. 13. Peterson M. (2003). Anthropology & Mass As for Fado, one the main genres mediated by Communication: Myth Making in the New Radio ALFA, the modernization of this genre, as Millennium. New York and Oxford: Berghahn stated by Nery (2014), has been of major Books. importance to renew the image of an “old 14. Riggins, S. (1992). Ethnic Minority Media: An Portugal” and to construct a more up-to-date International Perspective. London: Sage notion of community. Fado appears here as an Publications. example of how music plays a major role in the 15. Shelemay K., (2011). Musical Communities: negotiation of identity between tradition and Rethinking the Collective in Music. Journal of 207 Pedro MOREIRA

the American Musicological Society, 64, 17. Interviews with Fernando Lopes and Fernando pp.349-390. Silva (6/11/2014). 16. Toynbee J. and Dueck B., (2011). Migrating 18. LusoJornal 2008-2012 music. London: Routledge.

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