Yehudi Menuhin à l’Unesco, la musique pour ambassade

« N’oubliez jamais que nous ne sommes pas des délégués représentant des États politiques, mais des musiciens représentant les cultures de l’humanité. […] Nous sommes des hommes libres, nous sommes musiciens. » En 1975, dans son dernier discours en tant que président du Conseil international de la musique, une organisation non gouvernementale affiliée à l’Unesco, Yehudi Menuhin appelait à résister aux « effets diviseurs de la compétition des nationalismes ». Quatre ans plus tôt, il combattait pour les mêmes idéaux à Moscou, en dénonçant le sort des artistes dissidents. À partir des archives privées du musicien, des fonds du CIM, de l’Unesco, des sources diplomatiques américaines et des Archives russes d’État de la littérature et des arts, cet article retrace l’action de Menuhin à l’Unesco et interroge l’invention d’une diplomatie musicienne au tournant des années 1960 et 1970.“We should never forget that we are not officials representing political states, but musicians representing the cultures of the world. […] We are free human beings, we are musicians.” In 1975, in his last speech as president of the International Music Council, a non-governmental body of the UNESCO, Yehudi Menuhin called on musicians to stand up against “the dividing effects of competing nationalisms”. Four years earlier, he was fighting for the same ideals in Moscow by speaking out against the fate of dissident artists. Based on the musician’s papers, IMC and UNESCO archives, American diplomatic sources and Russian State archives of literature and art, this essay provides an outline of Menuhin’s actions at UNESCO and examines the invention of a musical diplomacy in the years 1960-1970

Um mito exótico? A recepção crítica de Orfeu Negro de Marcel Camus (1959-2008)

Palma de Ouro em 1959, Orfeu Negro, do cineasta Marcel Camus, conhecido também como Orfeu do carnaval e Black Orpheus, teve uma recepção crítica ambígua desde então. Se, por um lado, o sucesso do filme deu um impulso fundamental à divulgação do cinema e da música brasileira no exterior nos anos 1960, foi também denunciado em nome da autenticidade da própria cultura brasileira. A análise dos documentos da produção, bem como dos artigos publicados nas revistas européias e norte-americanas, permite repensar o papel do filme nas relações interculturais entre Brasil, França e Estados Unidos. A hipótese defendida é que, apesar das críticas formais e ideológicas, Orfeu Negro constitui um documento de primeira ordem para o estudo da paisagem cultural carioca do final dos anos 1950 e da história das transferências culturais.Winner of the Palme d’Or in 1959, Black Orpheus by Marcel Camus, also known as Orfeu Negro and Orfeu do carnaval, obtained an ambiguous critical reception. If, on the one hand, the success of the movie gave an impulse to the divulgation of Brazilian music and cinema on the 60’s, on the other hand, it was severely criticized in the name of the authenticity of the Brazilian popular culture. The analysis of the production’s documents and the film critics published in Europe and Americas, invites us to revalue the role of the movie in the cultural exchanges between Brazil, France and United States. The hypothesis defended here is that Black Orpheus, despite the formal and ideological critic, is a first class document for the study of the carioca cultural scene of the late 50’s, and the story of cultural transfers

La bossa nova en France : un modèle musical ?

La mode de la bossa nova en France dans les années 1960 et 1970 signe une inversion et une complexification croissante des échanges musicaux entre l’Amérique latine et l’Europe, étudiés ici dans l’optique des transferts culturels. L’analyse des mécanismes de diffusion, réception et appropriation de la bossa nova met à jour l’émergence d’une nouvelle altérité brésilienne en France au cours des années 1960.A moda da bossa nova na França, durante os anos 1960 e 1970, indica uma inversão e uma diversificação dos fluxos musicais entre a América Latina e a Europa. Esse artigo questiona os intercâmbios entre o Brasil e a França a partir da teoria das transferências culturais – difusão, recepção, apropriação. Mostra como uma nova alteridade brasileira foi construída na França durante os anos 1960.The success of bossa nova in France in the 1960’s and the 1970’s corresponds to an inversion and a diversification of the musical flows between Latin America and Europe. This article studies the musical exchanges between France and Brazil via the theory of «cultural transfers» – diffusion, reception, acculturation. It aims to demonstrate that a new Brazilian otherness was built in France during the 1960’s

Transatlantic Studies Association Conference

16th Annual Conference 10-12 July 2017 Cork, Ireland This summer, Anaïs Fléchet, Pricilia Pilatowsky and Jean-Sébastien Noël represented the Transatlantic Cultures' team in the Transatlantic Studies Association Conference, in Cork, Ireland. Panel: Transatlantic Cultures: A Digital Handbook Of Transatlantic Cultural History 1700 to Now. Anaïs Fléchet, University of Versailles, France. Chair / Discussant: Transatlantic Cultures: General Overview. Jean Sébastien Noël, ‘Old and New Klezmorim:..

CFP - Audiovisual Data in Digital Humanities

VIEW Journal of European Television History and Culture Considering the relevance of audiovisual material as perhaps the biggest wave of data to come in the near future (Smith, 2013, IBM prospective study) its relatively modest position within the realm of Digital Humanities conferences is remarkable. The objective of this special issue for VIEW is to present current research in that field on a variety of epistemological, historiographical and technological issues that are specific for digita..