No Alentejo eu trabalho, Cultivando a dura terra, Vou fumando o meu cigarro, Vou cumprindo o meu horário, Lancando a semente a terra; é tão grande o Alentejo; Tanta terra abandonada, A terra é que dá o pão, Para o bem desta nacão, Devia ser cultivada; Tem sido sempre esquecido; A margem, ao sul do Tejo, Há gente desempregada, Tanta terra abandonada; é tão grande o Alentejano; Trabalha, homen, trabalha, Se queres ter o teu valor, Os calos são os anéis, De um homen trabalhador; é tão grande o Alentejo . . .
In the Alentejo, I work, Cultivating hard land, I am smoking my cigarette, I have put in my hours, Sowing seed in the earth; The Alentejo is so big; So much abandoned land, The land that gives bread, For the good of this nation, It should be cultivated; It always has been forgotten; On the banks, south of the Tagus, There are unemployed people; So much abandoned land; The Alentejo is so big; Work, man, work, If you want to have your worth, Calluses are the rings, Of a working man; The Alentejo is so big . . .
The Cante Alentejano singing tradition, which celebrated 10 years of UNESCO recognition as an Intangible Cultural Heritage of Humanity, has seen a surge of these a capella groups, reported SIC Notícias (November 30).
There are more of these groups today than there were on November 27, 2014, when the United Nations Educational, Scientific and Cultural organization granted its distinction to Cante Alentejano, three years after fado, which is performed, generally, by a solo singer accompanied by Portuguese guitar(s), according to the National Commission for UNESCO. A national inventory recorded 165 active choral groups this year, the majority of which are located in the district of Beja, followed by Evora and Lisbon, reported SIC Notícias.
Cante Alentejano, the two-part singing genre, originated in a more rural past, when it was often done with a hoe or glass in hand, in a field or cafe.
"Cante Alentejano is . . . performed by amateur choral groups in the region of Alentejo in southern Portugal and among its migrants in the Lisbon Metropolitan Area, characterized by distinctive melodies, lyrics and vocal styles, and performed without instrumental accompaniment," according to the National Commission for UNESCO.
Refrão: "Senhora Cegonha, Como tem passado? Não há quem a veja. Não vai p'r'a igreja. Pousar no telhado. No seu velho ninho, Ponha ovos, ponha, Que seja bem-vinda. Branquinha, Tão linda. Lá vem a cegonha."
Chorus: "Lady Stork, How have you been? There is no one to see her. She doesn't go to church. She lands on the roofs. In your old nest, Lay eggs, lay. You are welcome. White, So beautiful. Here comes the stork."
"Sing groups consist of up to thirty singers divided into three musical roles. The “ponto” starts the singing, followed by the “alto”, who duplicates the melody a third or a tenth above, often adding ornaments. The entire choral group then takes over, singing the remaining stanzas in parallel thirds. The alto is the guiding voice heard above the group throughout the song.
"A vast repertoire of traditional poetry is set to existing or newly created melodies. Lyrics explore both traditional themes such as rural life, nature, love, motherhood and religion, and contemporary issues in the cultural and social context."
Banned by the Estado Novo dictatorship, it became, literally, a rallying call for liberation.
Grândola, Vila Morena, Terra da fraternidade, O povo é quem mais ordena, Dentro de ti, ó cidade; Dentro de ti, ó cidade, O povo é quem mais ordena, Terra da fraternidade, Grândola, Vila Morena; Em cada esquina, um amigo, Em cada rosto, igualdade, Grândola, Vila Morena, Terra da fraternidade; Terra da fraternidade, Grândola, Vila Morena, Em cada rosto, igualdade, O povo é quem mais ordena; À sombra duma azinheira, Que já não sabia a idade, Jurei ter por companheira, Grândola, a tua vontade; Grândola, a tua vontade, Jurei ter por companheira, À sombra duma azinheira, Que já não sabia a idade
Grândola, Vila Morena, Land of fraternity, The people command, Within you, oh city; Within you, oh city; The people command, Land of fraternity, Grândola, Vila Morena; On each corner, a friend, On each face, equality, Grândola, Vila Morena, Land of fraternity; Land of fraternity, Grândola, Vila Morena, On each face, equality, The people command; In the shade of a holm oak, That no longer knew its age, I swore to have as a companion, Grândola, at your will, I swore to have as a companion, The shade of a holm oak, That no longer knew its age
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