Review

Author(s): Kimberly DaCosta Holton

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

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152

Review44:2
Luso-Brazilian

humore ironiano "Beatda beata,"que comp6scom Seu Jorge

em 2003:"Toda
boatetemum fundode verdade/[...]/Tem
beata,temsapata,temfreipegando
putaloirinhae temmulata,paraibasurdoe japones/Naboate,o bategay/Tem
nao temvez" (427). Depois concluia letra:"Valetudo,e
estaca,o preconceito
tudocerto,porquea razio 6 do fregues/[...]/A
pretaalisou,p6s silicone,amanha
vaibotarcaralha/E
todomundovai no beat,seja qual fora sua praia"(427).
e jocosa,e muitas
Com umalinguagem
despojada(ao mesmotempoinformal
emgeralsobreumadas principais
voca 6es
vezes,ir6nica),Faourfalaao pfiblico
elaborarumamiltiplacr6nicade costumes.Entre
da m6isicapopularbrasileira:
taiscostumes,destaca-sea acentuadatendenciado compositor,
mrisicoe consumidor-cidaddo
ao cultoe estetizaqaoda fossa,do amorfrustrado,
da tristeza
e da soliddo.Segundoas contasde Faour,atea d&cadade 60 do seculopassado,
abordavama desencanto
amorosasbrasileiras
amoroso.
90% de todasas can
e
uma
detalhes,
com
O pesquisadortamb6mapresenta, inimerosargumentos
forma
de
da
sociedade
brasileira.
Por
setores
lado,
um
aparente
esquizofrenia
a tematizaCqo
da sexualidadena mrisica,
censurae pureprimem
impondo-lhe
os transgressores.
nindoseveramente
Por outrolado,escancaram-se,
desde os
sambasateas banaisformasde "bundamusic,"os principios
da castiprimeiros
dadee do decoro.Popularizam-se
assimas "safadangas,"
termodo pr6prioautor,
istoe, o maxixe,o forr6,
a lambada,e o funk,enquantose celebrae se abusado
Em conclusdo,
da ditasacanagem,e da escatologia.
duplosentidoda linguagem,
a obrade RodrigoFaoure ambiciosae atingeseus objetivos,constituindo
um
adicionalde peso (literale metaforicamente)
a uma distintalistade obrasque
da
e zelo a hist6riatdopicantequantomirabolante
retratam
comrigor,
minficia
brasileira.
cangdo
DdrioBorim
ofMassachusetts-Dartmouth
University

Preface
Halpern,Manuel.Ofuturoda saudade:0 novofadoe os novosfadistas.
Dom
Rui
Vieira
Lisbon:
Quixote,2004.287pp.
Publicaq6es
by
Nery.
Justas the last severaldecades have produceda new generationof fadistas
a
has experienced
broadinternational
withparticularly
reach,fadoscholarship
Recentfadoscholarship
similarperiodof heightened
and circulation.
activity
ethhasemergedoutofa widerangeofdisciplines
musicology,
history,
including
studies.ManuelHalpandperformance
anthropology
sociology,
nomusicology,
oneofthenewestfado
ern'sOfuturoda saudade:0 novofadoe os novosfadistas,
fromtheflurry
ofstudiesproducedin the199osand earlytwentytitles,differs
academicapproachand specifia strictly
first
in thatitdoesnotattempt
century
"novofado"ornewfado.
he
and
others
have
termed
focuses
on
what
cally
witha surprisa
who
his
is
Halpern
youngjournalist
begins introduction

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Book Reviews

153

hook:"I am Portugueseand I don'tlikefado.Am I a traitor

ing confessional
to my country?"(21). This openerpreparesreadersforHalpern'sdynamic,
down-to-earth
writing
stylewhoseoccasionalpassagesofdirectaddresscreate
which
shouldnudgethisbookbeyondtheboundariesof
a rhetorical
intimacy
into
realmofa widergeneralreadership.
and
the
Halperndespecial-interest
is
in
fact
a
national
traitor
fordislikthat
he
not
a
few
cides,
paragraphsdown,
a group
generation,
ingfado,butis simplya productofhis twenty-something
with"traditional"
fadoiconssuchas CarlosParethatgenerally
failsto identify
des andAmaliaRodrigues.All is notlostforthepurposesofhisbook,however,
in "newfado,"a generation
ofyoungersingers
as Halpernrevealshis interest
and instrumentalists
whosemusic"translates
fado]intoa language
[traditional
closerto ourdays"(21).
The statedobjectiveof O futuroda saudade is to understandnew fado
and thenlatetwentieth
cenofearlyfadoproduction
throughan examination
in
of
order
to
"roots
and
indices"
innovators,
change
pinpoint
identifying
tury
offadoprotagonists
ofthisnewgeneration
thedistinguishing
features
(21). The
from
its
nineteenth
of
fado
first
the
book
century
originsto
part
explores
history
Thesecondpartlays
whatHalperncallsthe"pioneersofthenineteeneighties."
forunderstanding
whatconstitutes
framework
outa definitional
novofado.And
thethirdpartprovidesa detailed,musicianbymusicianportraitof new fado
inwebsites,
discographies,
biographies,
practitioners,
usingnewspaperarticles,
of fadolyricsto assesseach artist's
terviewsand an examination
uniquestyle,
and reception
to theindustry,
contribution
publics.
bydomesticandforeign
itis also important
In describing
tonotethat
thebook'sconstitutive
features,
answersinthenegative,
a
RuiVieiraNery'srousingprefaceraisesandessentially
Is
so-called
"new
fado"
hisrelated
to
the
contents:
fundamental
book's
question
in itsnewness?Is newfadonewenoughtobe considered
a
unparalleled
torically
and
within
musicalmoment,
without
distinct
self-contained,
precedent, unique
new fadofromotherperiodsover
fado'stemporalsweep?Whatdistinguishes
ofmusicianspushedtheurbanballadforminto
thelast150yearswhereclusters
Vieiraargues
new social,musical,lyrical,politicaland geographical
territory?
an
new
fado
as justanframework,
positing
against exceptionalist
convincingly
oftheform.And,on theheelsofthepreface,
otherphaseintheproteanevolution
tothecontrary.
perspective
Ofuturoda saudade,doesnotpresenta persuasive
new fadoas a
PartII makesa claimfornew fado'suniqueness,identifying
offadomusicians,
intention
movement
whichdoesnotspringfromthecollective
butratherhas come to be defineda posteriori
accordingto noticeable"points
fadistas.
to Halpern,new
in common"amongcertaincontemporary
According
fadistaswho begantheircareersin the199osand can be
fadobringstogether
He states,"In oppositionto
from
distinguished
fadoantigobyitsheterogeneity.
...
new
fadoantigowhichwasrelatively
fado,as wewillsee,shoots
homogenous
offin various,almostschizophrenic
directions"
(96). I agreewithHalpernthat
in
for
theterm"newfado"has been use
severalyears,and givenitsresonance

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154

Luso-BrazilianReview44:2

and scrutiny;
and popularembracemeritsattention
butI cannotagreewithhis
as "homogeneous"
and
assessmentoffado antigo(an ambiguousformulation)
in itsbreakwithwhatis considered
newfadoas unprecedented
traditional
duringa givenperiod.
Thatbeingsaid,Halpern'sbook containsa wealthof information.
Indeed,
a storeoffactsandreflections
whichcannotbe foundin other
thisbookfeatures
ofthisbookis thedetailedinforcontribution
sources.Eventhoughtheprimary
mationon newfadomusicianscontainedin PartIII, I also foundthatChapter4
bio'"AGalixia Amalia,"broughtnew insightsintoan otherwisewell-known
In Chapter7,"Os pioneirosdos anos 8o0'anotherhighlight,
graphicalnarrative.
ofmusicianssuchas Ant6nioVaria 6es,Anamar,
Halperntracestheinnovations
themwithmodernAnabelaDuarte,Rao Kyaoand JorgeFernando,crediting
and
musical
fado
radical
sometimes
interventions
"mutilating"
izing
through
Part
novo
fado:
Rostos
e
nomes"
is
a
of
(73).Finally, III "O
banquet biographical
reflection
on thelivesand impactoffadistassuchas Misia,
detailand intelligent
Dulce Pontes,amongmany
PauloBraganga,
Mariza,Camand,MafaldaArnauth,
others.In thissection,Halpernchartsthecareersoffadonovoartists,
analyzing
and revealing,
via a richarrayofinterviews,
fadistas'
lyrics,examining
training
ofinnovation.
All
reflections
on themeaningoffadoandthecontours
individual
in all thisbook is a pleasureto readand packedwithinformative
proseon the
mostvisibleandwidelyacclaimedfadoperformers.
twenty-first
century's

DaCostaHolton
Kimberly
Rutgers
University
Nuno CorreaCardoso).As (Trans)figura do Eu
Frier,David (trans.JoHio
Lisbon:ImprensaNacionosRomancesde CamiloCasteloBranco(1850-1870).
Indices.377pp.
nal-Casada Moeda,2oo5.Appendices.
Bibliography.
in traditional
Structured
dissertation
format(Introduction,
threesubstantive
a
this
and
Preface,
chapters, Conclusion)plus
thoughtful
studytakesup both
familiarand less commonlystudiedaspectsof the novelisticartof theparaThe corpusofnovelsand novelRomanticism."
gonofPortuguese
"Regionalist
ettesanalyzedincludesoverfifty
works
Camilian
publishedbetweentheyears
devotedto Andtema(1851),Onde estda
1850-1870,withparticularattention
(1856),Umhomemde brios(1856),CarlotaAngela(1858),O romance
felicidade?
de um homemrico(1861),Amordeperdigdo(1862),Corapio,cabeqae est6mago
do Amaral(1863),Amorde salvaado(1864),O
(1862),Mem6riasde Guilherme
de Ricardina(1868),and A
judeu (1866),A queda dumanjo (1866),O retrato
mulher
(1870).
fatal
ProfessorFrier'sPrefacelays out the basic stylistic-chronological
scheme
Alexandre
for
Castelo
Branco's
novelistic
Camilo
Cabral)
(apud
production,

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