Revising citizenship: migration and fado in the play of identities in ...

in which man participates. From family, commune organised administratively in freguesiasand municípios, profession organised in corporations including associationsof employees and employers, to nation and church, respecting a hierarchy of socialaims from the substance to the spiritual, and from the particular to the general,taking the national interest as the supreme expression of the common welfare. It isthe ideology of integral nationalism. In juridical terms, according to Marcelo Caetano,the next prime minister, this means the integration of all modes of social life into thenation – furnished with the juridical means necessary to the realisation of its ownaims – in the political constitution of the state (1941:55). In a military conceptualisation,so much in the taste of Estado Novo, the nation was presentedas “an armythat marches, animated by the spirit of unity, to the realisation of the common ideal”(1941:133, in Côrte-Real, 2000:24). With such a strategy, the state controlled everysingle movement of society, deliberately shaping, as Salazar stressed in 1929, a newspirit and a new mentality (Salazar, 1961:38). The universality of state functions wasclearly mentioned by the dictator in a 1930 speech about the fundamental principlesof the revolution: “the state has the right to promote, harmonize and control all nationalactivities” (1961:81, in Côrte-Real 2000:24). The highly hierarchical system necessaryto operate the “national renaissance” (Ferro, 1933:xxxv) was constructed overthe notion of a mindless Portuguese people, “a mass of men anxious for commandand protection, good for all kinds of enterprise, so sacrificed for so many adventures”(Caetano, 1941:34, in Côrte-Real, 2000:27).Cultural policy represented a central concern of Estado Novo. Promoted by políticado espírito, it was introduced into the Portuguese scenario by the journalist AntónioFerro, in a famous series of interviews with Salazar in 1932. The concept of política doespírito was a central European construct whose origins were reported to reach backto Napoleon’s writings. Ferro traces the implementation of the concept in its variousapproaches, stressing the Russian and the Italian cases, foreseeing its implementationwithin the Portuguese political context. “In France, in Italy, in Russia, in Germany,in England and even in the Balkans, the State acknowledges the Policy of the Spiritand realizes it, with amplitude, morally and materially protecting all the literary andartistic initiatives” (Ferro, 1933:274). Noting the political importance of musical expressionas a privileged moving force for human emotions Ferro stressed that: “of allthe arts, music is the one that exercises greatest influence in the passions, the onethat the legislator should most encourage” (1933:275, in Côrte-Real, 2000:83). Withthis purpose in mind, Ferro would pay particular attention to musical expression inPortugal. Music, especially with literary text, and fado in particular, would occupy ameaningful place within the cultural policy of Estado Novo. Shaped by its conservativecharacter, the governmental awareness of the powers of musical expressionwould inevitably promoted its stagnation at various levels.During World War II and in post-war times, fado was used as a propaganda tool toillustrate the “peaceful” existence of the Portuguese people. Deprived of criticalviews, thanks to tight censorial action, it was presented as the sweet popular urbanexpression of Portuguese attraction. The image broadcasted by the governmentthrough the book Vacances avec Salazar by the French journalist, of Belgian origin,Christine Garnier in 1952, stresses his love for fado and the policy of the spirit as a86 Music and Migration