Funaná

The funaná singers occasionally use the sforzando technique in certain notes, specially if they are long (imitation of the accordion?).

Another characteristic of funaná is that the lyrics are not made in a direct way, but frequently use figures of speech, proverbs and popular sayings.

With the stylization and electrification other instruments are used: the rhythm provided by the ferrinho is made on a drum set together with other percussion instruments (a shaker or a cabasa); the bass/accompaniment played on the accordion is replaced by a bass guitar and an electric guitar; the melody played on the accordion is replaced by a synthesizer.

By the end of the 90's, there is a certain revival where the unplugged (acoustic) performances are sought after, in which electronic instruments are relegated in favor to authentic accordions and ferrinhos.

The dance is made through alternated quick and strong inflexions of each knee, marking the beats of the rhythm.

In the more rural way of dancing, the bodies are slightly inclined to the front (having shoulder contact), and the feet lift off the ground.

In the more urban way of dancing, more stylized, the bodies are more vertical (having chest contact), and the feet drag on the ground.

According to the oral tradition,[1][2] the funaná appeared when, in an attempt of acculturation, the accordion would have been introduced in Santiago island in the beginning of the 20th century, in order to the population to learn Portuguese musical genres.

They place the origins of the funaná in the increase of accordion importations as a cheap substitute for organs to play religious music.

Initially a genre exclusively from Santiago, for a long time the funaná was relegated to a rural context and/or for the less favourished social classes.

The post-independence socialist ideology, with its struggle against the social classes differences, was a fertile field for the (re)birth of the funaná.

[1] Going to “drink” directly to the source (inner Santiago island), Catchás profited his jazz and classical music knowledge[citation needed] to make up a new style of playing the funaná, leaning in electric and electronic instruments,[4] that would influence nearly all artists from now on.

Today, the funaná is no longer seen as a genre exclusively from Santiago, being composed, performed and appreciated by people from all the islands.

By the end of the 90's, we can assist to a return to the roots,[1] where the bands prefer to perform with authentic accordions and ferrinhos (occasionally a bass, a drum set and/or a guitar is added).