I
had seen a performance of Portuguese dance and music in Melaka. Almost
all songs and dance were from Portugal. Minha Rosinha was one of them,
the certainty of the Portuguese House COM was another (the titles mean
respectively "My little Rose" and "certainly a Portuguese house"). Both
are well-known songs. I am familiar with them to watch Portuguese folk
music dances on television as a child. I remember that I usually changed
channels after a minute or two because I sing and dance terribly
sticky, and very inbrazilian.
The
most famous Portuguese singer of Brazil at the time was Roberto Leal
("Loyal Robert"-it turns out to be an artistic name). He wore a folk
costume while singing and dancing. The costumes were also completely
Portuguese. (Oddly enough, although born in Portugal, he moved to Brazil
as a child and lived there.) He was our own Portuguese folk dancer and
singer. He was also the most famous Portuguese in Brazil. No one seems
to care that he is Brazilian too.
This
is what many anthropologists and historians call a clear case of the
invention of tradition: namely, none of this was before the decade of
the 1950. The young people who dance in Melaka seemed to do it right.
One of the girls was very noticeable: she was tall, she had bright green
eyes and a nice smile. (I learned that he died in a traffic accident
last year.) I was invited to participate in one of the dances with
several guests. The beauty of the green eyes came to me, but I hesitated
to show my amazing lack of skill in Portuguese folk dance. Anyway, an
Italian colleague asked me to get up and dance. I was a Brazilian after
all, and the imagination of a Brazilian was not able to dance. Almost as
rare as an Italian non-attitude!
Some
of the students-Malaysians were Portuguese-language students-also
danced. The group did not indeed in the community, but a large group of
students and employees of the University of Malaysia. The place was the
Papa Joe's Restaurant, which announces Portuguese and Nyonya cuisine, as
well as the Chinese crabs (Pope Joe himself was one of the singers). I
find the combination of Portuguese, Nyonya and Chinese seafood
revealing: I found local cuisine often linked, no matter what ethnic
origin or labels attached. Instead of being in opposition, the three
were part of the same culinary continuum.
During
a break I noticed that the young men and women who danced in Malay
spoke to each other. Noel (My Portuguese friend and teacher) deeply
regrets that the government and the non-Portuguese local society are
undermining the community's cultural heritage; It is the community
itself. Traditional festivities are not carried out in an appropriate
manner; The traditions are abandoned, and the language is slow but safe
to decay.
I
muse that maybe everything changed, and very quickly. Noel is very
religious, like all the elders in the community that I have spoken so
far. It's easy to get a long rant about morality and religion. I wonder
how attractive it is for the younger generation. Moreover, the
Portuguese community was always an open group: The descendants of the
Dutch people of Melaka, for example, also speak Portuguese and are often
regarded as members of the community. (I don't think anyone speaks
Dutch to Melaka anymore). Noel still inveighs against naming "Eurasia"
from time to time: his point is that it is not root-people in a
particular country, but it is vague and general. It was a British
colonial name used by the community before being re-established as a
Portuguese in the last colonial period. Noel must have been a teenager
when the identity change has taken place. I don't know anyone in Melaka
who is carving in Eurasia. The Christmas point of the house hammers over
and over again is that the community Portuguese and therefore
Portuguese (ie) Portuguese.