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“Quem não sabe é como quem não vê”

dc.contributor.authorLacerda, Maria Teresa
dc.contributor.institutionInstituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)
dc.coverage.spatialAveiro
dc.date.accessioned2021-12-03T23:09:33Z
dc.date.available2021-12-03T23:09:33Z
dc.date.issued2020-07
dc.descriptionUIDB/00472/2020 UIDP/00472/2020
dc.description.abstractIn 1863, the discovery of mineral water in Vidago motivated the exploration of this resource through tourism and water bottling. In order to welcome the tourists who came to the spa, hotel establishments organised every day varied sports and live-music events. In this article, I intend to address the memory of the presence of women artists in the music scene of Vidago during the 1960s. Through interviews with members of the community, I discovered that the collective memory of these women musicians was indistinct, and their names and paths unknown, unlike their male counterparts. The photographs of Júlio Silva's private collection triggered reminiscences of memories that led to the identification of these women and the recovery of their history.en
dc.description.versionpublishersversion
dc.description.versionpublished
dc.format.extent15
dc.format.extent1660536
dc.identifier.isbn978-972-789-646-2
dc.identifier.otherPURE: 34428587
dc.identifier.otherPURE UUID: 967d3812-7967-4798-9af9-1f405715a7b7
dc.identifier.otherORCID: /0000-0002-4279-4991/work/151542960
dc.identifier.urihttp://hdl.handle.net/10362/128623
dc.language.isopor
dc.peerreviewedyes
dc.publisherUA Editora
dc.title“Quem não sabe é como quem não vê”pt
dc.title.subtitleMulheres na música em Vidago durante a década de 1960: Os casos de Almerinda Ribeiro e Lucinda Prazerespt
dc.typebook part
degois.publication.firstPage96
degois.publication.lastPage110
degois.publication.titleHidden Archives, Hidden Practices
degois.publication.titleInternational Congress Hidden Archives, Hidden Practices
dspace.entity.typePublication
rcaap.rightsopenAccess

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