{"id":11329,"date":"2024-12-17T14:22:49","date_gmt":"2024-12-17T14:22:49","guid":{"rendered":"https:\/\/in2past.org\/?p=11329"},"modified":"2024-12-17T18:32:21","modified_gmt":"2024-12-17T18:32:21","slug":"exploring-the-relationship-between-sounds-and-its-territories","status":"publish","type":"post","link":"https:\/\/in2past.org\/pt\/news\/exploring-the-relationship-between-sounds-and-its-territories\/","title":{"rendered":"Explorar a rela\u00e7\u00e3o entre os sons e os seus territ\u00f3rios"},"content":{"rendered":"\t\t
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2nd IN2PAST Field Trip<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Exploring the relationship between music and its territories<\/b><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Guided listening and visit to the Jos\u00e9 M\u00e1rio Branco Centre<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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17\/12\/2024<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u2018It is a song whose music is part of the recent tradition of Lisbon’s neighbourhood-oriented popular march and whose lyrics are playfully constructed through the evocation of various places and neighbourhoods in the city.\u2019 If you are familiar with Jos\u00e9 M\u00e1rio Branco’s work, you will know that we are talking about Qual \u00e9 a tua, \u00f3 meu? <\/em>(what’s your deal, man?<\/em>, very loosely translated), a composition that lends its name to IN2PAST’s 2nd Field Trip<\/a> and which was discussed by CESEM \u2013 NOVA FCSH \/ IN2PAST researcher Manuel Pedro Ferreira<\/a> last Thursday, December 12th, at A Padaria do Povo<\/a>, in Lisbon, which hosted the initiative.<\/p>

Our session of music listening with commentary brought nine songs to this historic place of Lisbon’s associative and co-operative life, discussed by eight IN2PAST researchers, with different authors, stories and genres, with the aim of providing all the participants with an exploration of the relationships between sounds and the territories in which they were produced or which they occupy. The following morning, we visited the Centro de Estudos e Documenta\u00e7\u00e3o Jos\u00e9 M\u00e1rio Branco \u2013 M\u00fasica e Liberdade (Jos\u00e9 M\u00e1rio Branco Research and Documentation Centre \u2013 Music and Freedom), or CEDJMB-ML, a collaboration between CESEM and INET-md, located at NOVA FCSH.<\/p>

And because Qual \u00e9 a tua, \u00f3 meu?<\/em> is also a libel against dictators\u2019, Manuel Pedro Ferreira, who was part of the choir that recorded it in the studio, also performed his own piece Ai tiranos! (oh tyrants!)<\/em>, based on a biblical text (Micah 2-4), the last song he shared with Jos\u00e9 M\u00e1rio Branco, with whom he had a long personal relationship.<\/p>

Lo Pingacho<\/em>, a traditional sung dance from the Miranda do Douro region, in northeastern Portugal, was the choice of Vanda de S\u00e1<\/a>, who presented the album Descantes e Cantar\u00e9us<\/em> at A Padaria do Povo, to recall Grupo Almanaque, of which she was a member, \u2018and which did a lot of work collecting and interpreting traditional Portuguese music, especially in the 1980s\u2019.<\/p>

\u2018Like many cultural expressions from cross-border areas, this sung dance, part of the cultural heritage of the Miranda do Douro region, reflects influences shared between Portugal and Spain,\u2019 explains the CESEM \u2013 University of \u00c9vora \/ IN2PAST researcher, recalling that Lo Pingacho<\/em> crosses the border and is danced at the frontier between Spain and Portugal, \u2019using the mirand\u00eas [Portugal\u2019s second official language] as an expression of linguistic resistance, but also musical.\u2019 A space of borders \u2018that are constantly crossed, on a daily basis, inadvertently, distractedly…\u2019, she adds.<\/p>

\u2018A particular social and historical experience of a territory: the experience of road workers in the interior of the island of Santiago\u2019, in Cape Verde, is what Strada <\/em>communicates, <\/em>says Rui Cidra<\/a>, who chose the song by Tcheka (Manuel Lopes Andrade), with the collaboration of M\u00e1rio Laginha, for our guided music listening session. \u2018Although it’s called Strada<\/em> (Road), it’s not a song about mobility,\u2019 says the IHC \u2013 NOVA FCSH \/ IN2PAST researcher: \u2019it’s about a certain immobility, it’s about living in an impasse, being stuck in a given territory, for reasons to do with poverty.\u2019<\/p>

Drift Furioso (furious drift)<\/em>, by DJ Marfox, \u2018is a pioneering testimony to the self-representation of the Portuguese black community, which hasn’t found expression in political and cultural institutions, but has found in music a space for representation and expression on its own terms\u2019, states Jo\u00e3o Mineiro<\/a>, who selected this song, included in the compilation DJs Di Guetto<\/em> (2006), by Marfox, N.K., Jesse, Fofuxo and Pausas.<\/p>

\u2018An unexpected fusion of kuduro<\/em>, funan\u00e1<\/em>, tarraxo<\/em>, techno and afro-house, this album became a landmark in music made in Portugal, crossing African rhythms with European and global Afro-diasporic electronics,\u2019 explains the CRIA \u2013 Iscte \/ IN2PAST researcher, adding that \u2019this sound fusion gave rise to a unique musical identity, reflecting the encounter of different urban, historical and cultural geographies.\u2019<\/p>

\u2018From Portela to Quinta do Mocho, from Linha de Sintra to Margem Sul, the music translates the subjective experience of the black and Afro-descendant community on the outskirts of Lisbon, affirming a syncretic and plural identity,\u2019 observes Jo\u00e3o Mineiro, while at the same time subverting the rules of the musical field: \u2019far from the centres of cultural production, and not dependent on publishers, curators, journalists and gatekeepers, these artists have assumed that everyone can make music.’<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Vanda de S\u00e1 (CESEM – U\u00c9vora \/ IN2PAST) took Lo Pingacho<\/em> to the guided music listening session in A Padaria do Povo, Lisbon, December 12, 2024. \u00a9 Ana Sofia Malheiro<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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CESEM \u2013 NOVA FCSH \/ IN2PAST Zuelma Chaves<\/a>‘s chosen music was performed live by Abel Chaves (electric piano) and Ant\u00f3nio Jorge Marques (flute). \u00a9 Ana Sofia Malheiro<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00a9 Ana Sofia Malheiro<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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J\u00falia Durand<\/a>‘s choice was The Return<\/em>, by The Khoury Project, an extract from the soundtrack composed in 2013 for the 1926 animated feature film The Adventures of Prince Achmed<\/em>, by Lotte Reiniger. \u2018This soundtrack represents not a real territory, but what can be imagined from it, playing with the stereotypes of a romanticised Middle East,\u2019 notes the CESEM \u2013 NOVA FCSH \/ IN2PAST researcher. \u2018Far from sticking to the historical and ethnographic reality of the territory in which the animation is inspired, The Khoury Project’s music for the film mobilises various musical resources to build the sonic imagery of a fantasised place, with a tangle of diverse sound references that are here displaced from their initial geographical contexts.\u2019<\/p>

O Passeio de Buster Keaton<\/em> (Buster Keaton’s Walk<\/em>), sequence no. 11 of FE…DE…RI…CO…<\/em>, by Constan\u00e7a Capdeville (1937-1992), was reproduced and commented on by Filipa Magalh\u00e3es<\/a>, who is working to recover the memory of the leading composer of theatre-music in Portugal.<\/p>

FE…DE…RI…CO… premiered at the Centro de Arte de Moderna, in Lisbon, in 1987, to celebrate the 50th anniversary of the death of Spanish poet and playwright Federico Garc\u00eda Lorca (1898-1936), one of the first victims of the Spanish Civil War, on whose poetic, plastic and musical work Capdeville drew. The video reproduced by Filipa is part of a recreation carried out by the CESEM \u2013 NOVA FCSH \/ IN2PAST researcher, based on her doctoral research, and presented<\/a> at Teatro Aberto, in Lisbon, in 2022.<\/p>

IN2PAST Field Trips aim to bring researchers closer to non-academic people and places. The 1st<\/sup> Field Trip<\/a> took place in Guimar\u00e3es on September 28th and 29th, and included the \u2018Troubles with Primitivism \u2013 a view from Portugal\u2019 Meetings. The next one will take place at the end of January in Extremo, Arcos de Valdevez, North of Portugal.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Manuel Pedro Ferreira (CESEM \u2013 NOVA FCSH \/ IN2PAST) took Qual \u00e9 a tua, \u00f3 meu?<\/em> and Ai tiranos!<\/em> for the guided music listening session at A Padaria do Povo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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A traditional sung dance from the Miranda do Douro region, in northeastern Portugal, was the choice of Vanda de S\u00e1 (CESEM – U\u00c9vora \/ IN2PAST.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Tcheka’s and M\u00e1rio Laginha’s Strada <\/em>was selected by Rui Cidra (IHC \u2013 NOVA FCSH \/ IN2PAST) because it communicates \u2018a particular social and historical experience of a territory’ \u2013 that of road workers in Cape Verde.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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A Padaria do Povo, in Campo de Ourique, Lisbon, hosted IN2PAST’s guided music listening session at its 2nd Field Trip.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Drift Furioso, <\/em>by DJ Marfox, \u2018a pioneering testimony to the self-representation of the Portuguese black community’, was the choice of Jo\u00e3o Mineiro (CRIA \u2013 Iscte \/ IN2PAST).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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The imagined territory of The Return<\/em>, by The Khoury Project, composed for Lotte Reiniger’s The Adventures of Prince Achmed<\/em>, was discussed by J\u00falia Durand (CESEM \u2013 NOVA FCSH \/ IN2PAST).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Filipa Magalh\u00e3es (CESEM \u2013 NOVA FCSH \/ IN2PAST) showed a video of O Passeio de Buster Keaton,<\/em> sequence no. 11 in FE…DE…RI…CO…<\/em>, by theatre-music composer Constan\u00e7a Capdeville.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Pedro Moreira (CESEM \u2013 University of \u00c9vora \/ IN2PAST) was one of our eight researchers sharing and discussing music at A Padaria do Povo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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CESEM \u2013 NOVA FCSH \/ IN2PAST Zuelma Chaves’s choice was the only one performed live, by Abel Chaves (electric piano) and Ant\u00f3nio Jorge Marques (flute). <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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The guided music listening session at A Padaria do Povo was the first part of a two-day Field Trip.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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On the second day of this IN2PAST Field Trip, we visited the Centro de Estudos e Documenta\u00e7\u00e3o Jos\u00e9 M\u00e1rio Branco \u2013 M\u00fasica e Liberdade (CEDJMB-ML), a collaboration between CESEM and INET-md at NOVA FCSH.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Because there is very little room at CEDJMB-ML, Manuel Pedro Ferreira, Patr\u00edcia Lopes (also from CESEM), Ricardo Andrade and Hugo Castro (INET-md) presented the centre and the work being carried out, prior to the guided tour.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t

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\u00a9 Ana Sofia Malheiro<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tAll News<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

2nd IN2PAST Field Trip Exploring the relationship between music and its territories Guided listening and visit to the Jos\u00e9 M\u00e1rio Branco Centre 17\/12\/2024 \u2018It is a song whose music is part of the recent tradition of Lisbon’s neighbourhood-oriented popular march and whose lyrics are playfully constructed through the evocation of various places and neighbourhoods in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-11329","post","type-post","status-publish","format-standard","hentry","category-news"],"_links":{"self":[{"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/posts\/11329","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/comments?post=11329"}],"version-history":[{"count":29,"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/posts\/11329\/revisions"}],"predecessor-version":[{"id":11385,"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/posts\/11329\/revisions\/11385"}],"wp:attachment":[{"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/media?parent=11329"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/categories?post=11329"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/in2past.org\/pt\/wp-json\/wp\/v2\/tags?post=11329"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}