Cultural heritage in its various forms - monuments, landscapes, celebrations, forms of expression, collections, knowledge, practices, etc. - represents values of authenticity and historical relevance. In addition, it can also represent a powerful narrative about national “identity”, so the process of listing, or registration, is usually carried out when a cultural property represents artistic and historical expressions thought to be relevant to a social group, or for a country. On the other hand, migration policies, urban planning based on racial segregation and violent processes of eviction of black communities in Portugal, complicate a debate about the material and immaterial heritage of this population. What are the voices and political entities that call for self-management of heritage? How do subordinated and oppressed groups, often deprived of property, fit into a country’s policies of representation of cultural heritage and intellectual property? How can we think about collections, public policies, historiography, legacy and mapping, to consolidate the different heritages of the black population in Portugal? UNA therefore organizes the Dance--conference Por um (MAT)rimónio Imaterial Negro (For a Black Intangible (MAT)rimony), within the scope of the Imaterial Festival, to reflect on what has been reserved for the black population in Portugal, in the processes of definition and resignification of the material and immaterial heritage of the country. These will be two hours of meeting and dedication with the festival’s audience, in order
to promote the experience of bodily activation, beginning with the stimu­la­tion of minds in harmony with feelings.

Associação União Negra das Artes — ANA TICA / IRIS DE BRITO / MAÍRA ZENUN / PINY

Musician, writer and essential thinker of Cabo Verdean culture, Mário Lúcio Sousa is the author of this Manifesto to Creolization, in which he argues that all peoples and all individuals are Creoles, since anthropological evidence points to multiple roots in the genealogy of every inhabitant of the planet. In defence of the concept of “creolization”, the manifesto defends a complex and mixed identity, in opposition to the tendencies of demarcation of supposedly pure territories. In short, Mário Lúcio Sousa calls for evolution to a stage of creolization in which we speak of a humanity, of a collective that includes everyone and that welcomes in its essence the plurality of voices in the world.

MÁRIO LÚCIO SOUSA

Writer, musician, Minister of Culture of Cape Verde (2011-2016), Portuguese PEN Club Narrative Award and Miguel Torga Literary Award.

Research project “We must warn everyone”: Music and Portuguese exile in France during the Estado Novo regime (1933-1974)

The fundamental role of music as an instrument of cultural resistance and political protest during the Portuguese dictatorship is well known, in the form of protest songs sung at clandestine meetings, strikes, unauthorized demons­trations or student rallies. Many of the authors of these songs were exiled in France, a frequent destination for those who refused to live with their freedom limited. This project, which brings together specialists in different fields (musicology, ethnomusicology, political, social and cultural history, theatre and cinema studies), aims to study the impact of the experience of political exile on musical creation, based on the collection of documents in Portugal and France relating to this period, and the collection of oral testimonies.

MANUEL DENIZ SILVA

Musicologist, professor at NOVA FCSH, researcher at INET-md, coordinator of the project “É preciso avisar toda a gente”(“We must warn everyone”).

RICARDO ANDRADE

Ethnomusicologist, researcher at INET-md, curator at the Centro de Estudos e Documentação José Mário Branco - Música e Liberdade.

HUGO CASTRO

Ethnomusicologist, researcher at INET-md, curator at the Centro de Estudos e Documentação José Mário Branco - Música e Liberdade.

Tango and chamamé. Two music and dance heritages from Argentina. Classics and future classics.

Tango and Chamamé are since 2009 and 2020, respectively, Intangible Cul­tural Heritage according to UNESCO. And they are two major expressions of Argentine culture, with their own melodies, poetics and dances, the first of an urban nature, the second of rural origin. To unite them, on the other hand, an instrument that is common to them – the bandoneón. But they also share a similar dialogue between tradition and innovation that makes both languages alive and in tune with the present. Liliana Barela will tell us about the stories of these two songs, their origins and their prohibitions, leading us to the moment they are going through today.

LILIANA GRACIELA BARELA

History Professor, General Director of the Heritage and Historical Institute of the city of Buenos Aires (2007-2015), Coor­dinator of the application of Tango to the Representative List of Intangible Cultural Heritage of UNESCO

After the enthusiasm and euphoria surrounding UNESCO’s acceptance of the Cante Alentejo as an Intangible Heritage of Humanity, in 2014, what happened to this polyphonic choral song? Three voices studying Cante come together not only to discuss the historical process that transformed a spontaneous practice into an institutionally recognized heritage, but also to exchange ideas about the impact that the UNESCO distinction had on the preservation, revitalization and dissemination of this musical expression. Because, celebration aside, there are concerns about the survival of a genre that fights against the ageing of the population, the exodus to large cities and the transmission of a tradition in an increasingly global world.

PAULO LIMA

Anthropologist, Coordi­nator of applications of Cante Alentejano, Fabrico de Chocalho and Morna (Cape Verde) to the Representative List of Intangible Cultural Heritage of UNESCO.

FRANCISCO TORRÃO

Cante Alentejano singer and master, founding member of the coral group Cantadores do Desassossego.

JOSÉ GUERREIRO

Coordinator of the “Observatório do Cante Alentejano” and the “Centro de Documentação do Cante Alentejano.

A commemorative edition of the double centenary of the birth of Maria Severa Onofriana (1820-1846) and of the Ten Years of the inclusion of Fado on the UNESCO List of Intangible Cultural Heritage (2011-2021)

The book Severa 1820 is a work in which history and critical reflection on Fado, the music of Lisbon, intersect. Taking Maria Onofriana Severa (1820-1846) as a central figure, one of the most important, and unknown, characters in the history of Fado, and an icon of Lisbon, the work seeks to unveil her real life, following her transformation into an urban myth. This construction intersects with the historical process that led Fado to be listed as World Heritage by UNESCO in 2011. This book is also, and above all, a political book, questioning the access and inhabiting of the City through the ‘invisible’ margins. It is a collective work that brings together some of the greatest Portuguese experts on these subjects. It is coordinated by the anthropologist Paulo Lima and is released by Tradisom.

PAULO LIMA

Anthropologist, Coor­dinator of applications of Cante Alentejano, Fabrico de Chocalho and Morna (Cape Verde) to the Representative List of Intangible Cultural Heritage of UNESCO.

JOSÉ MOÇAS

Director of TRADISOM music label and publisher, guest assistant Professor at INET – Instituto de Etnomusicologia de Aveiro.

Based on the experience of Ian Brennan as a producer (Tinariwen, Zomba Prison Project, Ustad Saami) and author, and of Marilena Umuhoza Delli as a documentary filmmaker with field recordings in countries such as Rwanda, Comoros, Kosovo, Vietnam and Romania, this is a place for discussion on the scarcity of regional, class and linguistic diversity in the universe of popular culture. Armed with data on the global music industry controlled by multinationals and on the reduced elite that concentrates almost all the attention and profits from digital platforms, Brennan and Umuhoza question the anti-democratic exclusion zone in which the large promoters of music on a global scale have become.

IAN BRENNAN

Music producer, Grammy winner (Zomba Prison Project, Tinariwen), author of seven books, occaional contributer to the New York Times and PBS television.

MARILENA UMUHOZA DELLI

Author, documentary filmmaker and published photographer on BBC, CNN, Al Jazeera, The Guardian, VICE, Litération, Rolling Stone, Smithsonia or New York Times.