Why did Portugal want to explore the world?

Fausto Bordalo Dias "O barco vai de saída"

Fausto Bordalo Dias "O barco vai de saída" (The boat is setting out)


Here are several possible answers I've come across reading about Portugal. I'm not sure about how much importance to give each one.


1. Portugal is located in the far southwest of Europe, squeezed between the mountains and the sea. There's not really anywhere else to go in Europe. Across the mountains are “Castilians with knives”.

2. Fishing has always been a key industry, so Portugal had the sailors. Also you have to go a long way for some catches (e.g. to Newfoundland for cod), so the sailors had deep-water Atlantic sailing skills, not more coastal Mediterranean experience.

3. The best land in Portugal is along the coastal strip in the north and centre of the country. As you go south (into the Alentejo) it gets dry - not an overwhelming problem for modern agriculture but a big challenge in the past. Till you get to the far south coast (the Algarve), which has some potentially fertile mountains and rivers. But, back in the past, to make much use of the Algarve you really needed to control both sides of the sea - the European and African coasts. Otherwise raiders would steal your workforce or set up their own castles and mini kingdoms. So immediately after driving out the Muslim Moors the Portuguese Christian kings set about seizing land on the African side too. (Which of course the Moors had had themselves - it was the only way to make the Algarve viable).

4. With the Algarve conquest the new

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Song Index

In alphabetic order by artist
then song title in Portuguese

Adriano Correia de Oliveira sings Zeca Afonso's anti-war classic "Menina dos olhos tristes" (Girl with the sad eyes)

Amália Rodrigues "Alfama" (about an old quarter of Lisbon strongly associated with Fado)

Amália Rodrigues "Com que Voz" (With what voice?) a poem by Luís de Camões

Amália Rodrigues "Estranha forma de vida" (Strange way of life)

Amália Rodrigues "Fado Português" (Portuguese Fado or the lot of the Portuguese)

Amália Rodrigues "Foi Deus" (It was God)

Amália Rodrigues "Medo" (Fear)

Amália Rodrigues "O fado de cada um" (The fate of each one)

Ana Moura "Amor afoito" (Bold love)

Ana Moura "Amor afoito" (Bold love) Live at FNAC

Ana Moura "Desfado" (Unfado) Live

Ana Moura "Ninharia" (A trifling matter) Live

Ana Moura and Patxi Andión "Vaga no Azul" (In the empty blue sky) a poem by Fernando Pessoa

Ângela Silva sings Rodrigo Leão's "Carpe diem" (Seize the day) in Latin

António Zambujo "Verão, alentejo e os homens" (Summer, Alentejo and men)

Carlos Ramos "Não venhas tarde" (Don't come home late)

Celina da Piedade and the Vozes do Alentejo "Ceifeira" (Reaper)

Cuca Roseta "Triste sina" (Sad fate) Live

Erika Ender "Despacito" (Very slowly) Spanish version Live

Fausto Bordalo Dias "O barco vai de saída" (The boat is setting out)

Fernando Maurício "Boa noite solidão" (Good night loneliness)

Grupo Coral de Cantares de Portel "Verão" (Summer)

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Why Portuguese stress patterns sound natural to English-speakers

Compare Erika Ender singing Despacito in Spanish to Ana Moura singing Ninharia in Portuguese. How easily can you spot the key words and how many can you spot? If you are a native or fluent English speaker you may find your ear picks up the clues more easily in Portuguese.

Erika Ender singing in the syllable-time language Spanish
Ana Moura singing in the Portuguese of Portugal, a stress-timed language

You can find out more about these two compelling songs at Erika Ender sings Despacito and Ana Moura sings Ninharia. Here we'll focus on a key difference in the sound patterns of the two languages, which applies as much or more in spoken Spanish or Portuguese as it does in song.

Stress and rhythm in languages

One welcome thing about the Portuguese of Portugal - if you are coming from a language like English, German or Russian, is that the stress pattern tends to sound natural. This is because European Portuguese, like English, German and Russian, is stress-timed.

By contrast, all the Latin-based languages of Europe apart from Portuguese - Italian, French, Romanian, Spanish and Catalan are syllable-timed. As, to a large extent, is Brazilian Portuguese. Many other languages are too - Hindi in India, Yoruba in Nigeria and Welsh in the UK.

For English speakers, this similarity in stress pattern between English and the Portuguese of Portugal is useful if you are trying to understand a song. The words the singer seems to be emphasising - say coraSOWng (coração - heart), SHOOva (chuva - rain) or desTEENoo (destino - destiny), really are the important ones for the meaning.

Meanwhile the syllables they mumble, or sometimes

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Rui Veloso and Isabel Silvestre on two kinds of literacy

Isabel Silvestre "A gente não lê"

Isabel Silvestre "A gente não lê" (The people can't read)

Released in 1998 in a folk fusion style, this cover version brings extra force and meaning to a wonderful song - which was originally recorded 16 years earlier in a rock/blues guitar style.

What it's about: The title "A gente não lê" uses an ambiguous construction in Portuguese. It can mean "The people don't read", "We don't read" or even "I can't read". The song is about rural illiteracy, but also the loneliness of old people in the rapidly depopulating villages of Portugal. It is the older generation now who can't read, and the young people who are leaving.

Both the music composer Rui Velosi and the singer Isabel Silvestre were brought up in the sort of place the song deals with - in the mountains between Coimbra and Porto in North-Central Portugal. The writer of the words, poet and lyricist Carlos Tê, comes from Porto itself.

Here's the Portuguese text if you want to follow along. Both singers are clear, but Rui Velosi in the version further down the page drops fewer syllables (the famous Portuguese "vowel reduction") than Isabel.

Ai Senhor das Furnas
Que escuro vai dentro de nós,
Rezar o terço ao fim da tarde,
Só pr'a espantar a solidão,
E rogar a Deus que nos guarde,
Confiar-lhe o destino na mão.

Oh Lord of the Caves,
How dark it is inside us,
Praying with the rosary at the end of the day,
Just to chase away the loneliness,
And asking

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Who are some of the greatest interpreters of Portuguese Fado?

I'll concentrate on singers still performing today. I usually mention the principal guitarist too, particularly if they are playing the high-pitched Portuguese guitar, sometimes called the Fado guitar. This is pretty important, as it often performs almost a duet with the singer, and is a key part of the performance. In other cases an ordinary acoustic guitar can play this role, or even a piano. Or the singer can dominate.

Cuca Roseta "Triste sina"

Cuca Roseta "Triste sina" (Sad fate)

Portuguese guitar: Ângelo Freire

This song is one of many associated with the late Amália Rodrigues, and has had many modern interpreters. Here Cuca Roseta sticks fairly closely to a classic simple, almost stark, Fado form. Unpretentious but spellbinding.


Mísia "Tive um curação, perdi-o"

Mísia "Tive um curação, perdi-o" (I had a heart, but I lost it)

Portuguese guitar: Luís Guerreiro

This isn't entirely typical of Lisbon Fado, but it is representative of Mísia, who as a performer is never under-dramatic! The song is again from the repertoire of Fado legend Amália Rodrigues, who wrote the words.

After the revolution in 1974–1975, and the opening up of Portugal to modern western music and culture after the censorship of the dictatorship, Fado fell out of fashion. Mísia has played a key role as a bridge between Amália and the Fado stars of today, convincing record companies Fado could still have a market and popularising it around the world.


Mariza "Medo"

Mariza "Medo" (Fear)

Portuguese guitar: Luís Guerreiro (plus an entire orchestra - which usually gets in the way with Fado but in this

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