...the Alentejans are the ones who created the Alentejan Cante
and what would these Alentejans be
it's the strenght of a population that made possible...
when? which century that would be?
it's when the agricultural revolution happened
it begins with the agricultural revolution
everything begins with the agricultural revolution
the agricultural revolution transforms this state of things
starting from there, from the agricultural revolution, the Cante bagins to form its foundation
which agricultural revolution are you talking about?
the agricultural revolution begins...
I don't agree
it begins with the agricultural revolution, when a a group of people joined toghether
what year was that?
I don't know, 1700-18000
it's a population, the people,searching for something
that could reach their stomach, and they did it through the Cante
it's a tipical regional way of singing
it's the gathering of people
maybe in the Ribatejo it's different
the harvest and the peeling
have a lot to do with this
everything was labour based
there was the Cante before that
the Cante already existed
we should only be worried about one thing: don't let it die
now, how it all began... everyday we can create a new way of letting it born again
and tradition must be renewed and reinvented everyday
tradition can begin today
in order to have tradition you need continuity
never forget the old people...
it's a feeling, it's all about the feeling
"You're dying to know"
"where I do, where I do..."
"...have my bed"
"In the river bank"
- A Journey Through Alentejo -
Episode 4
"In the shade of the brome grass"
"Aurora lives in the mountain"
mister Antonio Luis Fialho
he was the founder of this choir "Os Ceifeiros de Cuba"
and this man
was our director
these days he's a bit out of order
he's sick
he's the one who told me you'd been...
...coming here
that's him, so
Ermelindo Galinha
to the memory of Ermelindo Galinha, singer
write this down... - is there a pen?
we begin to get a bit too old
the yougers form groups
they form groups...
...and then...
it seems hard for them to come here with us
the elders, we are the ones who teach something
the old men are the ones who can teach you how to sing
you learn any job with old people
and singing is no difference
no difference
and the "Ceifeiros" are who have taught all these people
someone of the "Bacos de Baco" sang here
someone of the "Raizes" sang here
and of the "Amigos do Cante", too
here's where they came to school
because here is where you learn how to sing
with the "Ceifeiros", with the old ones
our way of singing is different
you sing this way here in Cuba only
we sing with a different style, a different music
we drag the song
in Serpa, those towns, those cities
those groups have nothing to do with our Cante
even the way they speak is different
and this Cante, from Cuba, is havier
it's a different Cante
it's that Cante we want to continue, follow it up
for our children, and one day for our grandchildren
the Cante of Cuba, we should never lose our way of sing, how you sing in Cuba
a way that's heavy
the Cante of Cuba is different
they sing that way in Cuba and nowhere else
in Cuba we find tone alteration in the middle of the song
and what's most interesting, in the middle of that...
...interpratation of the melodies, in Cuba, is that...
in the choir, in Cuba, you can hear
false notes in unison
in the choir
which are not false notes, it's a tone swithch
a switch in the musical scale
it could be seen as something that's not a false note
the same alentejan song can be sang in different places, in different ways
you know? the same song
you sing here in Cuba, in Serpa it's sung in a different way
it's sung in a different way in Castro Verde
and Cuba has a wa yof singing that's his own
we drag our song
it's a dragged way of singing
the breathing, how the music and words are disposed
it's more dragged
it's more suffered
whit dragged melodies
whic offer more freedom to the Altos
you can even say that the Alto leads the choir
and he take advantage of the pauses of the choir to expand himself
the more the song is slow, the more the Alto has freedom to use
his own voice's capacity
and fill with ornaments
the melody of the song
"The land owes me"
"Alen..."
"...tejo, Alentejo"
"Sacred land"
"Of bread"
the Alto is "in charge"
everything is rehearsed
the choir need to have a great musical sensibility, in order to let the Alto sing confortably
so that the Alto can stay... stay there in a suspance for some moments
and the choir needs to feel when he's going to end, and follow on with the song
"To see the golden light of the wheat"
"In a boundless solitude"
"A..."
"...len..."
"...tejo, Alente..."
"...jo"
"Sacred land of bread"
Day #25
the intention of this place has always been to support our alentejan gastronomy
which is diverse and top notch
because we have good raw material, in Alentejo
now we're going to prepare a Açorda de Alho
which is what the people was eating, in the old times, when they were going to the fields
here we have the coriander
the garlic
the pepper
sault
the pestle, used to crush the garlic and the coriander
olive oil
we have olives, as a starter
when we go to the table
pieces of old bread
we have this, which I've already prepared
that is what you see here
the cod
a poached egg
to come with it
with this Açorda
this you don't find anywhere
I pour the olive oil
in the appropriate amount
a bit of salt
the water of the cod
and the peaces of old bread
it's a bread soup
exactly, and it's the Alentejan Açorda
it's a gastronomy invented to support working in the fields, wich was very hard
so they needed to be well feeded, in order to face the day
there were people, you know, in those days
what did they take with them...
they had with them a stone
inside their bag
to make it heavy
and then they were going to eat far away, poor boys, they would have nothing to eat
and they carried a stone to fake it
to show they had something
but they couldn't...
I'm talking of people with 5 or 6 children, 7 children
they could not afford it
unfortunately that's how things were in Alentejo
they faked having food in their bags, putting stones in it
they faked having food - ...and thenthey hid to fake they...
they went far and hidden
100 meters, 150 meters, and they sat there
poor things, with tears pouring down their faces
they had nothing to eat
those men are all dead, now
unfortunately
those men are dead
today it's different, nobody works the land that way anymore
there are no harvesters
nor men nor women
no weeding, you know?
tody it's all worked with machines
you can tell it's all done with the machines
the yougsters ear from the elders how the harvest was
but they've never lived it
they can't give value to what it meant working from sunrise to sundown, holding on a scythe
holding on a scythe
to earn...
a bit of bread and that's all
a bit of bread
with what you earned you could only by a bit of bread
young people are not so interested in the Cante
because they've never been tied to that kind of intensive work in the fields
such as the manual harvest
manual weeding
collecting straw with the animals
with a mule
and take it all to the town council
nowadays
young people have this disconnection and we notice it in relation with the Cante
it's harder everyday to find new elements
young people
for the choir
we, who sing, have all been workers
who sing in these old choirs, such as ours
are people who worked and they experienced it, they know what's a life of sacrifices
you moved by foot
somebody had a donkey
bicycles, there were very few of them
very few bicycles
it was all by foot and with the bag on your shoulders
that was a state of misery, a state of slavery
we didn't have the bathroom, we had nothing
our bathroom was behind a woodpile
behind a woodpile
this younger generation
has the Cante as an orally transmitted tradition
but it's obvious that they've never lived those times
and then, after all the changes since the Cante has been ranked by the UNESCO
there's an attempt to...
I won't say lighten it up
but to update the Cante
and don't let it hanging to that old root
to be an actual rapresentation of the old Cante
I would be...
I would be contradicting myself
because I had the luck never to have been forced to work from sunrise to sunset
and that's were the Cante Alentejano began
there's where they started singing, weeding and harvesting
all the work they did in the fields, they were singing there
nowadays that kind of rural work has been replaced... men have been replaced by the machines
there are no songs in the fields anymore
it's not like it was
and there's now a different way of singing, another Cante
and we need to adapt ourselves to the new reality of the Cante
so that it could be passed on in the future
shall we sing?
Pedro!
"...in a boundless solitude"
I'd love that they'd understand
I'm joung and I stay near the old ones
with experienced people, you shouldn't say "old", a rag is old
experienced people
but these experienced people can give good advices
and they can teach how to sing
I'd like they'd come here
so that in the future they could be well rooted
"The land pays me back with life"
"I pay the land by dying one day"
the older ones leave us, they die, and we...
we are not able to have the roots we'd have liked to have
and pass the Cante through the generations
we try
it's important to understand
that young people sing, but they sing something they can identify with
and sure, a young boy that know nothing about the harvest and doesn't know about agricolture
isn't able to feel the connection between this cultural expression and the fields and the land
and he can't feel what he says when he sings that "he's harvesting and he's singing"
I often say that these musics have the ability
reading...
between the lines
they make me know the Alentejo I've never lived
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