Seminar | Music and Body: tradition & transgression in Ibero-American symbolic imagery
09.11.2021 | 16:00-18:00 | NOVA FCSH | Room B 201
Music and ballroom dance in Venezuela: socialization, education and transgression (18th-19th centuries)
In the second half of the 18th century and throughout the entire 19th century, music performed in the halls was one of the epicenters not only of musical practice but also as a socializing element. Men and women of the eighteenth and nineteenth centuries, poor, rich, or middle class, attended the salons to listen to or play music, dance, talk about trivial and not-so-trivial things, drink, eat, and seduce and be seduced. In this seminar we will study music and ballroom dancing in Venezuela on the one hand as the place and practice of central socialization of populations, in which personal relationships were woven, tried - almost always unsuccessfully - to break down social differences or they established political or control alliances; on the other, as an essential element of the "modern" education that is established in the new nations that emerged from the American Independence from Spain. The dance will thus be used to help form a new identity linked to the concept of nationality. Finally, we will analyze music and ballroom dancing as an element of political transgression, in which the "saraos" or meetings in rooms, were constituted as "symbolic battlefields"; and sexual in which it will go from the dance in line and choreographed, to the dance of intertwined bodies that will receive so many moralistic criticisms.
Sans, Juan Francisco (2019): "Disciplinando el cuerpo, sujetando las pasiones: baile y música en la educación hispanoamericana del siglo XIX". Ensayos. Historia y teoría del arte, 37, pp. 19-56.
Montserrat Capelán is a professor at University of Santiago de Compostela and coordinator of the research group Organistrum. Specializes in colonial Venezolan and 19th century music, a subject on which he has presented reports in different countries and in which he has made numerous publications. She has a degree in Philosophy from the Central University of Venezuela, in History and Music Sciences from the Autonomous University of Barcelona, a MPhil and a PhD with honours from the University of Santiago de Compostela. In 2013 she received the "Premio Nacional del libro" de Venezuela for her publication in co-authorship with Roberto Ojeda, Motetes, cancioness y tonos de Atanacio Bello Montero. She also Studies Galician music (19th and 20th cent.) - ideology, repertoire, scenic music, emigration and exile - area in which she reports and publishes. She was co-responsible of the Organistrum Group, for the Andrés Gaos project (2017-19). Among its activities the project involves traffic, search and inventory of the Gaos Fund donated to the University of Santiago from Argentina highlighting the exhibition "The musical universe of Andrés Gaos (1874-1959)", of which she has been commissioner together with Javier Garbayo, with concerts, publications, edition of scores, production of a television documentary, a web page, a virtual visit and interviews on radio and television.
Maria Espírito Santo is Master in Ethnomusicology by NOVA FCSH with a dissertation devoted to the study of the relationship between music and identity, in a collective of bands that perform Balkan music in Lisbon, supervised by João Soeiro de Carvalho. Currently she is a PhD student in Ethnomusicology at NOVA FCSH with a project funded by FCT, through the Awarded PhD Program Music as Culture and Cognition, to research the fado music category as representation of the Portuguese nation, supervised by Maria de São José Côrte-Real. She is co-author of "Music and national heritage: Ada's thankful voice to Portugal" (2019) and "Women, Fado and Cante Heritage Strengthening the Resilience of Civil Society" (2021); and has participated in meetings of Ethnomusicology and related areas in Portugal, Spain, Germany, UK, USA and Thailand