As often as not art is comprehended not within the axiomatic framework of elements proposed by the artist, but within the context created by the audiences, based on their cultural boundaries and "pre-concepts". In the case of "Fados", it is clearly the aim of Saura, to the regrettable anguish of a few people, to portray a music genre which for many decades had been confined within the realms of its country of origin, Portugal. But then came the Goddess Amalia, who dared to "break the rules", taking all her wonderful energy to the four corners of our planet, and suddenly, as by a magic spell or charm, Potugal awoke, to realize that the whole world had already become aware, and ready to assimilate, what had been devalued and belittled. This music crossed the borders and influenced nations all over the world, causing astonishment in those nationals who never believed that could ever be possible, and who used to see it under the guise of a folk art manifestation, many times outside the limits of political correctness. - Saramago is more read in Spain alone, or Japan or Brazil, than in his own country (where 67% of the population never read any single book!) And most of his work only get published in Portugal after having become well accepted in other countries; his Nobel Prize is surely not due to his compatriot's acclaim or popularity - All in all to say that Fado finally may have become another matter of Portuguese delayed praise, both socially and politically (it could as well be challenged that it is still, in Portugal, a regionalized capital's possession, for some purists do not even recognize its performance outside the auspices of Lisbon's district "Bairro Alto".) But that acceptance does not justify whoops of nationalistic appropriation, for it is now, by merit and history, living in a much wider sphere, transmuted and amalgamated to suit the idiosyncrasies of all cultures that embraced it. Carlos Saura film beautifully shows how this can be so true.
