Abstract
O I Festival da Canção e da Música Tradicional de Moçambique mostrou, em Maputo, a diversidade cultural e o que de mais representativo da música e danças tradicionais existia no novo país. A luta que culminou na independência assu- miu então a necessidade de afirmação da nação através da promoção de uma identidade comum. O cinema foi usado para projetar a nova nação moçambi- cana. Porém, se, por via dos ministérios com estas tutelas, a educação e cultura integraram o internacionalismo então em voga, sendo que o próprio festival foi inspirado no Festival Panafricano de Argel, a informação investiu na moçam- bicanização do cinema nacional. Através da análise das duas longas-metragens documentais – Música, Moçambique! (Fonseca e Costa, 1981), encomendada pela Direção de Cultura, e Canta meu irmão, ajuda-me a cantar (José Cardoso, 1982), produção do Instituto Nacional de Cinema (INC) – que registaram o Festival e os seus bastidores, assim como das suas condições e modos de produ- ção, analiso as diferenças nas estratégias usadas.
The 1st Mozambican Song and Traditional Music Festival showed, in Maputo,
the cultural diversity and the most representative traditional music and dances
of Mozambique. After the independence struggle, there was a need to affirm the
nation by promoting a common identity. Cinema was one of the means used
to project the new nation. However, if, through the ministries with these tutelages, education and culture integrated the internationalism then in vogue – the
Festival itself was inspired by the Pan African Festival of Algiers –, information
44 MARIA DO CARMO PIÇARRA invested in the Mozambicanisation of national cinema. Through the analysis of the two documentaries – Música, Mozambique! (Fonseca e Costa, 1981), commissioned by the Directorate of Culture, and Canta meu irmão, ajuda-me a cantar (José Cardoso, 1982), produced by the National Film Institute (INC) – which recorded the Festival and its backstage, as well as its conditions and modes of production, I analyse the differences in the strategies used.
The 1st Mozambican Song and Traditional Music Festival showed, in Maputo,
the cultural diversity and the most representative traditional music and dances
of Mozambique. After the independence struggle, there was a need to affirm the
nation by promoting a common identity. Cinema was one of the means used
to project the new nation. However, if, through the ministries with these tutelages, education and culture integrated the internationalism then in vogue – the
Festival itself was inspired by the Pan African Festival of Algiers –, information
44 MARIA DO CARMO PIÇARRA invested in the Mozambicanisation of national cinema. Through the analysis of the two documentaries – Música, Mozambique! (Fonseca e Costa, 1981), commissioned by the Directorate of Culture, and Canta meu irmão, ajuda-me a cantar (José Cardoso, 1982), produced by the National Film Institute (INC) – which recorded the Festival and its backstage, as well as its conditions and modes of production, I analyse the differences in the strategies used.
| Original language | Portuguese |
|---|---|
| Title of host publication | Portugal e Moçambique |
| Subtitle of host publication | Travessias identitárias e imaginários do passado e do presente |
| Editors | Moisés de Lemos Martins, Alice Balbé , Isabel Macedo, Eliseu Mabasso |
| Place of Publication | Porto |
| Publisher | Húmus |
| Pages | 43-64 |
| Number of pages | 21 |
| ISBN (Electronic) | 978-989-755-832-0 |
| Publication status | Published - 2022 |
Keywords
- Internacionalismo cinematográfico
- Moçambicanização
- I Festival da Canção e da Música Tradicional
- Instituto Nacional do Cinema
- Cinematographic internationalism
- Mozambicanisation
- I Festival of Song and Traditional Music