Fado Dança
que portuguesidade?
(performance-dança interactiva)
Isabel Valverde
com João Lima (guitarra portuguesa)
Theo Jonsgma e José Balbino (canto e dança)
que portuguesidade?
(performance-dança interactiva)
Isabel Valverde
com João Lima (guitarra portuguesa)
Theo Jonsgma e José Balbino (canto e dança)
Fotos de várias instâncias do projecto Fado Dança
Alguns excerptos vídeo de perfromances aqui:
Fado Mudo
https://www.youtube.com/watch?v=3FvBSUjpIfM
#10 Fado Dança#10 Fado Dança: que portuguesidade? (Povo que Lavas no Rio) https://www.youtube.com/watch?v=xKcdp9GQmYk
Fado Mudo
https://www.youtube.com/watch?v=3FvBSUjpIfM
#10 Fado Dança#10 Fado Dança: que portuguesidade? (Povo que Lavas no Rio) https://www.youtube.com/watch?v=xKcdp9GQmYk
Fado Dança: que portuguesidade? é um projecto mutante em que vários personas habitam fisica e virtualmente vozes do fado em corporalidades inclusivas que revelam e desconstroiem as camaleónicas influências musicais, culturais, e principalmente corporeais, que o contêm. As interacções directas e mediadas entre os vários elementos, incluindo os membros da audiência, por meio de um dispositivo interactivo, articulam comentários incontornaveis em torno de uma portuguesidade nómada e híbrida que remete à herança colonial e emigrante, à recente moldura económico-político-cultural europeia e ao fenómeno da globalização (do Fado).
|ENG|
A sharp satire to the "false" friction between traditional and contemporary urban culture, Fado Dança uncovers Fado's Western hybridization from appropriated and assimilated African, Middle-Eastern, Asian and American cultures. Fado is approached as an inclusive embodied performance form including dancing, talking, singing, playing music, and wiimote gesture-video interaction.
Fado developed in different modes attributed to different places and people within Portugal and abroad. Fado music and singing is sometimes accompanied with or stimulates different embodied engagements, states of "dance" interaction between the guitar player and performer singing experiences of this music. More recently, it is becoming a complex terrain not only for the fado music tradition, but also including different dance forms, like in the movie "Fados" by Carlos Saura.
In Fado Dança dance forms as different as tai chi, folk, flamenco, tango, grotesque, and new dance, offer an alternative approach to the music and performance tradition.
Different from the usual neoclassic and tango interpretations, Fado Dança questions this tradition, comparing it to our ancestors' colonizing attitude in regard to other cultures.
Thus, contrasting with the mostly neoclassical dance interpretations of the music, Fado Dance questions that tradition confronting it with the colonizing attitude and appropriation of aspects characteristic of other cultures, with a similarity in the strong rhythm and sustained tones of the guitars and voice. the roller coaster melodic voice sequences with accentuations and nuances are rich for inter-subjective interactive possibilities. Thus, the sustained tons connect this music with Middle-Eastern and Indian culture music and dance (Barathanatian) and further away with Asian Tai Chi and Yôga or Butoh. Then and maybe first, the Portuguese folk dance is connected with the more happy and joyful lyrics, lively and jumping fast, calling for partnering dance and community gathering after work. Now, rather than a simple reiteration of traditional types of folk dance from some Portuguese region, the form is very subjectified and mixed with pop and contemporary dance. Instead of keeping the ballet form, or mixing anything at random to the dance, or being dependent from the music, Fado Dança: que portuguesidade? wants to allow a new way of dancing, a way of dancing with this music and not for this music. I believe that, although tight to a singing standing attitude, and shy singers that juggle and tap some rhythm, a dance is growing out of different modes depending on fado's tone/mode, and temperament of its performers.
|ENG|
A sharp satire to the "false" friction between traditional and contemporary urban culture, Fado Dança uncovers Fado's Western hybridization from appropriated and assimilated African, Middle-Eastern, Asian and American cultures. Fado is approached as an inclusive embodied performance form including dancing, talking, singing, playing music, and wiimote gesture-video interaction.
Fado developed in different modes attributed to different places and people within Portugal and abroad. Fado music and singing is sometimes accompanied with or stimulates different embodied engagements, states of "dance" interaction between the guitar player and performer singing experiences of this music. More recently, it is becoming a complex terrain not only for the fado music tradition, but also including different dance forms, like in the movie "Fados" by Carlos Saura.
In Fado Dança dance forms as different as tai chi, folk, flamenco, tango, grotesque, and new dance, offer an alternative approach to the music and performance tradition.
Different from the usual neoclassic and tango interpretations, Fado Dança questions this tradition, comparing it to our ancestors' colonizing attitude in regard to other cultures.
Thus, contrasting with the mostly neoclassical dance interpretations of the music, Fado Dance questions that tradition confronting it with the colonizing attitude and appropriation of aspects characteristic of other cultures, with a similarity in the strong rhythm and sustained tones of the guitars and voice. the roller coaster melodic voice sequences with accentuations and nuances are rich for inter-subjective interactive possibilities. Thus, the sustained tons connect this music with Middle-Eastern and Indian culture music and dance (Barathanatian) and further away with Asian Tai Chi and Yôga or Butoh. Then and maybe first, the Portuguese folk dance is connected with the more happy and joyful lyrics, lively and jumping fast, calling for partnering dance and community gathering after work. Now, rather than a simple reiteration of traditional types of folk dance from some Portuguese region, the form is very subjectified and mixed with pop and contemporary dance. Instead of keeping the ballet form, or mixing anything at random to the dance, or being dependent from the music, Fado Dança: que portuguesidade? wants to allow a new way of dancing, a way of dancing with this music and not for this music. I believe that, although tight to a singing standing attitude, and shy singers that juggle and tap some rhythm, a dance is growing out of different modes depending on fado's tone/mode, and temperament of its performers.
