• Disco
15.12.2021 | 16:00 | Lisboa | CAN | Room 209
The cycle of Seminars of the project PROFMUS - To be a musician in Portugal: the social and professional condition of musicians in Lisbon (1750-1985), financiado pela FCT (PTDC/ART-PER/32624/2017), continues on December 15th, at 4 pm, at Colégio Almada Negreiros (Room 209), with presentations by Ana Margarida Cardoso and Marco Roque de Freitas. It will also be possible to watch remotely through the link:: https://videoconf-colibri.zoom.us/j/2204218416
The Colonial Strategy of the Estado Novo in the Portuguese State of India and in the city of Luanda, through the archive of military musician Carlos Saraiva
Ana Margarida Cardoso (INET-md | UA)
The military commissions of musician Carlos Saraiva in the Portuguese State of India (EPI) (1961-1962) and in Angola (1963-1965) constitute a micro-history (Rice, 2003) (Guhlich, 2020) that, despite having its origins in the path of an individual, enlightens us on the strategy of the Estado Novo with regard to these two colonies, as well as the macro events that took place during the Colonial War. Sent to reorganize military bands in the colonies or direct a hall orchestra and a music academy, Carlos ended up becoming a mediator in a context of conflict. From the musician's personal collection, documentation in funds such as the Military Historical Archive or Torre do Tombo, the bibliography and testimonies of his daughter and other people with whom he deprived, it was possible to see how the cultural policies of the Estado Novo sought to perpetuate the idea of sovereignty and social appeasement in the Portuguese colonies.
Being a musician in Mozambique in the last quarter of the 20th century: from invisibility to infeasibility
Marco Roque de Freitas (INET-md | NOVA FCSH)
This communication seeks to reflect on the status of the musician in Mozambique in the last quarter of the 20th century. Various issues will be explored, including the labor framework, copyright, the relationship between musicians and entrepreneurs, the first attempts to create an association of musicians, the place of the female artist in Mozambican society, as well as the first attempts to internationalization of Mozambican artists through the market category "World Music". The idea of a "commercial artist" was publicly rejected in favor of a socialist perspective of the "artist as cultural worker" whom the state should protect and guarantee a salary. This principle, originating from the "socialist project", today continues to be claimed by many musicians, thus constituting one of the most pronounced paradoxes of "Mozambique's sound construction".