The chapter focuses on the Lisbon cultural phenomenon of the traditional urban music, fado, with an emphasis on its amateur practice.1 It explains briefly the impact of Salazar’s fascist regime which entailed a radical change of status of a fadista artist who was abruptly separated from the original popular practice of fado and closed into a codified environment for professionals – casa de fado. But the popular fado remained preserved in different places in the city and sill has an important role in a local context of the Lisbon popular quarters. It interlaces social relations and its continuous presence strongly influences the configuration of local cultural patterns. Whereas typical casas de fado are focused on a broad public, the attractiveness of the places with amateur fado sessions lies in social intercourse. They can be found all around the city and they are not dependent on running fado sessions. One of those places is a neighbourhood recreation association. According to Portuguese sociologist António Firmino Costa, they entail one of the essential roles in the continuous recreation of fado as urban popular cultural practice. This research concentrates on amateur fado in the neighbourhood recreation association Mirantense Futebol Club in the neighbourhood of Santa Engrácia.
[German Version] Lisbon, capital of Portugal, with a population of 565,000 (2001). The first known bishop of Lisbon was Potamius (357). With the Arab conquest in 719, it became a Mozarabic see. The Reconquista retook it in 1147. Under King Alfonso III (1248–1279), it rose to become the royal
Lisbon (Ar. al-Ushbūna; Port. Lisboa), today the capital city of Portugal, situated on the Atlantic coast at the mouth of the Tagus River, was in the earliest Islamic period part of the province of Beja, but later was part of a separate province with Santarem and Sintra. During the Muslim period