Wed 12 April
08.30 - 10.30
11.00 - 13.00
14.00 - 16.00
16.30 - 18.30
Thu 13 April
08.30 - 10.30
11.00 - 13.00
14.00 - 16.00
16.30 - 18.30
Fri 14 April
08.30 - 10.30
11.00 - 13.00
14.00 - 16.00
16.30 - 18.30
Sat 15 April
08.30 - 10.30
11.00 - 13.00
14.00 - 16.00
All days
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Go back
Saturday 15 April 2023
14.00 - 16.00
M-15
CUL14
Rethinking Tradition: Folklore, Rituals and Arts
C32
Network:
Culture
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Chair:
Carlos Tejerizo-García
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Organizers:
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Discussants:
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Kristian Aarup :
Between Creatures and Traditions – a Study on the Notion and Materiality of Danish Folklore
Folklore is a wide term. It can be studied and defined in many different ways but there seems to be a consensus, that the classic study of folklore is concerned with the beliefs and tales of the preindustrial peasant society. This typically involves elves, witches, trolls etc. and to some ... (Show more)Folklore is a wide term. It can be studied and defined in many different ways but there seems to be a consensus, that the classic study of folklore is concerned with the beliefs and tales of the preindustrial peasant society. This typically involves elves, witches, trolls etc. and to some extent a range of everyday practices. In this case the main object for my research is the beliefs and religiosity connected to and expressed in Danish folklore.
When the focus traditionally has been on premodern times, it is based on the assumption that the beliefs associated with folklore, and religion in general, have been devalued and diminished due to modernization and enlightenment. This idea is famously known from Max Webers theory of the disenchantment of the world. However Webers thoughts were later met with skepticism from some scholars advocating the idea of a re-enchantment rather than disenchantment. The idea of a re-enchantment directed renewed attention towards a connection between beliefs and material practices.
The purpose of this PhD project is to study and discuss the notion of folklore and basically attempt to approach what folklore could consist of, whilst studying everyday materiality and practices of the classic folklore. It is the purpose to do so relying heavily on the theoretical approach offered by the recent research of ‘lived religion’. In this sense, the project seeks to bring topics and approaches from folkloristics, and ethnology’s studies of folklore and everyday practice, into the field of recent cultural history and its focus on textuality and relics. The project will also include a contemporary contextualization. (Show less)
Federica Calabrese :
The Glastonbury Goddess Temple: Spaces of Life, Consumption, Ancestral Rituals in a Contemporary Context
The work proposed has as major objective the study of the Glastonbury Goddess community born in 2002, first formally recognized public indigenous British Goddess Temple in Europe.
The organization ‘has grown to encompass many other beautiful enterprises and community offerings, set up by Priestesses and Priests of Avalon from the ... (Show more)The work proposed has as major objective the study of the Glastonbury Goddess community born in 2002, first formally recognized public indigenous British Goddess Temple in Europe.
The organization ‘has grown to encompass many other beautiful enterprises and community offerings, set up by Priestesses and Priests of Avalon from the Temple’. The first step is the understanding of their vision, their cultuality, their consuming spaces, together with their seasonal rituals.
The idea of the empowerment of women and men as spiritual thinkers, leaders and visionholders is the group premise ‘for offering to others a devotional path of returning to Love for Goddess for all people’. In order to pursue this spiritual mission, the Community holds a specific social role inserted in the town contest where they operate. Every year The Godess Temple donates one ninth of their profits (‘Nithing’) to charitable causes and community groups, including the local Women’s Refuge, Happy Landings and Secret World Animal Sanctuaries, St. Margaret’s Hospice, the Henna Foundation, and many others.
They also have a group of experienced Priestess healers and therapists who are creating a space for Goddess healing, therapies and treatments, and an education Centre, with its own Holstic Therapy school.
In the and the community produces and sells personal items essential to perform the rituals, promoting internal but also external consumption. (Show less)
Ana Machado :
The ‘Irmandade de Santa Cecília de Lisboa’ in the International Context: Crossed Views on Guilds and Confraternities of Musicians in Europe and Brazil
The present study focuses on the guild of Santa Cecilia, with a view to a future comparative study between the case of Lisbon and other guilds and confraternities of musicians in Europe, especially the guild of Saint Cecilia of Rome, during the Ancien Régime. The Brazilian outlook will also be ... (Show more)The present study focuses on the guild of Santa Cecilia, with a view to a future comparative study between the case of Lisbon and other guilds and confraternities of musicians in Europe, especially the guild of Saint Cecilia of Rome, during the Ancien Régime. The Brazilian outlook will also be explored if it is possible to gather enough bibliography to understand the foundation of this guild and its functioning in this territory.
Since, in most cases, the state of the investigation is very variable and often insufficient, the approach used will not be so much a systematic comparison as a cross-look.
Thus, one of the main points of this study will be to try to understand how the guild of Rome influenced that of Lisbon, since the foundation of the first guild of Santa Cecília [of Rome] is 20 years older than the one from Lisbon.
In Lisbon, in the 18th century, there are several opportunities and professional modalities available. Some musicians could have permanent jobs, at the service of the Royal House, as in the Royal and Patriarchal Chapel, in the Royal Chamber, in the Royal Band, as well as in some ecclesiastical institutions or in the various theaters of the city. They could also work in activities on their own, that is, religious celebrations in other churches, convents and monasteries, sporadic hires by private patrons, assemblies, balls or soirees. These supplementary activities were heavily controlled by the Irmandade de Santa Cecília (ISC), and the musicians were obliged to declare all the services and functions in which they worked, as well as to pay a kind of tax to the guild.
However, it is important to emphasize that, throughout the second half of the 18th century, many foreign musicians continued to be hired, particularly Italian ones, and that there was a great disparity in working conditions between Portuguese and foreigners.
Based on this small context and investigations carried out by several authors in this area, there are strong indicators that this ISC had a central role in the Lisbon musical universe, namely in the dynamics between different musicians, as they were from the Court and/or from the Royal and Patriarchal Chapel, linked to other entities in the field of sacred or profane music or exercising their professional activity without a stable professional bond.
Due to these indicators and based on this historiography around this theme, we intend to research influences, affinities and divergences between the ISC of Lisbon and its counterparts in other cities, countries and territories at the same time to better understand the relationships established between the guilds and Musicians, as well as their influence on the professionalization process of this class. (Show less)
Inez Beatriz Martins Gonçalves :
The Global Circulation of Musicians, Instruments and Repertories in the Long 19th Century: Luigi Maria Smido, an Italian Musician in Brazil
In the second half of the nineteenth century, there was a sharp increase of European migration towards Brazil. With the prohibition by the Brazilian law of using slave workers in the agriculture and the slave abolition was a matter of time to happen, local elites invested in attracting immigrants to ... (Show more)In the second half of the nineteenth century, there was a sharp increase of European migration towards Brazil. With the prohibition by the Brazilian law of using slave workers in the agriculture and the slave abolition was a matter of time to happen, local elites invested in attracting immigrants to work in the agriculture. The number of immigrants that moved to Brazil increased significantly in this period. They came to work not only in the rural spaces but also in the urban spaces. Many foreigners arrived in the country on a permanent basis, others to work just temporarily. This was the case of Luigi Maria Smido. Smido was an Italian musician who studied at Leipzig Conservatory of Music and arrived in Recife, a Brazilian city in the northeast part of the country, for a season with the Modena Opera Company in 1894. Besides working as conductor in the Opera Company, Smido started promoting concerts the “same way that happens in Europe”. The success of these concerts and their favourable reception among local inhabitants made him decide to move permanently to Brazil. In the following decades, Luigi Maria Smido lived in five different Brazilian cities, always working as conductor, especially in military musical bands, acting also as a composer, a music teacher and a promoter of musical events.
Based on the analysis of newspapers articles and Smido’s compositions and arrangements, this paper aims to discuss the cultural impact of Smido in the cities he lived. Luigi Maria Smido was familiarised with the new and modified brass instruments sold in different parts of Europe. The 19th century was significant to musical instruments made of brass; many of them appeared in this period like saxophone, ophicleid, saxhorns or flicorni. These instruments appeared in the context of the emergence of new metal alloys resulting from the technological developments of late18th century. Smido studied and lived in Italy and Germany before he moved to Brazil. He was aware on how to play and compose for these instruments and registered it in his works. Although music stores sold these new models and published scores for these instruments, including in Brazil, Smido also brought his own scores, evidenced in the musical programs of the events he conducted in Brazilian cities. This work thus aims to discuss the global circulation of musicians, instruments and repertories in the long 19th century from the trajectory and production of this Italian musician. (Show less)
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