Music and Human Mobility

Redefining Communityin Intercultural Context

Selection of peer reviewed papers presented within the 5th International ConferenceMusic and Human Mobility - ICMHM’16,

Redefining Community in Intercultural Context, Lisbon, 7-9 June, 2016

icmhm’16Edited by Maria de São José Côrte-Real & Pedro Moreira

With the support of INET-md (FCSH/NOVA)

Brasovvol.5, no.1/2016

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© June, 2016

‘Henri Coandă’ Air Force Academy Publishing House160, Mihai Viteazu st., Braşov, 500183Phone: +40 268 423421, fax: +40 268 422004e-mail: editura@afahc.ro

Editor-in-chiefAdrian LESENCIUC - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

Guest EditorsMaria de São José CÔRTE-REAL - New University of Lisbon, Portugal

Pedro MOREIRA - New University of Lisbon, Portugal

EditorsDaniela NAGY - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

Cosmina ROMAN - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

Editorial AssistantBart VANSPAUWEN - New University of Lisbon, Portugal

DesignerMariana GHINDĂOANU - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

PrintingDaniela OBREJA - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

Scientific Board

Maurizio AGAMENNONE - University of Florence, ItalyElena BUJA - ‘Transilvania’ University of Braşov, Braşov, Romania

João Soeiro de CARVALHO - New University of Lisbon, PortugalSalwa CASTELO-BRANCO - New University of Lisbon, Portugal

Ella CIUPERCĂ - ‘Mihai Viteazul’ National Intelligence Academy, Bucharest, RomaniaMaria de São José CÔRTE-REAL - New University of Lisbon, Portugal

Alberto FORNASARI - ‘Aldo Moro’ University, Bari, ItalyJelena JOVANOVIĆ - Institute of Musicology, Serbian Academy of Sciences and Arts, Serbia

Ursula HEMETEK - University of Music and Performing Arts, Vienna, AustriaDiana ILIȘOI - ‘Henri Coandă’ Air Force Academy, Brasov, Romania

Adrian LESENCIUC - ‘Henri Coandă’ Air Force Academy, Brasov, RomaniaElizabeth LUCAS - Federal University of Rio Grande do Sul, Porto Alegre, BrazilDan LUNDBERG - University of Stockholm, Sweden

Ignazio MACCHIARELLA - University of Cagliari, ItalySílvia MARTÍNEZ - Higher School of Music od Catalunya, Barcelona, Spain

Pedro MOREIRA - New University of Lisbon, PortugalElisabete MONTEIRO - University of Lisbon, Portugal

Graça MOTA - Polytechnic Institute of Porto, PortugalRui Vieira NERY - New University of Lisbon, Portugal

Elsa PERALTA - University of Lisbon, PortugalPaulo Maria RODRIGUES - University of Aveiro, Portugal

Luísa ROUBAUD - University of Lisbon, PortugalKaterina STRANI - Heriot-Watt University, Edinburgh, United Kingdom

Mariselda TESSAROLO - University of Padua, Italy

ISSN 2285-2689ISSN-L 2285-2689

Front cover: Namban-jin byōbu (wind wall) attributed to Kanō Naizen (c.1570-1616). The folding screen depictsthe arrival of a Portuguese vessel in Kyushu (Nagasaki, Japan). Locals, Jesuits, sailors and merchants meet at theshore, testifying global human mobility between houses, with a musical instrument inside, and the enormous nau(ship) in the harbour. Today in the National Museum of Ancient Art in Lisbon, Portugal.

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Editor-in-chief

Adrian Lesenciuc is an Associate Professor of Theory of Communication and Military Sciences andcurrently he is the president of the ‘Henri Coandă’ Air Force Academy Senate in Brașov. He has a PhD in

Military Sciences from ‘Carol I’ National Defense University (2008-2011) and in Communication Sciences from NationalUniversity of Political Sciences and Administration (2010-2014), both in Bucharest. His major interest in researchconcerns intercultural communication, but he has also been interested in studying fundamentals of communication inmilitary sciences, communicative competence, and linguistics. He designed the international conference RedefiningCommunity in Intercultural Context (starting with 2011), quoted in important scientific databases, such as ThomsonReuters / Web of Knowledge or Index Copernicus. Recent publications include: Informational Warfare. Brasov: HenriCoanda Air Force Academy (2016); Intercultural communication within the Romanian village. Bucharest: The RomanianAcademy Publishing House (2015), Communicative Foundation of Military Sciences (in partnership with Daniela Nagyand Cosmina-Oana Drăghici). Saarbrücken: Lambert Academic Publishing and Theory of communication. Brasov: HenriCoanda Air Force Academy (2010). Adrian Lesenciuc is also a Romanian writer, president of the Brașov branch of theRomanian Writers Union, author of many books of poetry, novels and essays.

Guest Editors

Maria de São José Côrte-Real is an Associate Professor of Ethnomusicology and foundingresearcher of the Institute of Ethnomusicology – Center for Studies in Music and Dance at the NOVA School of SocialSciences and Humanities of the New University of Lisbon. With a PhD from Columbia University (NY/USA), where shestudied, researched and taught (1989-2001), she is faculty member of the Portuguese Foundation for Science andTechnology awarded PhD Programs Music as Culture and Cognition (since 2014) and Art Studies and Mediations (since2013) in this University. Having done field research in Portugal, USA and Mozambique, her interests developed on thetopics of migration and representations of identity, cultural politics and nationalisms, and cultural interfaces and education.She teaches BA and MA courses of Ethnomusicology, organizes International Conferences, the Doctoral Forum of theInstitute of Ethnomusicology and coordinates the programs of International Mobility in the Department of MusicalSciences. Recent publications include the book Protest Song and Social Change (in process, 2016); “Music & Ethno-national Conflict-solving Education”. Bonn: Bundeszentral für Politische Bildung (submitted); “Music and interculturaldialogue rehearsing life performance at school” in Nektaria Palaiologou (ed.) Intercultural Education: conceptual andempirical challenges. London, New York: Routledge (2014) and the book like special issue Music and Migration, of thejournal Migrações 7. Observatory of Immigration. High Commissariat for Immigration and Intercultural Dialogue (2010).

Pedro Russo Moreira is a post-doctoral researcher at the Institute of Ethnomusicology – Center forStudies in Music and Dance at the NOVA School of Social Sciences and Humanities of the New University of Lisbon(INET-md, FCSH/NOVA), with a scholarship by the Portuguese Foundation for Science and Technology (FCT), where hedevelops a project on music, radio and Portuguese migration in Paris. His main research topic is the relation betweenmusic and radio, specially the production and mediation of sounds. In 2013, he concluded a PhD regarding the study ofmusic production in the Portugal National Radio during the dictatorship (1934-1950). His main publications include onebook on the history of Portuguese National Radio (with Manuel Deniz Silva and Nuno Domingos), several articles andencyclopedia entries, as well as a book about Orquestra Sinfónica Juvenil - Youth Symphonic Orchestra - in Portugal. Hetaught History of Music, Acoustics and Ethnomusicology in several music schools and colleges, like in Instituto Piaget(ISEIT) and ANSO (Metropolitana) where he was Co-coordinator of the graduate and master degree program in music.

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CONTENTS

Redefining Community in Intercultural Context ........................................................................................ 9(Adrian Lesenciuc, ‘Henri Coandă’ Air Force Academy, Brasov)Music and Human Mobility......................................................................................................................... 13(Maria de São José Côrte-Real, Pedro Moreira, New University of Lisbon)

Culture, Identity and Globalization ........................................................................................................ 15The religious persecution of musicians in Afghanistan, 1978-2014 ....................................................... .. 17(John Baily, University of London)Iberovision, cultural and ideological exchanges: music festivals in the 1960s .......................................... 23(João Ricardo Pinto, New University of Lisbon)Saotomean orality and music: brief notes................................................................................................... 27(Rufino E. Santo, Celso Soares, Fernando Teodósio, CulturFACE Association, Lisbon)Culture and identity in the age of globalization.......................................................................................... 34(Cristina Gelan, Ovidius University, Constanta)Preschool learning through play from the perspective of the theory of concept-holes .............................. 39(Adrian Lesenciuc, Simona Lesenciuc, ‘Henri Coandă’ Air Force Academy, Brasov)Teaching design and musical-rhythmic intelligence................................................................................... 46(Anca-Olga Andronic, ‘Spiru Haret’ University, Brasov)Socio-cultural aspects of nonverbal communication in Romanian troops in Afghanistan ........................ 48(Cosmin Ivanciu, Viana Popica, ‘Henri Coandă’ Air Force Academy, Brasov)The importance of civil-military dialogue in Côte d’Ivoire U.N. peacekeeping mission .......................... 55(Cosmina-Oana Roman, ‘Henri Coandă’ Air Force Academy, Brasov)Musicians and the secret front of intelligence ............................................................................................ 62(Ella Magdalena Ciupercă, Mihai Viteazul National Intelligence Academy, Bucharest)Listening to God’s language: stancetaking in online comments on Ennio Morricone’s music ................. 67(Raluca-Mihaela Levonian, University of Bucharest)Musicality and geometry perfection of rhythm in the Romanian poetry of Ion Barbu .............................. 73(Daniela Nagy, ‘Henri Coandă’ Air Force Academy, Brasov)(En)Chanted words in an Australian aboriginal and two Chinese traditional religious songs ...................(António Baptista, New University of Lisbon)

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Sounds make the difference ........................................................................................................................ 85(Elena-Raluca Constantin, Military Technical Academy, Bucharest)Extemporaneous dance................................................................................................................................ 91(Raquel Oliveira, University of Lisbon)

Music, Performance and Mobility ........................................................................................................... 97Music, mobility and citizenship: navigation tips ........................................................................................ 99(Maria de São José Côrte-Real, New University of Lisbon)Stereotypes and Migration .......................................................................................................................... 105(Răzvan-Lucian Andronic, Spiru Haret University)Human mobility and cultures’ meeting ...................................................................................................... 108(Maria Stoicovici, Military Technical Academy, Bucharest)Where do they belong? The difference in between so called “second generation” of migrants ................(Denise Schubert, University of Music and Performing Arts, Wien)

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Interculturality: an attempt of reconstruction in a world of deconstruction ............................................... 122(Diana Ilişoi, ‘Henri Coandă’ Air Force Academy, Brasov)Voicing Balkan imaginaries: identity metaphors of Kumpala Algazarra in Lisbon ................................... 127(Maria Espírito Santo, New University of Lisbon) Rural musical culture of migrants from Dinaric regions settled in central Serbia ..................................... 131(Jelena Jovanović, Serbian Academy of Sciences and Arts, Belgrade)

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Somewhere between displacement and belonging: jazz, mobility, and identity in Europe ........................ 139(José Dias, Manchester Metropolitan University)Learning itineraries & transnational relations initiating the Hot Clube de Portugal’s jazz school ............(Pedro Mendes, New University of Lisbon)

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Following the path of the ancients .............................................................................................................. 150(Davide Pancetti, University of Pavia)From Parque Mayer to Teatro Monumental: Vasco Morgado’s Empire in Lisbon .................................... 155(Gonçalo Antunes de Oliveira, New University of Lisbon)Sounds and memories among migrants from Angolan decolonization ...................................................... 161(Gianira Ferrara, New University of Lisbon)Memory and learning: experiment on Sonata KV 331, in A Major by W.A. Mozart ................................ 168(Stela Drăgulin, Claudia-Ligia Şuteu, Transilvania University, Brasov)Musa Gulam Jat and Jodia Pawa: from Sindh to Banni ............................................................................. 172(Iulia Nicoleta Râşcanu, The University of Economic Studies, Bucharest)

Music and Intercultural Contact ............................................................................................................. 177Borders, what’s up with that?: Musical Encounters and Transnational Mobility in K-Pop ....................... 179(Michael Fuhr, University of Hildesheim)The spread of K-pop culture in Romania .................................................................................................... 185(Elena Buja, Transilvania University, Brasov)“Third sex” stereotype in South Korea: reasons & implications for the new generations’ women ...........(Irina Roibu, Paula-Alexandra Roibu, Hankuk University of Foreign Studies, Seoul) .

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The Philarmonique Portugaise de Paris: towards representations of national identity ............................... 198(Maria Helena Milheiro, New University of Lisbon)Folklore, Fado and Radio: mediating Portuguese identities in Paris .......................................................... 203(Pedro Moreira, New University of Lisbon)Music decolonializes lusofonia? Entrepreneurial efforts towards interculturalism .................................... 209(Bart Paul Vanspauwen, New University of Lisbon)Mobility, nationalism & cosmopolitism: light music in Portugal and European broadcasting .................. 214(Andrea Musio, New University of Lisbon)Music I like (...) people I hang out with! Identities, values and preferences among Romanians ...............(Andreea Mitan, National University of Political Studies and Public Administration, Bucharest).

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Musical practices, cultural politics and human mobility in the Macau Chinese Orchestra ........................ 225(Maria Leonor Veloso Dias Azêdo, New University of Lisbon)Cultural mixing as a major feature of rock music ...................................................................................... 231(Mariselda Tessarolo, University of Padua)Urban soundscapes: multi-ethnnic orchestras in Italian cities .................................................................... 240(Layla Dari, University of Florence)Good and evil in a song of Leonard Cohen ................................................................................................ 245(Jirí Mesíc, Palacký University, Olomouc)Expatriate as a brand: intercultural success stories of Estonian musicians ................................................ 252(Kristel Kaljund, Anne-Liis Peterson, Tallinn University of Technology)Communicating through music: aspects of Integrative and Intercultural Education .................................. 260(Vittoria Bosna, University of Bari ‘Aldo Moro’)

MUSIC AND HUMAN MOBILITYREDEFINING COMMUNITY IN INTERCULTURAL CONTEXT 2016

Guest edited by Maria de São José Côrte-Real & Pedro Moreira“Henri Coandă” Air Force Academy Publishing House

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FOLKLORE, FADO AND RADIO: MEDIATING PORTUGUESEIDENTITIES IN PARIS

Pedro MOREIRA*

*Institute of Ethnomusicology, NOVA School of Social Sciences and Humanities, New University of Lisbon,Portugal, Foundation for Science and Technology (FCT)

Abstract: The role of media in diasporic experiences is central to understand the identity construction of migrantcommunities in relation to the uses of their expressive culture, shaped by a connection to the motherland. Thisarticle addresses the case of Radio ALFA, a radio station targeted at the Portuguese community in the Parisregion, and focuses on the ways in which Radio ALFA imagines this community through both its programminggrid and the discourses of its main interlocutors. The heterogeneous and dynamic community conception of thismedium is central in understanding the role of expressive mediated cultural practices such as Fado or Folklorein the construction of a more fluid identity. The use of such expressive practices in the broadcastings are centralto Radio ALFA’s survival strategies, constantly (re)defining the very notion of “Portuguese community” intrying to reach different audiences that include both first-generation migrants and luso-descendants. In thislinkage between community, motherland and host country through radio, a rather dynamic process emergeswhich nurtures a better understanding of the relation between media, music and migration in this specificcontext.

Keywords: Radio, Migration, Community, Music.

1. INTRODUCTION

In this article, I address some questionsregarding the case of Radio ALFA, the radio of thePortuguese and lusophone community in the Parisarea, broadcasting via FM, internet and satellite.

The main issues raised by my research are:What kind of community does Radio ALFAimagine? What is its role, from a productionperspective, in the construction of a communityidentity through radio? What are the dynamics ofself-representation of this community with regardto Folklore and Fado? How do these dynamicsaffect both the programming policy and therelationship with the community?

The reality of radio in the context of migrantcommunities (Ferreira, 2013; Peterson, 2003;Dayan, 1999), especially their relationship tomusic (Toynbee and Dueck, 2011), is clearlymarked by insufficient studies in the socialsciences. In a wider context, the approach todifferent types of media and migration has shown atendency to avoid crystallized analyses of media asmere mirrors of expressive practices (Alonso and

Oiarzabal, 2010; Karim, 2003; Sánchez, 2008).The self-representation of migrant communities inthe media, and in this case, in radio, reveals themediated construction of community identities,imagined throughout broadcasts, discourses andexpressive practices as dynamic processes(Kosnick, 2007). As anthropologist Ferreirasynthetises: “The content produced anddisseminated by these social institutionscontributes to the politics of identity of migrantcommunities and fosters reflection on theirstrategies of integration, resistance, creation oftraditions, and the commodification andobjectification of culture” (2013:203).

The works of scholars such as Riggins (1992),Kosnick (2007) and Peterson (2012) reveal severaldimensions that interfere with self-representationof migrant communities in the media, enlighteningthe heterogeneity of such imagined communities,their local involvement with the host country,relationship with the motherland and transnationalindustries of culture, amongst other contingencies.As stated by Kosnick: “Migrant media are of primeimportance as arenas for producing and circulating

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identity claims in order to intervene in the politicsof representation” (2007:2-3) Therefore, it isrelevant to consider the mediated discourses andexpressive practices beyond the ideas of “culturalpreservation” or identity defence. A non-deterministic approach to identity, constructedthrough “transformation and difference” (Hall,1990:235) should unveil the ways in whichmusical genres are mediated, and how this reflectsthe very notion of “community” as imagined by themedia.

2. A RADIO FOR THE COMMUNITY

Radio ALFA was founded in 1987 in a contextof broadcasting policy changes in France. The riseof pirate or free radio broadcastings since the early1970’s, as in other European countries, allowed thefoundation of several illegal radios as a reaction tothe state monopoly of FM waves. The legalframework came after the election of FrançoisMitterrand, who promised to review the situationonce elected, which eventually happened. TheFillioud Act, from 1982, named after theCommunications Minister of CommunicationsGeorges Fillioud, liberalized FM waves andallowed radio stations to start the legalizationprocess (Kuhn, 1995:77 et seq.).

In the early 1980’s, three Portuguese pirateradio stations were operating in the Paris region:Radio Églantine, Radio Clube Português (RCP)and Portugal no Mundo, closely linked to theassociative movement. The legalization processwas still complex as the National authority askedfor some paperwork, which postponed the requests.As Kosnick states, in a broader analysis: “migrantmedia tend to flourish in the marginal and oftenunstable spaces opened up by the erosion of publicservice and state broadcasting monopolies, by thedevelopment of new communication technologies,and by the uncertainties of political regulation thatoften still characterize new transnational mediainfrastructures” (2007:3).

It was in this space of wider representation,helped by the associative movement and concernfor the second generation (children of theemigrants), that Radio ALFA was created, unitinga group of Portuguese emigrants with connectionsto the pirate radio movement (Laureano, 2011).The main purpose was to create a hybrid radiodesigned to give voice to the experiences and dailylives of the Portuguese emigrants in the Parisregion, instead of emulating a Portuguese radio inParis, as some of the interlocutors stated.

In 1987, Radio ALFA’s radio license wasgranted, but this legal permit only included 12hours of broadcasting, with the other 12 hours to

be shared with Tabala FM, an “African” radiostation. The first broadcast took place on October5, 1987 at 2:00 p.m., celebrating the PortugueseRepublic Implantation day. As one of the foundersstated, the radio station’s main purpose was “toremind the French that we were, back then, thelargest foreign community in France. A radio that,personally, I wanted to enter the homes of thePortuguese who listened to us, so that our mothertongue was not forgotten and could be transmittedto our descendants.” (Carmo, 2014:697). RadioALFA’s aim was to rethink the scope of thePortuguese community in the Paris region as wellas the very purpose of its medium. According toFernando Silva, one of the station’s founders: “Theradios that existed were very nostalgic, a kind of“Saudade” (nostalgic) corner. They consideredneither the evolution of the Portuguese communityin France, nor the youth of Portuguese origin. Wewanted the Portuguese to assert themselves ascitizens here in France. (…) we wanted to showthat there was another Portugal, anotherPortuguese music, and that the Portuguese living inFrance, were not the clichés cultivated within thecommunity by elder emigrants.” (Interview,6/11/2014)

The association ALFA struggled with financialproblems until the 1990s and was afterwardsacquired by a Portuguese emigrant-ownedfinancial group, becoming a commercial radiostation. After 1992, Radio ALFA was on air 24hours a day, without sharing the 98.6 frequencywith Tabala FM. Five years later, Radio ALFAentered the satellite channel, broadcastingnationally and worldwide, expanding in 1999 tothe internet, with several web radios, mainlythematic in their nature: ALFA Fado (dedicated toFado), ALFA Pop (dedicated to Pop and Rock),ALFA Sat (Lusophone music) and ALFA FM. Atpresent, Radio ALFA FM covers about 70 km ofthe Paris region, albeit with some variation(approx. 30 km), having approximately 800.000potential listeners, including Portuguese emigrants,their descendants, and other lusophone emigrants.

3. RADIO ALFA AND ITS PROGRAMMES

The construction of the radio programmingmaterializes several intentions, values andnegotiations of power in a context of technological,legal, regulatory and financial contingencies(Riggins 1992; Alonso and Oiarzabal, 2010;Karim, 2003). The role of the media in migrationcontexts has been analysed from a dualperspective: maintaining notions of culturaltradition and practices, on the one hand, andunintentionally encouraging the assimilation by its

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audiences of dominant values of the host society,on the other (Riggins, 1992:4).

In my first interview with Radio ALFA’sdirector, Fernando Lopes, he stated that “the roleof Radio ALFA is to inform about Portugal and theLusophone countries, to talk about daily practicalquestions in the country in which they live, whichis France, and to give them world news. (…)Portuguese news can be delivered by a Portugueseradio, the French news, by a French radio, but thenews to the Portuguese community living in theParis area can only be delivered by Radio ALFA”(Interview, 6/11/2014). Essential to theprogramming policy is the question posed byRadio ALFA’s director: “to whom do webroadcast?” which is central for the survival of theradio station. The imagined mediated communityshapes the radio programs and the discourses aboutthe role of Radio ALFA in the context ofPortuguese migration in Paris.

According to the director, the morningprograms are target the first-generation emigrants,especially those who are at home, defining them asa segment largely aimed at workers and“housewives”. Two programs are highlightedduring the weekdays: Está na Hora! (It's time),from 6:00 a.m. to 9:00 a.m., by Ester De Sousa andCarlos Manuel, and Ponto de Encontro (Meetingpoint) from 9:00 a.m. to 12:00 p.m. by AnabelaCunha. The first program includes traffic news,anecdotes, ephemeris, prizes, weather forecasts,and information blocks, making it one of the mostattended programs. Ponto de encontro (Meetingpoint) covers other types of content, from legaltopics that matter to the community, news, riddles,music, studio guests, press releases, etc. PauloSalgado continues the broadcast with Só entre nós(Only Between us) from 12 a.m. to 3 p.m., aprogram with varied contents. From 3:00 to 6:00p.m., Vítor Santos presents Nunca é tarde (It isnever too late) with music novelties and news;while the broadcast Está na Onda, from 6 to 9 pmis presented by Eduardo Lino, including daily newsupdates, games and music. Other programs,depending on the day of the week, focus ondifferent audiences, such as Nuances do Brasil, onTuesday, with Marluce Campos Perrollet or SóFado (Only fado), on Fridays, by Fernando Silva,Odete Fernandes e Manuel Miranda. On Saturday,several volunteers secure the station’s broadcasts,with programmes about Lusophone associationsand interviews with Portuguese artists, as well assports programs and other broadcasts. One of theweb radio channels broadcasts ALFA FMworldwide, whereas the other webradios broadcastthematic music programmes 24 hours a day (moreinfo: http://radioalfa986.net/grille.php)

According to the radio director, Radio ALFAnow faces a major challenge: broadcasts have tochange because the younger generation and newemigrants want different things compared to theirparents or grandparents: “The new emigrants arevery interested to hear about Portugal, they will,for sure, listen to Radio ALFA. The greatchallenge is keeping the luso-descendantsinterested, particularly those who have married anon-Portuguese wife, for instance. Why shouldtheir children listen to us?” (Interview,6/11/2014). The way in which this community isimagined (Anderson, 1983) through radio is achallenge for the programmers, which must adapttheir broadcasts and main thematic lines: topromote Portugal and its traditions, on the onehand, and to show a new and modern Portugalthrough music, like Fado, Pop/Rock, etc, on theother.

4. ON THE MARGINS OF TRADITION

In this section, I would like to discuss howRadio ALFA’s FM broadcasting mediates folklore.As a symbol of Portugal expressive culture, itsdiscourses about folklore are not only rooted inwords such as tradition or authenticity, but alsoshow a rather dynamic process of resignification.De Terra em Terra, nas margens da tradição isone of the most relevant broadcastings regardingthe dissemination of folklore in Radio ALFA’sprogram grid. Beyond representing tradition “asthe past”, the current Radio ALFA director statedthat this program wants to show Portugal’s livingtraditions, the true roots of those who are outsidetheir country: “This is what makes us feelPortuguese, our traditions, our origins… not thestereotypes associated with folklore and emigrants,as if we only consume that!” (Interview,6/11/2014). We can assume that for him, theconnection to the imagined motherland throughnostalgia and memory (Agnew 2005) reinforcesthe very essence of an imagined community ofshared beliefs, habits and, in this case, experiences,which are still alive today.

The programme De Terra em Terra was firstaired in 1989 by Guilherme Alves, an emigrantthat went to France in 1972 and started his carrierin Radio Clementine. In 2008, he retired andreturned to Portugal, leaving the program’spresentation to Manuel Moreira e MaryleneMartins. The broadcast aims to

Inform and advise folklore associations oneverything related to folklore, namely: dances,songs, costumes, research, historiography ofcustoms and regional customs represented with the

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support of the Federation of Portuguese Folklore(LusoJornal, 20/03/2008).

The program has had several formats, withdifferent moments that focused not only on music,but also on other “traditions”, such as gastronomy,religious traditions, handcrafts, showing ALFAlisteners different popular traditions according tothe civil calendar. The collaboration by telephone,from Portugal, of musicologist José AlbertoSardinha started in 1992, presenting the results ofhis personal research on traditional music. Poetryhas also had its part in this broadcast, with theparticipation of Amélia Gomes, also from Portugal.Gastronomy, personal experiences, interviews withfolkloric groups have equally been included.

One of the main aspects of De Terra em Terrais the relationship with local ethnographic groups(Ranchos Folclóricos) from the associativemovement in France, trying to influence them tochoose “a Portuguese region, making it easier tomaintain the folkloric tradition of the chosenregion” (idem). For Guilherme Alves and otherRadio ALFA interlocutors, the number of RanchosFolclóricos in France was not always equal with“quality”, because some of them had noinformation about traditional music and/or dance.As a result, they started mixing dances, or dancedthe wrong music with the wrong outfit, which wasnot correct, according to them. For the author ofthe program, this impact is reflected in the“improvement of the quality of the folklore ofsome Portuguese associations in France” (idem).Judite Cruz, who has collaborated with theprogram for 20 years, reports in her book “ThePortuguese Traditions in France” published in2012, that there are Ranchos Folclóricos in Francethat do not represent the region accurately:

This is not a criticism from my part, just acomment, incidentally they are aware that forexample the costumes they wear are not appropriateto the region they represent. Some were not welladvised and spent fortunes and now have to dress inanother way (LusoJornal, 28/03/2012).

With this program, Radio ALFA assumes adynamic role between “tradition” and thecommunity, aiming to advise local associations andgroups about the “authentic” way of representingthe Portuguese nation and its specific regions. Wecan argue that identity and authenticity play anessential role in constructing a dynamic radioprogramme that want to show the “typicality” ofPortuguese regions, on the one hand, and to conveya pedagogical approach to serve local associationsbased in France, on the other.

5. FADO, IDENTITY AND COMMUNTIY

Fado is considered to be the “National Song”of Portugal and has a central role in Radio ALFAFM’s programming. Its visibility, after UNESCO’srecognition as Intangible World Heritage in 2011,as well as its status in the World Music circuit andthe rise of the so called New Fado (Nery,2004:266-272), made it the perfect identitary visitcard. As the musicologist Nery affirms:

Faced with this evident dynamic, to the impressivenumber of new Fado singers and Portuguese guitarplayers that continue to grow, and to the variety oftendencies and aesthetic postures that underlinethem (…) one can only see the renewed vitality thatFado reveals entering the 21st century (Nery,2004:272).

The director of technical service andresponsible for Fado programmes, Fernando Silva,says that the Portuguese who are now retired inFrance, and who are 70 or 80 years old, like tolisten to (old) Fado singers or folklore. But the roleof Radio ALFA FM and ALFA Fado is also tobroadcast the most recent singers of new Fado,those who are from Portugal, such as Ana Moura,Cuca Roseta, Carminho or Camané, as well asfadistas from the Portuguese community. NewFado and its new (re)presentation constitute aperfect product to show a more modern Portugalwith younger singers and different repertoires. Thisdoes not mean that traditional Fado and its moreformal presentation has no audience, but accordingto several interlocutors, it is easier for the newgenerations in France to like the new Fado singers.Even within the community, performers such asDiane Santos, Shina, Jennyfer Rainho or CláudiaCosta, search for a more open conception of Fado,ranging from traditional repertoire to new forms.The new generation of fadistas is also an emergentphenomenon in other Portuguese diasporiccontexts such as Canada or the United States(Côrte-Real, 2010; Holton, 2006). In this context,the media representations of expressive practicessuch as Fado aim to leverage an image of a“renewed tradition”, of a country distant from oldstereotypes and willing to show a modern image ofPortugal and the community itself.

For the director of Radio ALFA, Fado is amusical genre that also creates a strong connectionbetween Portugal and France because both thePortuguese community and the French peoplethemselves have come to particularly appreciateFado after its recent visibility: “Fado in France isregarded as a part of Portuguese identity: Fado isPortugal, Portugal is Fado… that’s it!”(Interview, 6/11/2014). As a result, Fado always

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fills concert halls, especially the Radio ALFAconcert hall “Sala Vasco da Gama”, with a mixedpublic of both Portuguese and French.

Radio ALFA sustains Fado as symbol ofPortuguese identity and (renewed) tradition,allowing it to direct itself to a younger audience thatincludes the second generation or luso-descendants,as well as French listeners. The impact of Fadobroadcastings, mainly through the program Só Fado(ALFA FM) and the webradio ALFA Fado goesbeyond the Paris region and France. According tothe ALFA Fado programmer, more than 50% of thelisteners are located in other countries, mainlyPortugal, Canada, USA, Japan, etc. The internet-based Fado radio reaches both Portuguesecommunities and non-Portuguese listeners. Whenconsidering both webradios and FM, ALFA Fado isthe most listened radio station from the ALFAgroup, only surpassed in attendance by thebroadcasts of Portuguese football matches.

6. CONCLUSIONS

In this article, I have tried to highlight howradio in the context of migration reveals complexdynamics of self-representation, as identityprocesses influence the construction of animagined and mediated community. When thedirector of Radio ALFA asks, “to whom do webroadcast?”, he evokes a major problem thatshadows the very notion of community. Theprocesses included in mediating the notions ofcommunity throughout radio disclose a constantsearch for audience, as well as different ways toconstruct the identities of this imagined group,which depends upon several contingencies such asprogramming policy, different commercial targets,personal choices, emigrant generations, etc.

As shown in the section dedicated toprogramming, more generalist broadcasts try tocombine different “units”, from news, to games,musical novelties, in order to target a broadercommunity audience. More specific programs,such as De terra em terra, attempt not to lose thecontact of radio with the notion of “tradition”,contributing to the maintenance of the “roots” ofthis imagined community, also considering theimpact on local associations and the spreading of“correct” information about expressive practices.

As for Fado, one the main genres mediated byRadio ALFA, the modernization of this genre, asstated by Nery (2014), has been of majorimportance to renew the image of an “oldPortugal” and to construct a more up-to-datenotion of community. Fado appears here as anexample of how music plays a major role in thenegotiation of identity between tradition and

novelty, between the first generation of emigrantsand their descendants. The survival of RadioALFA in this context depends on its ability toconstantly imagine its surrounding community andmediate symbols of identity, as shown by Folkloreand Fado.

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