{"id":2147,"date":"2021-02-23T14:43:55","date_gmt":"2021-02-23T15:43:55","guid":{"rendered":"https:\/\/ipc.innovatmedialab.com\/?post_type=patromonio-imaterial&#038;p=2147"},"modified":"2021-04-30T14:29:22","modified_gmt":"2021-04-30T15:29:22","slug":"funana","status":"publish","type":"patromonio-imaterial","link":"https:\/\/ipc.cv\/en\/patromonio-imaterial\/funana\/","title":{"rendered":"Funan\u00e1"},"content":{"rendered":"<div class=\"wp-block-ub-expand ub-expand\" id=\"ub-expand-73e7d7f4-1862-49eb-8d86-e919622076f7\" data-scroll-type=\"false\" data-scroll-amount=\"\" data-scroll-target=\"\">\n<div class=\"ub-expand-portion ub-expand-partial wp-block-ub-expand-portion\" aria-hidden=\"false\" id=\"ub-expand-portion-\">\n\t\t\t\n\n<p>Within the framework of its mission, vision and values, the Cultural Heritage Institute has promoted, disseminated and valued the traditional musical genres that make up Cabo Verdean music such as batuque, morna, coladeira and funan\u00e1.<\/p>\n\n\n\n<p>The emergence of the first three genres occurs at the time when the notion of Cabo Verdean consciousness emerges, in the late fifties, in a process of adverse and resilient cultural miscegenation, despite prohibitions and marginalisation.<\/p>\n\n\n\n<p>Funan\u00e1 was born in the 1960s and gained national and international status in the 1970s and 1980s with the group Bulimundu, led by the maestro Carlos Alberto Martins (Katch\u00e1s).<\/p>\n\n\n\t\t\t<a id=\"\" class=\"ub-expand-toggle-button\" style=\"text-align: left; \" role=\"button\" aria-expanded=\"false\" aria-controls=\"ub-expand-full-\" tabindex=\"0\">\n\t\t\t\tSaber Mais\n\t\t\t<\/a>\n\t\t<\/div>\n\n<div class=\"ub-expand-portion ub-expand-full ub-hide wp-block-ub-expand-portion\" aria-hidden=\"true\" id=\"ub-expand-portion-\">\n\t\t\t\n\n<p>Etnograficamente, procede da composi\u00e7\u00e3o de nomes de duas personagens \u2014 F\u00fana, (tocador de gaita) e Nan\u00e1, (esposa tocadora do ferinhu). Esta hip\u00f3tese carece de uma an\u00e1lise mais cuidada, pois, parece muito trivial, j\u00e1, etimologicamente, para o escritor F\u00e9lix Monteiro \u201co funan\u00e1 adv\u00e9m da extens\u00e3o da palavra fungag\u00e1\/fandango, que significa um tipo de m\u00fasica corriqueira \u2013 filarm\u00f3nica ordin\u00e1ria (Tavares, 2006).<\/p>\n\n\n\n<p>O seu compasso \u00e9 bin\u00e1rio, com andamento duplo, lento-m\u00e9dio e r\u00e1pido, caracterizando-se por ter um andamento vari\u00e1vel, de vivace a andante. \u00c9, tamb\u00e9m, um g\u00e9nero de dan\u00e7a, que normalmente se dan\u00e7a aos pares, em que os executantes se enla\u00e7am com um dos bra\u00e7os, e entrela\u00e7am as m\u00e3os, em fun\u00e7\u00e3o do ritmo (Barros, 2007).<\/p>\n\n\n\n<p>O Funan\u00e1 foi chamado de: fuque-fuque ou fuc-fuc; badju di gaita; ferinhu y feru-gaita; funan\u00e1. Os seus instrumentos s\u00e3o a gaita e o ferrinho e, o seu ritmo \u00e9 marcado pelos sons combinados destes instrumentos. Um dos seus grandes impulsionadores foi Nhu Kaitaninhu, de Santa Catarina (Tavares, 2006).\u00a0<\/p>\n\n\n\n<p>Variantes do Funan\u00e1: Funan\u00e1 kaminhu di f\u00e9ru; Funan\u00e1 maxixi; Fun\u00e1mba: estilo de samba, pilan-katuta (r\u00e1pido) e Funan\u00e1 morno\/lento.\u00a0<\/p>\n\n\n\n<p>S\u00e3o in\u00fameras as figuras do funan\u00e1:<\/p>\n\n\n\n<p>Ant\u00e3o Barreto (Achada Ponta, Santa Cruz), Caitaninhu (Santa Catarina), Cod\u00e9 di Dona (S\u00e3o Francisco, Praia), S\u00e9ma L\u00f3pi (Ribeira Seca, Santa Cruz), Bitori Nha Bibinha (Achadinha, Praia), M\u00e9m\u00e9 Landin (Lisboa), Xandu Graciosa (Holanda), K\u00e1k\u00e1 Barbosa (Praia), Tx\u00f3ta Soaris (Ch\u00e3o Bom, Tarrafal), N\u00e9n\u00e9 Morenu (Calabaceira, Praia), Katx\u00e1s (Santa Cruz), Norberto Tavares (EUA), Zeka di Nha Reinalda (Achada Grande, Praia), Pantera (Praia), Belu Fr\u00eari (Picos), Bino Branco e Edu\u00edno (Praia), Beto Dias, Kino Cabral e Gil Semedo (Holanda), Gilito Semedo e Jorge Neto, Z\u00e9 Espanhol (Santa Ana), Z\u00e9 Henriki (Calabaceira, Praia), entre outras.<\/p>\n\n\n\t\t\t<a id=\"\" class=\"ub-expand-toggle-button\" style=\"text-align: left; \" role=\"button\" aria-expanded=\"true\" aria-controls=\"ub-expand-full-\" tabindex=\"0\">\n\t\t\t\tler menos\n\t\t\t<\/a>\n\t\t<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>O Instituto do Patrim\u00f3nio Cultural no quadro da sua miss\u00e3o, vis\u00e3o e valores tem promovido, divulgado<\/p>","protected":false},"featured_media":2148,"template":"","meta":[],"tags":[45],"class_list":["post-2147","patromonio-imaterial","type-patromonio-imaterial","status-publish","has-post-thumbnail","hentry","tag-patrimonio-imaterial"],"_links":{"self":[{"href":"https:\/\/ipc.cv\/en\/wp-json\/wp\/v2\/patromonio-imaterial\/2147","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ipc.cv\/en\/wp-json\/wp\/v2\/patromonio-imaterial"}],"about":[{"href":"https:\/\/ipc.cv\/en\/wp-json\/wp\/v2\/types\/patromonio-imaterial"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ipc.cv\/en\/wp-json\/wp\/v2\/media\/2148"}],"wp:attachment":[{"href":"https:\/\/ipc.cv\/en\/wp-json\/wp\/v2\/media?parent=2147"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ipc.cv\/en\/wp-json\/wp\/v2\/tags?post=2147"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}