2. LUSOPHONE SOUNDSCAPES AND WEBS OF INTEREST IN LISBON Quem não sabe a arte não a estima
2.1. The ideological foundations: projecting Lisbon musically
2.1.3. The 21 st century: a new beginning?
2.1.3.1. The 1998 Lisbon World Exposition
Portugal fez do mar a via para se encontrar consigo, com os outros, com o Mundo. Tem, por isso, muita honra e muita alegria em acolher este grande acontecimento cultural, científico e humano, de dimensão planetária, que recebe o seu sentido do fundo dos tempos e o projecta no futuro (President Jorge Sampaio’s opening speech at Expo‘98).
253 Ana Moura, Carminho, António Zambujo, Gonzalo Salgueiro, Pedro Moutinho, Ana Sofia Varela, Raquel Tavares, Teresa Salgueiro, Pedro Moutinho, Rodrigo Costa Félix and Duarte (Nery 2010: 1367). 254 Available at http://www.museudofado.pt
255 The term música popular refers to expressive practices such as music of rural origin, urban song (including fado, especially after World War II) and canção de intervenção (Castelo-Branco 2010a: 876).
Two years after the foundation of CPLP in Lisbon in 1996, the Portuguese capital hosted the 1998 Lisbon World Exposition256, represented by an oceanlike flag that can
be found in annex 10, fig. 3. Expo‘98 was pioneering in staging collaborations between musicians from Portugal and all other Portuguese-speaking countries, reuniting diaspora communities and performers from their country of origin. These concerts represented Lisbon as a multicultural city with international links, framed through the concept of
lusofonia (Santos 1999: 92-4, 112-3, Cidra 2010: 789). Expo‘98 reserved a special place
for the concept of lusofonia through its musical programming and linking theme ‘The Oceans, a Heritage for the Future’, discursively alluding to Portugal’s maritime expansion as well as to the cultural contacts that arose in Africa, Asia and the Americas (Cidra (2010: 179), and treating it as a singular aspect of the internationalization of Portuguese culture (Santos 1999: 132-3). Effectively, all countries pertaining to the lusophone space - as well as the CPLP - were present, with a proper musical programming. Critical observers such as Sieber, however, pointed out that amidst all the “seeming representation of multicultural, international, including lusophone, cultural expression in the Lisbon festivities,” Portuguese culture itself was “implicitly presented as homogenous, traditional, fairly static, fundamentally European, and white” (2002: 167).
In contrast to previous projects evoking the notion of lusofonia (such as the projects Sons da Fala and Orquestra Sons da Lusofonia) that had featured little Brazilian participation, Brazil was the Portuguese-speaking country that was musically best represented at Expo‘98. Curiously, it mainly featured concerts of Brazilian musicians popular in Portugal, but not resident Brazilian migrant musicians. Alternatively, the event did involve PALOP migrant musicians of the Lisbon Metropolitan Area as well as Portuguese musicians. This was illustrated through the special project Sem Legendas, which challenged four internationally renowned musicians to collaborate with lusophone musisians. Caetano Veloso (B) sang together with Paulinho Vieira (CV) and Pedro Abrunhosa (P); Sadao Watanabe (Japan) performed with Toquinho (B), Ala dos Namorados (P) and N’Goma Makamba); Cesária Evora (CV) took the stage with Marisa Monte (B), Dulce Pontes (P) and Finka Pé (CV); and David Byrne (USA) collaborated with Balanescu Quartet (Romenia), Tom Zé (B) and Waldemar Bastos (A).
256 Expo‘98 was held from May 22, 1998 to September 30, 1998. It received around 11 million visitors in 132 days. It represented 155 countries and organizations. Information retrieved from
Other PALOP musicians such as Lura (CV-P), Bonga (A), Filipe Mukenga (A), Netos do N’Gumbé (GB), General D (M), Simentera (CV), Portuguese musicians (António Chainho, Mísia, Madredeus, Né Ladeiras) and Brazilian musicians (Maria Bethânia, Chico César) also performed together (Santos 1999: 92-4, Cidra 2010: 178). At Expo‘98, a total of 170 sessions were organized by all 8 CPLP countries as well as CPLP itself (Brazil had 60 sessions, Angola 23, Mozambique 21, East Timor 19, Cape Verde 18, Macau 10, São Tomé and Príncipe 9, CPLP 5, and Guinea-Bissau 5). The relative weight of these initiatives in the total of performances was between 14% and 17%, varying according to categorization criteria (Santos 1999: 132). Through all these music performances, Expo‘98 explicitly promoted the idea of lusofonia, metaphorically converting Lisbon’s historical role as colonial metropolis into a postcolonial haven of lusophone culture.
The anthology A viagem dos sons (1998), compilated by Susana Sardo and José Moças and commissioned by the Comissão Nacional para a Comemoração dos Descobrimentos Portugueses (CNCDP), featured ethnographic recordings from different parts of the lusophone world (Castelo-Branco 2010a: 429). In the same year, the CNCDP also commissioned Maria João and Mário Laginha to embark on a journey through India and Africa, which resulted in the recording Cor257, whereas in 2000, their
album Chorinho Feliz258 marked the 500th anniversary of the ‘discovery’ of Brazil.
Furthermore, the music compilation Onda Sonora: Red Hot + Lisbon (1999), under the curatorship of David Byrne, was a breakthrough for PALOP musics on the world music market (Cidra 2010: 179).
Expo‘98 publicly valued the existence of a music production domain linking Portugal, Brasil, the PALOP and their diasporas, framing itself explicitly through
lusofonia, and taking advantage of the overall growth of the music industry. Indeed,
many genres and musical styles developed in Portugal were marketed abroad under the label of world music, with special highlights for fado, morna, coladeira and semba by performers such as Madredeus, Dulce Pontes, António Chainho or Waldemar Bastos (Cidra and Castelo-Branco 2010a: 1349)259.
257 Available at https://sites.google.com/site/jazz6por4/mario-laginha
258 Acknowledged Brazilian musicians such as Gilberto Gil, Lenine, Toninho Horta, Toninho Ferragutti and Nico Assumpção participated in this effort. Information retrieved from
http://mariajoao.org/music/project?chorinho-feliz
259 From the mid 1990s onwards, there was a pulverization of protagonists associated with fado (Mariza, Cristina Branco, Ana Moura, Mafalda Arnauth), urban musics (Buraka Som Sistema, J-Wow), and musicians with roots in lusophone Africa (Sara Tavares, Lura, Nancy Vieira), with an annual average of
Most observers agree that Expo‘98 has been important in changing artistic and cultural perceptions in and about Lisbon and Portugal. Its effects can be summarized as the densification and innovation of (inter)cultural production and consumption: “[a] Expo‘98 surgiu como ocasião incomum para o cruzamento entre formas culturais, ou entre generos artísticos, e também entre hábitos e práticas culturais” (Santos 1999: 81, 112-3). Expo‘98 also turned itself into a social phenomenon, concentrating the people that (actively or passively) participated in it. Its organization served as an important instrument for external promotion, stimulating political and diplomatic relations and suggesting cultural understandings of lusofonia (ibid: 191-2).
Following Expo‘98, other intercultural music festivals with a specific focus on
lusofonia have increasingly -and quite simultaneously- taken place in Portugal and
beyond Portugal’s borders, both in Portuguese-speaking countries and elsewhere. Regarding the former, specific events in Brazil (Nossa Língua, Nossa Música260 in
Brasília in 2010; Back2Black 2012261 in Rio de Janeiro; Terra do Rap 2013, 2014 and
2015 in Rio de Janeiro262, Margens dos Mares263 in São Paulo in 2015), Cape Verde
(Festival Internacional de Música da Praia da Gamboa264 in Praia in 2009; Festival da
Baía das Gatas265 in Praia in 2012) and Angola (Festival Internacional de Hip Hop da
Lusofonia266 in Luanda in 2011), a.o. should be mentioned. Regarding the latter, similar
encounters in Spain (Cantos na Maré. Festival Internacional da Lusofonia267 since
2003; Estou Lá268 in 2012), Germany (Festival Berlinda 2012269; Luso-tronics 2013270,
Wassermuzik 2014271), France (VA - Rio Loco 2012272), the UK (City Festival of
500 concerts of Portugal-based musicians abroad (Belanciano 2010). Available at http://ipsilon.publico.pt/musica/texto.aspx?id=267415 260 Available at http://www.hojelusofonia.com/nossa-lingua-nossa-musica-2 261 Available at http://www.back2blackfestival.com.br/programacao 262 Available at http://www.zonasuburbana.com.br/eventos/terra-do-rap-2015-festival-faz-intercambio- com-a-africa-em-sua-3a-edicao/ 263 Available at http://www.sescsp.org.br/programacao/60689_AS+MARGENS+DOS+MARES#/content=programacao 264 Available at http://palcoprincipal.sapo.pt/tags/festival_internacional_de_musica_da_praia_da_gamboa 265 Available at http://jornaldeangola.sapo.ao/17/35/musico_bonga_divide_palco_com_tito_paris_e_sara_tavares 266 Available at https://pt-pt.facebook.com/festivalinternacionalhiphopcplp 267 Available at https://www.facebook.com/cantosnamare 268 Available at http://aviagemdosargonautas.net/2012/10/17/estou-la-concerto-musical-lusofono-galiza 269 Available at http://www.cais-do-mundo.com/noticias/cultura/item/52-festival-berlinda-lusofonia-em- berlim.html 270 Available at http://lusotronics.com/about/music 271 Available at http://www.hkw.de/en/programm/projekte/2014/wassermusik2014/wassermusik2014_1.php 272 Available at http://www.rio-loco.org/dans_la_ville_musique.html
London273 in 2010; Back2Black 2012 in London274); and China (Festival da
Lusofonia275 in Macau, since 1998) are noteworthy. In 2014, the I Festival da Lusofonia
was organized in Oslo (Norway) in June276; the I Festival de Sons da Lusofonia (not
related to the association directed by Carlos Martins) was held in Funchal (Madeira)277,
in the ambit of the I Semana Cultural das CPLP Multilingual Schools, in September; and the Festival Internacional de Música Lusófona278, conceived for the celebration of
800 years of the Portuguese Language by composer Filipe Larsen (P)279, in 20 countries
(including Portugal, Spain, France, Luxemburg, Germany, Brazil, Cape Verde, India, Australia and East Timor), in December280. Finally, in 2015, the I Lusophone Festival
Goa281 was organized in February and March; the II Festival da Lusofonia in Oslo, in
May282; the XVI Raizes do Atlântico in Funchal, in July283; and the Lusophone Festival
by the World Music Institute in New York City284, in September. For a detailed
273 Available at http://festivalmusidancas.blogs.sapo.pt/3182.html 274 Available at http://www.back2blackfestival.com.br/programacao
275 Available at http://www.instituto-camoes.pt/macau-15-festival-da-lusofonia.
276 Performing musicians: Jay (CV), Ary Morais (CV), Trio Brasil (B), Gino Mendes (M), Ana Lúcia (P) and DJ Ji (A). Information retrieved from http://asemana.sapo.cv/spip.php?article100577
277 Participating musicians included Rodrigo Teodoro (B), Paulo de Carvalho (P), Sara Tavares (CV-P), Jon Luz (CV) and Vánia Fernandes (P). Information retrieved from
http://62.28.148.29/php/pdf/2014/09/03/flash/2014-09-03-25.swf; http://essential-
madeira.com/index.php/destaques/99-noticias/460-multilingual-schools-da-cplp-reunidas-em-semana- cultural; and http://www.dnoticias.pt/actualidade/5-sentidos/467382-jaime-freitas-abre-festival-sons-da- lusofonia
278 Participating musicians included Selma Uamusse (M), Guto Pires (GB), Melo D (A), Maria Alice (CV), Maria de Medeiros (P), Dama Bete (M, P) and Rão Kyão (P).
279 Larsen performed with Mariza, Ana Moura, Rui Veloso, Sérgio Godinho, Jorge Palma and others. He composed music for various pavilions of Expo‘98.
280 The festival was co-organized by the Clube Lions da Lusofonia, Cape Verde Global Business and Associação de Amizade Matosinhos – Mansôa de Portugal. Available at
https://www.facebook.com/Festival.6.Continentes.O.Festival
281 Performing musicians: Try dancing Samba, Quizomba, Kuduro, Zumba… Brazilian and Angolan music. Comperes: João Brás (A) and Solania (B). Information retrieved from
http://lusophonegoa.org/pt/2015/02/lusofonia-festival-goa-2015/
282 Performing musicians: Bruna Santana (B), Celio de Carvalho (B), Ivan Mazuze (M), Cláudia Madur (P), Jacqueline Fortes (CV). Information retrieved from
http://www.portaldofado.net/content/view/3538/67/
283 Performing musicians: Xarabanda (Madeira), Vitorino (P), C´Azoada (Madeira), Nancy Vieira (GB- CV), Raspa de Tacho (B), Aline Frazão (A, Spain)
The objective of this festival is musical mixture: “Os sons da lusofonia regressam ao auditório do Jardim Municipal do Funchal para três dias de grandes concertos onde se cruzam a música tradicional
madeirense, a música portuguesa com um cheirinho a Alentejo, o ritmo contagiante das mornas e
coladeras de Cabo Verde, a música da nova geração angolana e o som quente do chorinho brasileiro, num programa que atrairá, uma vez mais, um grande número de público.”
Information retrieved from
http://www.raizesdoatlantico.com/site/raizesdoatlantico/press_detalhe.asp?id=23
284 Performing musicians: Os Mutantes (B), Lula Pena (P), Fantcha (CV), Ana Carolina (B), Isabel Novela (M), and Ricardo Lemvo & Makina Loca (A). Information retrieved from
http://jornalf8.net/2015/musica-lusofona-em-nova-iorque and
http://www.voaportugues.com/content/festival-da-lusofonia-uma-oportunidade-para-a- interaccao/2936493.html#hash=relatedInfoContainer
geographic location map of festivals inspired by the notion of lusofonia in the time stretch 1998-2015, I refer to map 1 in annex 12.
It is interesting to see how these festivals, focusing on different types and genres of lusophone musics, give a stage especially to ‘lusophone’ musicians (that reside in Lisbon) to represent their countries. For example, Nossa Língua, Nossa Música mixed Brazil’s regional diversity with traditional musics of the lusophone expressive space (please see its billboard under annex 10, fig. 4). Brazilian musicians collaborated on stage with Lisbon musicians such as Joana Amendoeira (P), Nancy Vieira (GB-CV), José Amaral (T), Tonecas (STP), Eneida Marta (CV), Rosa Madeira (Ilha da Madeira) and Yami (A)285. In the same sense, Back2Black 2012 featured Martinho da Vila (B)
singing together with Manecas Costa (A) and Tito Paris (CV); Festival Internacional de
Música da Praia da Gamboa had Boss AC (CV-P), Jay (CV), Lura (CV-P) and Tito
Paris (CV); Festival da Baía das Gatas invited Bonga (A), Nancy Vieira, Tito Paris and Sara Tavares (CV-P) on stage. Bonga also headlined VA - Rio Loco in Toulouse (of which the Cármen Miranda like billboard can be found annex 10, fig. 5) while Tonecas, Manecas Costa and Lindu Mona (A-P, P) represented Musidanças at the City Festival of
London. Margens do Mares explicitly aimed at constructing lusophone soundscapes: in
a first concert, entitled ‘Portugal’, Ana Bacalhau (P) and Sara Tavares (CV-P) took the stage with Ivan Lins (B), Paulinho da Costa (B) and Manecas Costa (GB); in a second gig, ‘Africa’, Manecas Costa, Mayra Andrade (Cuba-CV) and Stewart Sukuma (M) played with Céu (Brasil), Sara Tavares e Paulinho da Costa; and in a third encounter, ‘Brasil’, Céu, Ivan Lins, Paulinho da Costa, Manecas Costa, Ana Bacalhau, Stewart Sukuma, Mayra Andrade and Sara Tavares performed together286. A number of these
musicians has also played at events organized by governamental institutions linked to the idea of lusofonia as well as at promotional events of Luso-Brazilian chambers of commerce.
Besides projecting traditional musical genres linked to specific nations,
lusofonia has also been represented in festivals through hip hop. For example, the Festival Internacional de Hip Hop da Lusofonia in 2011 joined Racionais MCs (B),
Available at http://www.worldmusicinstitute.org/event/705b5a0e0b010acf9794bca28e66c004 285 Maria Dapaz (Pernambuco) sang together with Joana Amendoeira and Nancy Vieira; Consuelo de Paula (Minas Gerais) performed with José Amaral and Rosa Madeira, Índio Cachoeira and Ricardo Vignini (São Paulo) collaborated with Tonecas and Cheny Wa Gune; and Fabiana Cozza (São Paulo) took the stage with Eneida Marta and Yami.
286 Information retrieved from
Gabriel o Pensador (B), Bob da Rage Sense (A; residing in Lisbon), Dama do Bling (M) and Boss AC (CV-P). In 2013, the Workshop Internacional de Hip-Hop da CPLP was organized in Luanda, under the slogan “A arte e responsabilidade social” (see annex 10, fig. 6 for its DJ-like logo)287. Terra do Rap. Festival de Rap Lusófono, suggestively
linking Lisbon and Rio with a microphone (see annex 10, fig. 7), in 2014 featured Eva Rapdiva (A), Kid MC (A), De Leve (B), Don-L(B), Funkero (B), Dj Nino Leal (B), Rodrigo Ogi (B), Vinicius Terra (B; has resided in Lisbon), Capicua (P), Mundo Segundo (P), Sam the Kid (P) and Sr. Alfaiate (P). The second edition of the Festival
Internacional de Hip Hop da CPLP288, in October 2015 in MEO Arena Lisboa (the
former Pavilhão Atlântico on the Expo‘98 site), pioneeringly featured one hip hop musician from Equatorial Guinea. This event featured musicians and flags on its announcement, promoting “paz e diversidade cultural” (see annex 10, fig. 8).
In this field, music celebrations and festivals are promoted both by institutional and grassroots movements that draw from the same human-artistic potential. These have converged in music initiatives that officially celebrate political moments of historical union (such as the 40 years of the Revolution of 25 April 1974 in 2014 and those of the independences of the lusophone African countries in 2015). This is exemplified by the events 20/40 – 20 Anos do Hip Hop em Portugal/40 anos do 25 de Abril, at the Castelo
de São Jorge in June 2014; Concerto da Lusofonia; 40 anos da independência dos
países de língua portuguesa289, at the Jardim da Assembleia da República in April
2015; the Festival da lusofonia em Lisboa, throughout Lisbon in May 2015; Rádio AfroLis’s participation in the festival Rotas e Rituais, also in May 2015; the Agrupamento CPLP during Festas de Lisboa’s Marchas Populares, at Avenida da Liberdade in June 2015290; the Concerto Liberdade Já, at Galeria Zé du Bois in August
287 Available at https://www.facebook.com/festivalinternacionalhiphopcplp
288 Performing musicians: Gabriel o Pensador (B), Fernandinho Beat Box (B), Boss AC (P-CV), Jimmy P (P), Dealema (P), W-Magic (P), DJ Ride (P), Puro L (P), Valete (STP, P), Army Squad (A), Bob da Rage Sense (A), God G (A), Verbo (A), DJ Wal Gee (A), Chullage (CV), Allen Halloween (GB), General D (M), Iveth Mc (M), Rage (M), Z Low DZ (T), and Adjioguening (Equatorial Guinea). Information retrieved from http://festhip-hopcplp.com/festival-hip-hop-cplp
289 Sara Tavares (CV-P), Lura (CV-P), Karyna Gomes (GB), Projecto Kaya (P, A), Selma Uamusse (M), Tonecas (STP)
290 The latter pioneeringly featured music and expressive culture by the following groups and individuals that reside in Portugal: Bei Gua (T), Grupo Cultural da Associação de Estudantes (STP), Casa do Povo de Corroios / Rancho Folclórico e Grupo de Cavaquinhos (P), Xipane Pane (M), Grupo Cultural (Equatorial Guinea), Mandjuandadi di Djumbai (GB), Moinho da Juventude / Kola San Jon (CV), Escola de Samba Trepa no Coqueiro (B), and Kilandukilu (A). The theme for the Marchas in 2015 was the 500th
anniversary of Torre de Belém. Information retrieved from http://www.festasdelisboa.com/events/event/desfile
2015291; the joint performance of Bonga (A) and MCK (A) in Musicbox292 and the
solidarity concert for refugees (from subsaharan Africa and Syria to Europe) in Teatro São Luiz293, both in September 2015; Costa Neto’s concert in B.Leza for peace in
Mozambique, in October 2015294; the Concerto pela Justiça e a Liberdade de todos os
presos políticos em Angola, in Jardim da Amnistia Internacional in Campolide, in
November 2015295, and 25 anos SOS Racismo at Crew Hassan in December 2015296.
These festive encounters can be explained as a (prescription of) constructive interaction and approximation (interculturalism), but they may also be seen as result of existing processes, similar to Homi Bhabha’s (2005 [1994]) signaled tension between the pedagogical and the performative. In this sense, lusophone musics exponents seem to perform frequently alongside canção de intervençao exponents, not necessarily in terms of lyrics or genre, but in terms of collective motivation. In this sense, musical lusofonia can be understood as social critique297.Interestingly, there is an additional congruence
between lusophone musicians in Lisbon as peace platform versus situations of conflict in the lusophone world, resulting in a new type of canção de intervenção, based not specifically on lyrics or genre but on language union, precisely through the idea of
lusofonia.
291 This event was organized in solidarity with political prisoners in Angola, among which figure Luaty Beirão, featuring music performances in both Lisbon and Luanda on the same day. In Lisbon, musicians included Aline Frazão (A, Spain), Dino d’Santiago (CV), Kalaf (A), Maio Coopé (GB), and Selma Uamusse (M), a.o. Information retrieved from http://www.buala.org/pt/da-fala/concerto-liberdade-ja- freedom-now-lisboa
292 Like Concerto Liberdade Já, this event was also organized in solidarity with political prisoners in Angola. Valete (STP, P) and Aline Frazão (A, Spain) also participated in this show. Information retrieved from http://www.musicboxlisboa.com/mck-bonga
293 Sara Tavares (CV-P); Carlão (P, CV); Jorge Palma (P); Sérgio Godinho (P); Cristina Branco (P); Rita Redshoes (P); Camané (P); Carlos Mendes (P). Information retrieved from
http://www.tvi24.iol.pt/musica/sergio-godinho/concerto-solidario-pelos-refugiados-junta-musicos- portugueses
294 Co-performers Bonga (A), Otis (M), Amélia Muge (M-P), José Barros (P), Ammy Injai (GB), João Afonso (M-P), Tonecas Prazeres (STP). Information retrieved from
https://www.facebook.com/photo.php?fbid=10153549170910772&set=a.58885810771.65250.533805771 &type=3&theater
295 Ana Bacalhau (P), Ana Deus (P), Ana Moura (P), Batida (A, P), Bob da Rage Sense (A), Couple Coffee (P-GB-B, B), D’Alva (A-P, B-P), Dino d’Santiago (CV), Eneida Marta (GB), Francisco Fanhais (P), Freddy Locks (P), Gospel Collective (M, GB, CV, A, STP, P and Belgium), Joana Alegre (P), Karyna Gomes (GB), Luis Varatojo, (P) Luisa Sobral (P), Luiz Caracol (P, son of retornados of A), Márcia (P), Milton Gulli (M), NBC (P, STP), Octapush with Cátia Sá (P), Samuel Úria (P), Sara Tavares (CV-P), Selma Uamusse (M), Sérgio Godinho (P), Sir Scratch (A), Terrakota (Italia, P, A), Vicente Palma (P), Tó Trips (Dead Combo) (P), Rita Redshoes (P). Information retrieved from
https://www.facebook.com/events/1655583251357208/
296 Performing musicians included Karina Gomes (GB), João Afonso (M-P), Maria Viana (P), Pedro Branco (P), Selma Uamusse (M), Tiago Gomes (P), Tropicáustica (P?), Valete (STP, P), a.o.
https://www.facebook.com/516243838405051/photos/gm.1007923815920124/1175525099143585/?type =3&theater
Finally, another lusophone movement can be traced in recent fado festivals outside of Portugal. I contend that, although these events not explicitly refer to lusofonia through the participation of musicians, they do feature musicians that have collaborated with lusophone musicians that reside in Lisbon. This is exemplified by the festival Folisboa, on June 26-28, 2015 in Paris, bringing to the stage Portuguese fadistas such as Mariza, Carlos do Carmo, Ana Moura, Camané and Carminho, next to composer Rodrigo Leão (Madredeus, Sétima Legião), and with a special day reserved for Lenine (B), Bonga (A), Lura (CV-P) and Riviere Noire (B-Mali-France), to promote “lusophone musics” 298. It is also illustrated by the Festival do Fado, which in 2013 took
Mariza, António Zambujo and Cuca Rosetta to Brazil, followed by Amália Hoje, Carminho, Raquel Tavares and Camané in 2014, and Carlos do Carmo, Raquel Tavares, Cuca Rosetta and Mísia in 2015. The Concurso do Fado during the Semana da Cultura Indo-Portuguesa in Goa (featuring concerts of Cuca Rosetta and with involvement of Marco Rodrigues)299 and the popularity of fado among Portuguese communities of the
East Coast of the United States of America300 are phenomena that further stimulate this
reflection.
These different lusophone music collaborations can be seen to some extent as a continued promotion of lusophone culture-language unity as first politically vented at Expo’98, not necessarily corresponding to the social realities that feed musicians into them.
298 Available at http://www.folisboa.com
299 I am grateful to Jorge Castro Ribeiro for pointing this out to me. Information retrieved from http://musica.sapo.pt/noticias/concertos/cuca-roseta-e-concurso-de-fados-visam-preservar-heranca- portuguesa-em-goa and http://musica.sapo.pt/noticias/marco-rodrigues-leva-a-india-projeto-que-divulga- as-diferentes-caracteristicas-do-fado
300 Kimberley Da Costa Holton, “Fado in diaspora. Online internships and self display among YouTube generation performers in the US.” Colloquium at INET-md on May 27, 2014. Available at
http://www.inetmd.pt/index.php/conferenciaseventos/1064-fado-in-diaspora-online-internships-and-self- display-among-youtube-generation-performers-in-the-us