Entretien avec Salwa El-Shawan Castelo-Branco

UID/EAT/00472/2013publishersversionpublishe

Trois continents, une passion. Entretien avec Salwa El-Shawan Castelo-Branco

Salwa El-Shawan Castelo-Branco est professeure d’ethnomusicologie à l’Université nouvelle de Lisbonne. Elle y dirige l’Instituto de Etnomusicologia, centro de estudos em Música e Dança (INET-MD). Elle est par ailleurs, depuis juillet 2013, présidente de l’International Council for Traditional Music (ICTM) et a été vice-présidente de la Society for Ethnomusicology (SEM) entre 2007 et 2009. Nous l’avons rencontrée au printemps 2012 dans un café du bord de Seine, près de l’Institut du monde arab..

Interrogating "Access to Waxes" – Introductory Remarks on the Collections from the Arab World of the Berlin Phonogramm-Archiv

This paper contextualizes the “Access to Waxes” workshop and publications within the broader context of the ongoing debates in ethnomusicology and related disciplines about the ethics and politics of historical sound recordings, archives, acoustic memory, cultural rights, intellectual property, musical repatriation, and access.  Selected initiatives on the topic spearheaded by the two major scholarly societies focusing on the transdisciplinary study of music, the ICTMD and the Society for Ethnomusicology, are referred to. The contribution also critically evaluates the categorization and labeling of music in archives (like the term “Arab/Arabic music”) and emphasizes the need for a critical study of historical sound recordings like the collections of the Berlin Phonogrammarchiv. This would involve collaboration with source communities and local institutions ideally leading to the development of shared research practices and creating the conditions to access, revitalize, and sustain their musical heritage

Aziz El‑Shawan

This article proposes a politically and culturally situated preliminary reading of the biographical and artistic trajectory of Aziz El‑Shawan (1916–1993), a cosmopolitan and nationalist Egyptian composer. The article characterizes the two cosmopolitan cultural formations in Cairo in which he partook and their impact on his career and music: a «modernist capitalist» formation which developed within the framework of colonial rule and the Egyptian monarchy from the late nineteenth century up to the 1952 Egyptian revolution; and a «modernist socialist» formation, partly configured by Soviet political and cultural influence, from the late 1950s up to the early 1970s. The article describes how Aziz El‑Shawan became a composer, the phases of his artistic and professional career and his musical style.Cet article propose une lecture préliminaire politiquement et culturellement située de la trajectoire biographique et artistique d’Aziz El‑Shawan (1916‑1993), compositeur égyptien cosmopolite et nationaliste. L’article caractérise les deux formations culturelles cosmopolites du Caire auxquelles il a participé et leur impact sur sa carrière et sa musique : une formation « capitaliste moderniste » qui s’est développée dans le cadre de la domination coloniale et de la monarchie égyptienne de la fin du xixe siècle à la révolution égyptienne de 1952 ; et une formation « socialiste moderniste » partiellement façonnée par l’influence politique et culturelle soviétique de la fin des années 1950 au début des années 1970. L’article décrit comment Aziz El‑Shawan est devenu compositeur, les phases de sa carrière artistique et professionnelle et son style musical.تقدم هذه الورقة البحثية قراءة أولى من منظور سياسي وثقافي للمسيرة الخاصة والفنية لعزيز الشوان (1993-1916)، هذا المؤلف الموسيقي المصري الذي يجمع بين التعددية الثقافية ومناصرة القومية. كما تستعرض الدراستين اللتين قام بهما الملحن وتأثيرهما في حياته المهنية وموسيقاه: الأولى دراسة "رأسمالية حداثية" تطورت في إطار الحكم الاستعماري والملَكية المصرية منذ نهاية القرن التاسع عشر وحتى ثورة 23 يوليو 1952، والثانية دراسة "اشتراكية حداثية" تشكلت بصورة جزئية عبر التأثير السياسي والثقافي السوفيتي منذ أواخر الخمسينيات وحتى أوائل السبعينيات من القرن الماضي. وأخيرًا تصف هذه الورقة البحثية كيف أصبح عزيز الشوان ملحنًا وتصف المراحل الفنية والمهنية لتطور مسيرته وطابعه الموسيقي المتميز

Folclorização em Portugal: uma perspectiva

A folclorização é um fenómeno cultural da modernidade. Operando com as noções de folclorismo e de folclorização, a presente obra pretende equacionar os parâmetros de um processo que conduziu à mobilização e integração das populações rurais na nação. Este efeito integrador estender-se-ia também à diáspora lusa. Enquanto o folclorismo engloba ideias, atitudes e valores que enaltecem a cultura popular e as manifestações nela inspiradas, por folclorização entende-se o processo de construção e de ..

Vozes do Povo : A folclorização em Portugal

A folclorização é um fenómeno cultural da modernidade. Operando com as noções de folclorismo e de folclorização, a presente obra pretende equacionar os parâmetros de um processo que conduziu à mobilização e integração das populações rurais na nação. Este efeito integrador estender-se-ia também à diáspora lusa. Uma perspectiva múltipla presidiu à organização do volume: abordar o folclore como cultura expressiva, avaliar o seu papel na sociedade e apresentar elementos para facultar uma visão comparada. Os capítulos tratam os seguintes tópicos: políticas da cultura, eventos, constituição de patrimónios, associativismo, representação da tradição, protagonistas, artefactualidade, lugares, turismo e diáspora. A amplitude das abordagens adoptadas nos artigos resulta da filiação disciplinar variada dos seus autores: antropologia, etnomusicologia, história, musicologia histórica, perfomance studies e sociologia

The Fado Museum: Heritage Infrastructure or Tourist Attraction?

This article explores Lisbon’s Fado Museum as an affective, material, symbolic, and performative site of memory in which different audiences such as tourists and the local fado community converge, without necessarily intersecting. We argue that the Fado Museum has evolved from a mere exhibiting space to become a multivalent “heritage infrastructure” that facilitates new spaces of agency in which novel forms of relating to —and dwelling in— heritage emerge. By recognizing the importance of the Fado Museum in the institutionalization and legimitization of fado as city heritage —and its significance to the social and symbolic production of Alfama as a fado neighborhood—, we ultimately aim to problematize the function of this kind of heritage infrastructures in the complex relationship between tourism, heritagization, and urban regeneration in the era of overtourism

O Museu do Fado: Infra-estrutura Patrimonial ou Atracção Turística?

Este artigo aborda o Museu do Fado, situado em Lisboa, como um espaço mobilizador de imaginários turísticos e de memórias afetivas, simbólicas e performativas no qual convergem, sem necessariamente se cruzarem, diferentes públicos como os turistas, aficionados de fado e a comunidade fadista local. Argumentamos que o Museu do Fado evoluiu de um mero espaço expositivo para se tornar numa “infra-estrutura patrimonial” multivalente que facilita novos espaços de agentividade nos quais emergem formas inovadoras de se relacionar com – e habitar – o património. Ao reconhecer a importância do Museu do Fado na institucionalização e na legitimação do fado como património da cidade e reconhecendo também o seu significado na produção social e simbólica de Alfama como bairro do fado, pretendemos problematizar a função deste tipo de infra-estrutura patrimonial na complexa relação entre turismo, patrimonialização e revitalização urbana na era do overtourism

Intangible Cultural Heritage and State Regimes in Portugal and Spain

Edited by Matthew Machin-Autenrieth, Salwa el-Shawan Castelo-Branco, and Samuel Llano.Heritage is ubiquitous in the late-modern world. It is a product of modernity as well as one of the main producing factors of modernity (Harrison 2013; Santamarina Campos 2013). Existing heritage regimes illustrate a shift from political projects based on distinction and the creation of national identities to economic projects linked to transnational capital: from a nation-building project to national identities to be consumed (Comaroff and Comaroff 2009; Santamarina Campos and Mármol 2017, 365). In this chapter, we map UNESCO’s Intangible Cultural Heritage (ICH) trajectories in Portugal and Spain using the concept of heritage regime(s) to understand these trajectories.Peer reviewe