Concertina and folklore traditions at the festivals of agony

The streets of Viana do Castelo fill with firm footsteps, shouts, and laughter when Our Lady of Agony calls the people. The melody that permeates it all has a unique timbre: the lively sound of the accordion, pulling viras and chulas, stirring memories that are danced. Minho folklore, dressed in colors and gold, is renewed every August, in a pilgrimage where tradition and the present walk hand in hand.

Music isn't just a backdrop. It's the invisible baton that organizes the circles, sets the tempo for the ranchos, summons the voices to the samba school, to the fandango. And when the accordion breathes, the whole city breathes.

The concertina as the sonorous heart of Minho

The Portuguese accordion, diatonic and button-driven, has the peculiarity of producing two voices with a single bellows: a simple harmony, yet with character and energy. In Minho, it has acquired its own language, with flourishes and swing that lift any dance floor.

The most common models feature two rows and eight or twelve basses. Tunings vary, with G C and F Bb being the most common, allowing for traditional styles and accommodating distinct voices. The effect is a sonic palette sufficient to support an entire ranch, from the start of the chulas to the cadence of the malhões.

There's technique, of course, but there's also instinct. The pulling and closing of the bellows dictates the musical phrase, enhances the swing of the step, and shapes the crescendo of the circle. In Minho, many players learn to listen to and respond to their feet, not just the metronome. This dialogue with the ground distinguishes Minho praxis.

Dances that light up the party

There's rarely silence in the squares. What predominates are dance cycles that the people know by heart, although each group has choreographic variations.

• Vira: happy, bouncy energy, spins, clapping that marks the syncopation.
• Chula: elegance and firm step, figures on the court, response between rows.
• Malhão: addictive chorus, slower tempo, an invitation to the chorus.
• Cana-verde: melodic lightness, marked movements and discreet movements.
• Fandango: the challenge, the individual ginga, the space for virtuosity.

In the midst of it all, the desgarrada. Two singers, an accordion, improvised verses that emphasize the current situation, the humor, and the healthy provocation. These are minutes of high creative tension, in which the player holds the ground, prepares the entrances, and navigates the rhyme with precise chord changes and breaths.

Ranchos, fantasies and the choreography of identity

Folklore groups are guardians of memory and form. They rehearse choreographies that preserve local traits, but also bring the audience closer to the rural and maritime experience that shaped the region. The peasant's attire, the steward's attire, the gold of Viana, the fishermen's attire. Everything resonates with the songs they sing.

There's a rigorous aesthetic: layers of skirts and aprons, scarves, vests, and hats. When aligned with the accordion's pulse, they create a moving tableau that's impressive whether you're leaning against a riverside railing or in a crowded square in the historic center.

And then there are the players who make up the ranchos, often accompanied by cavaquinho, braguesa, ferrinhos, and bass drum. This small section adds density and drives the group forward.

The pilgrimage inside: rituals, streets and sounds

Our Lady of Agony weaves a week where faith and celebration go hand in hand. Music permeates processions and parades, visits bars and bandstands, and brings neighbors together late into the night. The moments with the greatest presence of concertinas are easily noticed by the vibrancy that fills the churchyards and streets.

Some points of the program that usually concentrate the strength of folklore:

• Ethnographic Procession, a showcase of agricultural, maritime and artisanal traditions.
• The Stewardship Parade, where costume, gold and posture are highlighted.
• Procession to the Sea, with decorated boats and faith on board.
• Nighttime concertina raids, when groups roam the streets playing and singing.
• Spontaneous parties in squares and plazas, with improvised circles.

All of this summons the city. And attracts visitors who begin to feel like neighbors, at least while the bars last.

Where the accordion rules the beat

The distribution of sounds throughout the event can be viewed as a map. Below, a chart shows moments where the accordion usually features heavily, along with other traditional formations.

Time/Place	Types of parts	Featured instruments	Environment and interaction
Night raids in neighborhoods	Turns, malhões, desgarradas	Concertina, irons, bass drum, cavaquinho	Close and intimate, fast wheels
Bandstands and informal stages	Chulas, green cane	Concertina with full toccata	Standing audience, lots of participation
Ethnographic Procession	Marches, work fashions	Concertina, braguesa, bass drums, occasional harmonicas	Continuous parade, regular cadence
Taverns and squares after the fire	Fandango, songs to challenge	Solo concertina with rhythmic support	Spontaneous, socializing until late
Ranch meetings	Traditional repertoire	Concertina integrated into the ranch set	Formal introductions and fashion exchanges

This map isn't rigid. It's a living script, adapted to the audience's pulse, the mood, and the musicians' impetus.

Technique, style and touch secrets

Being a concertina player at Senhora d'Agonia requires more than knowing the theme. It requires stamina, a keen ear, and responsiveness. The floor may be uneven, the circle narrow or wide, the singer's voice more impetuously than usual.

• Ornamentation: quick cuts, short trills, appoggiaturas that give the Minho grace.
• Bellows dynamics: large breaths for call-to-action phrases, incisive compressions to mark entries and claps.
• Bass and chords: without embellishment, but with firmness, supporting the dance and the melody.
• Passages between neighboring keys: useful for supporting the song or raising the energy of the circle.
• Time and balance: the slight anticipation of the attack gives nerve to the turn and keeps the chula upright.

In street settings, the sound needs to project. Experienced players work on the bellows position and the angle of the snare drum to project the timbre above the din.

Dialogue with other sound traditions

The bass drums and the Zés Pereiras are present. The accordion coexists with these low tones, and sometimes with the Minho bagpipes, creating layers that can be heard blocks away. In certain passages of the procession, the accordion provides the melodic detail; in others, it lends the rhythm that keeps the feet moving.

The cavaquinho and the viola braguesa come in as natural allies. Together, they create a carpet where the choir can nod strongly and the dance becomes inevitable.

Living repertoire: lyrics, glosses and popular grace

Tradition is not a museum. In Minho, letters reinvent themselves while maintaining recognizable structures:

• Loose stanzas with simple rhymes and quick humor.
• Easy-to-grab choruses, repeated to get the circle going.
• Local quotes, jokes about street names, references to the weather, fishing, farming.

The desgarrada takes on the role of an immediate chronicle. At one end, the singer provokes; at the other, comes the response. The accordion mediates, holds the beat, and provides the precise opening for the reply. It's an art of seconds that can only be learned in the heat of the moment.

Learning to play, learning to dance

If the tradition continues, it's because it's passed from hand to hand. In Viana and throughout Minho, there are schools, cultural associations, and collectives that teach concertina and dance. The masters also appear in informal workshops, often organized on the eve of the festival.

Those arriving from outside will find several entry points:

• Introductory accordion classes focusing on viras and chulas.
• Traditional dance workshops, open to the public.
• Singing gatherings for the challenge, with tips on improvisation and metrics.

Just take the first step. The circle welcomes those who want to learn.

Wheel etiquette and audience participation

There are codes of coexistence that keep everything fluid and pleasant, whether in a beat or on an improvised stage.

• Wait for the player's signal to change the figure.
• Leave space for the fandango when someone enters alone.
• Avoid interrupting the session to film up close. A step back will do the trick.
• Applaud and thank the musicians, always.
• If you bring a concertina to join, agree on the key and input in advance.

Small gestures, big results. Respect keeps the energy high and the party healthy.

Luthiers, maintenance and instrument choices

The quality of the instrument makes a difference. In the world of Portuguese concertinas, there are artisans who understand the demands of the Minho repertoire and adjust the voicings, reeds, and ergonomics to withstand long sessions. Some practical advice for those playing during the pilgrimage:

• Pre-event inspection: reeds adjusted, valves in good condition.
• Comfortable and reliable handles, leak-free bellows.
• Moderate lubrication of mechanics, avoiding parasitic noise.
• Lightweight but durable case, as movement between stages and streets is constant.

As for tuning, choose the one that best suits your voice or the group's usual choir. In keeping with the repertoire, of course.

Sound capture in street environments

The street is capricious. Anyone who wants to record performances or amplify them without losing the accordion's aesthetic requires some technical care.

• Clip-on microphones fixed to the box, with good mechanical isolation.
• Alternative with directional microphone at short distance, avoiding couplings.
• Discreet amplification, preserving the natural dynamics of the bellows.
• Placement of the speaker above the audience's head, to distribute the sound without aggression.

The goal is to design without crushing, keeping the button attack and bellows breathing intact.

Gastronomy, crafts and parallel meetings

The celebration unfolds with trays of rojões (roast pork belly), steaming caldo verde (green broth), sponge cake, sardines, and wine served with conversation. Musicians and dancers, visitors and locals mingle at the table. Shops and craft stalls display filigree, scarves, and traditional instruments.

The accordion also appears as a cultural object. It's common to see artisans discussing their craft, demonstrating wood, reeds, and careful construction. For those interested in technique and aesthetics, it's a rare opportunity to combine sight and hearing.

Routes through the sound city

One way to experience the party is to imagine a route that connects sounds and places:

• Morning in the historic center, watching rehearsals and small concertina gatherings.
• Afternoon passing through the procession, observing the relationship between step and rhythm.
• Night on the beats, following the sound and leaving the map in your pocket.

Each corner can reserve a circle that wasn't already on the program. The surprise is part of the charm.

Memories that last

Those who passed through Viana during this period speak of unforgettable colors and sounds. The glitter of the stewards, the rumble of the boats in procession to the sea, the pounding of the drums that lift the heart. But the most enduring memory is often a simple melody played on a worn accordion in a makeshift square, when the circle is too small for the desire to dance.

This is where tradition proves its strength: in the encounter between an instrument that fits in the arms and a city that fits in many songs.

For those coming from abroad, some useful tips

• Arrive early to secure accommodation and avoid rush hour traffic.
• Comfortable shoes. There will be a lot of steps.
• Water and a light jacket for early mornings by the river.
• Respect processions and places of worship.
• Ask questions and listen. Locals have stories worth entire guidebooks.

Bring curiosity and availability. The rest will come with the first chord.

The future under construction

New generations are approaching the accordion with vigor. Some create original compositions that breathe Minho without losing their roots. There are collaborations with other styles, with care taken to preserve the rhythm and cadence that make this music an invitation to the body, not just the ear.

Festivals, musicians' gatherings, and educational circuits are consolidating a foundation that guarantees continuity. The pilgrimage, in turn, provides a stage, an audience, and a context. Everything contributes to ensuring the accordion continues to deliver the beat.

An invitation that is renewed

As summer sets in, Viana calls. The river reflects lights, the gold shimmers, and the accordions trace invisible lines connecting those who arrive to those who have always lived there. Dancing in a circle or just tapping your feet is already participating.

If the goal is to take something with you, let it be a memorized melody, a chorus learned by ear, the precise gesture of applauding a well-danced fandango. The festival exists for this: to multiply steps, voices, and songs that are worth their roots.