The back streets of the poorer districts of Lisbon, Portugal, are often considered home to the urban folk music genre, fado. But fado is, in many ways, a cultural export of Portugal, earning a place on UNESCO’s list of Intangible Cultural Heritage, and becoming part of the tourist experience in Lisbon. One of the results of this is that the performance and nature of fado have changed over the years. While it is still possible to experience what many may call ‘authentic’ fado in some tavernas, the majority of fado performances that take place in Lisbon – at least those that can be easily found without insider knowledge – occur in a restaurant setting, where the instrumentalists wear suits, and the fadistas perform, perhaps not out of a sense of saudade, but out of a sense of showmanship, in order to entertain the tourists with songs that are stereotypical of the genre, the sort of songs that appear on virtually all recordings aimed at the foreign markets.
Continue reading “‘Warts and all’, or polished commodity? Understanding the commercialisation of folk music”
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