Transposition (Sep 2019)
« Le patrimoine c’est nous ! » Voix plurielles autour du cante alentejano
Abstract
Cante alentejano, inscribed on the UNESCO List of Intangible Cultural Heritage in 2014, is a genre of polyphonic singing from the region of Alentejo in southern Portugal, characterised by the predominance of three roles (ponto soloist, alto soloist and baixos or chorus). Its inscription on the UNESCO List has led to the emergence of new musical ensembles, stimulated musician’s activity, brought new impetus to local cultural policy on the safeguarding of rural musical traditions, and invigorated the tourism-related economy. We analyse this “post-inscription on the UNESCO list” context according to the tensions created around a number of polarities: learning at school vs practice with local ensembles; older singers vs the young generation; traditional ensembles vs modern-day artistic projects ; local cultural policies vs ensembles’ needs and expectations. If we consider that Intangible Cultural Heritage is woven and passed on through interactions and exchanges between people sharing a common body of knowledge, then to what extent does recognition by UNESCO affect local musical practices? How do the protagonists of cante alentejano perceive this inscription? How do vocal ensembles formed decades ago, that have worked in favour of “cultural objectification”, respond to these new transformations? Our research is based on fieldwork carried out with different ensembles of musicians, notably through public gatherings organised with the stakeholders in the music and its revitalisation. The study shows that over the past ten years (mildly during the application preparation process, and more markedly since recognition by UNESCO), the discourse and concerns that have emerged from the cante alentejano practice have primarily centred around the hope of gaining new ways of participating in the social life of today, both within and outside the geographic area of Alentejo.
Keywords
