Pátria-Pátria: The National Anthem in Portuguese Language
Jill Jolliffe’s memoir of Borja da Costa during FRETILIN’s interregnum period (roughly from September to December 1975) tells the atmosphere when “Pátria-Pátria” was written.
“”In mutually broken English and Portuguese we would discuss Australian foreign policy. Timor, his country, was very tiny, he (Borja da Costa) used to say. It was too small for the superpowers to care about. Their policies were based on expediency, but it was not expedient to offend Indonesia for the sake of a small country. Timorese would surely have to fight for themselves. It was clear Australia would not help; illusions were dangerous.”
In this section we will see that Borja da Costa’s concern about international relations and the future of East Timor is strongly reflected in “Pátria-Pátria.” This song was written by Borja da Costa and composed by Afonso Araujo in 1975, soon after the civil war between the three Timorese political parties and FRETILIN’s triumph in it. The song was primarily written to be the National Anthem of 1975 Independent East Timor. With the Restoration of Independence in 2002, it was re-adopted as the National Anthem by Mari Alkatiri’s new FRETILIN government.
I would like to examine the song more as FRETILIN leaders’ identification of their political stance in Portuguese language; a linguistic sphere that is open to outsiders where the language of modern Western categories dominates. Below are the first lines:
“Pátria, Pátria, Timor-Lesté, nossa Nação.
Gloória ao povo e aos heróis da nossa libertaçáo.”
Fatherland, Fatherland, Timor-Leste, our Nation.
Glory to the people and the heroes of our liberation.
The first line may sound like a taut...
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...een the two sides.” The foreign observers have been perplexed with so many challenges posed against the opportunity of “self-determination” and supposedly “independent” and “democratic” East Timorese government since 2002. On the other hand, CPD-RDTL did not understand why their land was “re-colonized” by the United Nations and the government. Facing the coming of the UN and their state-building, CPD-RDTL insisted that their resistance was (and is) yet unfinished. Many Timorese prefer to use the word “ukun-an” (a state of self-determination, but not “rasik?”) instead of “ukun-rasik-an” to describe present situation. Ironically, all of these foreign scholars and Timorese actors associate themselves with FRETILIN and (East) Timorese’ struggle for “independence (or ukun-rasik-an?).” Hence, the specters of 1975 still haunt the politics of the Timorese societies today.
Veloso, Caetano, and Barbara Einzig. Tropical Truth: A Story of Music and Revolution in Brazil. Cambridge, MA: Da Capo, 2003. Print.
This paper is a formal critical analysis of a protest song chosen from the list supplied on Moodle.
Mattoso, Katia M de Queiros: To be a slave in Brazil 1550-1888 (New Jersey, 1986)
The citizens of Oceania were under constant influence by propaganda. “And if all others accepted the lie which the party imposed-if all records told the same tale-then the lie pas...
It is the guiding proposition of this paper that the aforementioned Exceptionalism is due to a combination of visionary state building efforts on the part of local political actors, and a series of fortuitous circumstances present in the early stages of the process. The paper has been divided into SEVEN sections, each with subtitle in the form of a name of an important figure from Costa Rica’s collective historical memory. This division seeks to allow for the reader to navigate the different stages in the formation of the Costa Rican state with ease, but also to illustrate the way in which these notable individuals became symbols of their epoch and, more importantly, of their legacy and the impact their actions had on the formation of a national identity.
The point of view of this ethnography is written from a third person perspective with some information coming from the writers perspective. The author of the book is not biased because Alejandro L. Madrid is a Professor at the University of Cornell with a Ph.D. in musicology and with his extensive background, he has the ability to collect information and redistribute it in his book without being biased
...ly convey the shared experiences of unhappiness and helplessness. Cuiqiao’s performances of folksongs are often paralleled with visuals of the desolation of the land or the ambiguity of her singing. Much like the function of the Odes as a “didactic instrument,” while Cuiqiao is never depicted actually singing, the ambiguity creates a more relatable folksong that can move the masses and encourage a virtuous change (Nylan 75). The function of both the Odes and Cuiqiao’s folksongs work as expressions of intense emotions, which are interpreted in order to understand “human capacities and aspirations and how to motivate them” (Nylan 75). While the workings of the feudal system eventually prove too intolerable, the ending of Cuiqiao’s story is her final act of autonomy in search of personal liberation, empowered by the performance and promises of the Communist’s folksong.
It is regular to see a vocalist ad libbing décimas as verses of a melody, and couples moving the zapateo, despite the fact that the last have been as of late substituted by the child. This Cuban musical type is additionally surely
Gerald Clayton’s album “Deep Dry Ocean” features Parlato and Clayton playing the song with a base sound. It is given velvet support by the drummer’s brushes on the snare and tom-tom. The relationship of emotions in is related with “Dusk Baby,” looks like a modern pop ballad with the harmonic difficulty with past years. “Mao Nas Massa” describes as a samba rhythm, meaning about the happiness ...
I will also show how he incorporates two of the most important folk music genres into his compositions such as “Joropo” and “Merengue.” These rhythms and musical genres are also the most common used by Jorge Montilla and Venez...
Knight, Nick, and Michael Heazle. 2011. Understanding Australia's Neighbours: An Introduction to East and Southeast Asia. New York: Cambridge Univerity Press.
The artists explain that the song is about the division in the world and unity between all races, they express, through art, that even when the feeling of isolation is most present, we have to stand strong. Claudia isn't convinced into believing the idea of beauty the media and world around her. Instead of playing with the
...hamlets, eternal bondage, and taking care of Portuguese owned horses. They also re-discovered Tetun language as the common language of communication – it used to be the lingua franca of roughly eastern part of the island including some parts of West Timor. Finally, they came to share one phrase of utopia, “ukun rasik an” - though its meaning might have been understood in many ways. Thus, it is possible to argue that this song functioned as a medium for the Maubere people to discover “Maubere” and “timor oan” as a category in which they belonged. In other words, it indirectly contributed to the creation of an “imagined community” though it never encouraged the secular notion of “modern nation-state.” Now I think a new question became a legitimate one: Was what the foreign observers have called “East Timor’s struggle for Independence” really a “nationalist movement?”
Rivas-Rojas, Raquel. “FABULAS DE ARRAIGO VICARIO EN LA NARRATIVA DE JULIA ALVAREZ. (Spanish).” Canadian Journal Of Latin American & Caribbean Studies 33.66 (2008): 157-169. SocINDEX with Full Text. Web. 25 Mar. 2014.
Postcolonialism is the continual shedding of the old skin of Western thought and discourse, and the emergence of new self-awareness, critique, and celebration. With this self-awareness comes self-expression. But how should the inhabitants of a colonial territory, or formerly colonized country or province see themselves, once they have achieved their independence?... ... middle of paper ...