Proud to be a Goan: colonial memories, post-colonial identities and music

During 451 years of colonial history, catholic Goans used music as a mediator of identity negotiation. In a political context repressing musical sonority of Indian flavour, in which Portuguese was the official language, catholic Goans created their own music, sung in Konkani and performed according to Portuguese models. Mandó among other hybrid and ambivalent musical genres, comprehen- sible for colonial rulers and Goans but with different significance for both, acquired an emblematic status. After 1961 Goa becomes an Indian territory, and the Goan diaspora, into Europe, America and Africa, increased. With it, the homeland myth created the ne- cessity to isolate some cultural ingredients in order to maintain their cultural ties within an alien territory. Musical genres de- veloped in Goa were recreated not for their colonial memory but because they allowed Goans to prove their difference. This paper tries to inscribe Goans as a paradigmatic case of diasporic com- munities where music acquires central status in the process of post-colonial identification and as an instrument of conciliation.FCTFundação Orient

Innovation, generative relationships and scaffolding structures: implications of a complexity perspective to innovation for public and private interventions

The linear model of innovation has been superseded by a variety of theoretical models that view the innovation process as systemic, complex, multi-level, multi-temporal, involving a plurality of heterogeneous economic agents. Accordingly, the emphasis of the policy discourse has changed over time. The focus has shifted from the direct public funding of basic research as an engine of innovation, to the creation of markets for knowledge goods, to, eventually, the acknowledgement that knowledge transfer very often requires direct interactions among innovating actors. In most cases, policy interventions attempt to facilitate the match between “demand” and “supply” of the knowledge needed to innovate. A complexity perspective calls for a different framing, one focused on the fostering of processes characterized by multiple agency levels, multiple temporal scales, ontological uncertainty and emergent outcomes. This contribution explores what it means to design interventions in support of innovation processes inspired by a complex systems perspective. It does so by analyzing two examples of coordinated interventions: a public policy funding innovating networks (with SMEs, research centers and university), and a private initiative, promoted by a network of medium-sized mechanical engineering firms, that supports innovation by means of technology brokerage. Relying on two unique datasets recording the interactions of the organizations involved in these interventions, social network analysis and qualitative research are combined in order to investigate network dynamics and the roles of specific actors in fostering innovation processes. Then, some general implications for the design of coordinated interventions supporting innovation in a complexity perspective are drawn

Institutionalizing and materializing music through sound sources: the case of Bruce Bastin’s fado collection in Portugal

On the 27th of November 2011, in Bali, Indonesia, UNESCO approved the inscription of the Portuguese musical genre, fado on the Representative List of the Intangible Cultural Heritage of Humanity. Fundamental to the submission of fado to the UNESCO's committee - which was ratified by the Lisbon Municipality on the 12th of May 2004 - was a particular collection of 78 rpm discs, recorded during the first half of the 20th century that included recordings which were virtually forgotten for almost 50 years. This collection was “discovered” outside Portugal in 1993, by a Portuguese collector, and from the moment it was recognized as “Portuguese patrimony” by the official entities, it underwent a very interesting process of transformation according to the ways in which it was regarded by different agents and addressed by distinct discourses. Within this process of transformation – which can be seen as a conceptual metamorphosis -, are the voices and speeches of politicians, music collectors, scholars, journalists and fado singers (fadistas). This paper intends to analyze the historical process through which the collection of commercial recordings was “repatriated” and institutionalized in Portugal. For this purpose I will address the following question: what kind of transformation can occur to a set of discs when it becomes an archive for the collective memory of a community

'Música no coração': discursos e narrativas sobre a música goesa e a exaltação de um património emocional

A conversão de parte da música desempenhada pelos goeses ao modelo de composição da música ocidental, de harmonia tonal e funcional, foi construído a partir de múltiplos discursos. Neles se incluem os discursos escritos, reiterativos e apologéticos, que, sobretudo a partir do final do século XIX, ajudaram a construir a ideia segundo a qual a goanidade era, também, definida a partir de uma música própria. Porém, os enunciados impressos nos discursos escritos, devem ser analisados numa lógica em que, como bem refere McLuhen, a tecnologia da escrita transforma a cultura acústica na cultura visual, a partir de uma moldura hierárquica que valoriza a segunda em detrimento da primeira. E é esta lógica de transformação do dito no escrito, valorizando o primeiro a partir da existência do segundo, que aqui me proponho analisar no que à música goesa diz respeito

Quando a música se escreve: discursos e narrativas sobre a música goesa para a construção de um património desejado

A conversão de parte da música desempenhada pelos goeses ao modelo de composição da música ocidental, de harmonia tonal e funcional, foi construído a partir de múltiplos discursos. Neles se incluem os discursos escritos, reiterativos e apologéticos, que, sobretudo a partir do final do século XIX, ajudaram a construir a ideia segundo a qual a goanidade era, também, definida a partir de uma música própria. Porém, os enunciados impressos nos discursos escritos, devem ser analisados numa lógica em que, como bem refere McLuhen, a tecnologia da escrita transforma a cultura acústica na cultura visual, a partir de uma moldura hierárquica que valoriza a segunda em detrimento da primeira. E é esta lógica de transformação do dito no escrito, valorizando o primeiro a partir da existência do segundo, que aqui me proponho analisar no que à música goesa diz respeito. Em primeiro lugar interessa-me observar a que enunciados está submetido o discurso sobre a música goesa. Nesse sentido importa perceber: Quem fala? Quem produz os discurso e objectifica as coisas? Quem enuncia? Qual o status, na perspectiva de Foucault, do indivíduo que escreve? Em segundo lugar analiso os efeitos que os discursos escritos sobre música goesa vieram a ter nas diferentes práticas associadas à música, sejam elas as da performance, sejam as da criação ou da descrição. Finalmente reflicto sobre a textualização da música e a transformação de uma tradição oral em partitugráfica, como forma de legitimar a sua dimensão patrimonial

Hospedeiros do Oriente: a imagem do Oriente na literatura goesa sobre folclore e música no século XX

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