We would set off at dawn, and in the distance, the hills could already hear the singing—a vibrant chorus of women and children clinging to skirts. There, we all sang, in tune and out of tune alike. We sang and danced to loves lost and loves conceived, and we sang the songs of our land. And so, with a sideways glance, we gave voice to our discontent, becoming, all together, a single woman.
Technical Sheet
Direction and Performance Helena Caldeira Assistant Director Afonso Viriato Music Composition “Ai que eu vou morrer,” “Ensina-me a tua moda,” “Abalar” | Samuel Martins Coelho, “Vizinhas” | FOQUE Lyrics and Text Helena Caldeira Vocals Helena Caldeira Sound Production FOQUE Sound Design FOQUE & Samuel Martins Coelho Piano Samuel Martins Coelho Lighting Design Manuel Abrantes Set Design Daniela Cardante Costume Design Gabriel Daros Production Bestiário Executive Production Diana Almeida Distribution
Produção d’Fusão Co-Production Montemor-o-Novo City Council Co-Production Residencies
O Espaço do Tempo, Alma D’Arame Financial Support Montemor-o-Novo City Council, RTP Additional Support Rancho Folclórico Fazendeiros e Etnográfico de Montemor-o-Novo, Grupo de Cante Alentejano Fora D’Oras, and Ecos do Monte
This performance was created with the support of Carta em Branco, an initiative by RTP.
MORE ABOUT THE PERFORMANCE
The tradition of cante was passed down by rural workers over generations as they labored in the fields. It was a common and informal practice in daily life from the late 19th to early 20th centuries. In public spaces, descantes were sung by men and women together. However, from its origins, cante was subject to institutional intervention and promotion.
Some of the earliest organized groups were likely formed under the nationalist political project of the Military Dictatorship and Estado Novo. The formalization of cante into structured choral groups, as opposed to spontaneous singing, allowed for greater control over a practice that had the potential to become an expression of protest.
It is within this context of the “domestication” and political instrumentalization of cante that women found themselves excluded from its formal practice. Though cante was traditionally sung and passed down informally by both men and women, the choral groups were composed solely of men. (…)
We would set off at dawn, and in the distance, the hills could already hear the singing—a vibrant chorus of women and children clinging to skirts. There, we all sang, in tune and out of tune alike. We sang and danced to loves lost and loves conceived, and we sang the songs of our land. And so, with a sideways glance, we gave voice to our discontent, becoming, all together, a single woman.
Technical Sheet
Direction and Performance Helena Caldeira Assistant Director Afonso Viriato Music Composition “Ai que eu vou morrer,” “Ensina-me a tua moda,” “Abalar” | Samuel Martins Coelho, “Vizinhas” | FOQUE Lyrics and Text Helena Caldeira Vocals Helena Caldeira Sound Production FOQUE Sound Design FOQUE & Samuel Martins Coelho Piano Samuel Martins Coelho Lighting Design Manuel Abrantes Set Design Daniela Cardante Costume Design Gabriel Daros Production Bestiário Executive Production Diana Almeida Distribution
Produção d’Fusão Co-Production Montemor-o-Novo City Council Co-Production Residencies
O Espaço do Tempo, Alma D’Arame Financial Support Montemor-o-Novo City Council, RTP Additional Support Rancho Folclórico Fazendeiros e Etnográfico de Montemor-o-Novo, Grupo de Cante Alentejano Fora D’Oras, and Ecos do Monte
This performance was created with the support of Carta em Branco, an initiative by RTP.
MORE ABOUT THE PERFORMANCE
The tradition of cante was passed down by rural workers over generations as they labored in the fields. It was a common and informal practice in daily life from the late 19th to early 20th centuries. In public spaces, descantes were sung by men and women together. However, from its origins, cante was subject to institutional intervention and promotion.
Some of the earliest organized groups were likely formed under the nationalist political project of the Military Dictatorship and Estado Novo. The formalization of cante into structured choral groups, as opposed to spontaneous singing, allowed for greater control over a practice that had the potential to become an expression of protest.
It is within this context of the “domestication” and political instrumentalization of cante that women found themselves excluded from its formal practice. Though cante was traditionally sung and passed down informally by both men and women, the choral groups were composed solely of men. (…)