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Post-ip’23 | 7th International Post-graduate Forum in Studies in Music and Dance
The 7th International Postgraduate Forum in Music and Dance Studies will be held at NOVA FCSH on December 1, 2 and 3, organized by the Post-ip group, made up of doctoral students from the Institute of Ethnomusicology  Centre for Music and Dance Studies (INET-md).
The  event is open to the general public.
1 to 3  December 2023 | NOVA FCSH (Colégio Almada Negreiros and Avenida de Berna, Tower B) 
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Post-ip (Post in Progress): 14 Years of Innovation in Academic Research
Post-ip (Post in Progress), a prominent event in the field of music and dance research, is celebrating its 14th year of existence, which marks a decade and a half of dedication to promoting academic exchange and expanding musical knowledge. Created in 2009 by a group of postgraduate students from the University of Aveiro, the event has grown and improved, becoming a reference in the field. The collaborative and innovative spirit that characterises Post-ip is closely linked to the Instituto de Etnomusicologia – Centro de Estudos em Música e Dança (INET-md). This year’s edition, in collaboration with the School of Social and Human Sciences of the NOVA University of Lisbon, aims to contribute to uniting the different branches of INET-md, promising to be a milestone in the event’s history.
The Post-ip Forum will provide a unique platform for the presentation of communications and performance-communications in the fields of music and dance, carefully selected by a scientific committee composed of researchers affiliated with INET-md. It is worth highlighting the presence of three internationally renowned researchers: Yalda Yazdani (University of Siegen, Germany), Diāna Zandberga (Jāzeps Vītols Latvian Academy of Music) and Helena Lopes Braga (CESEM/NOVA-FCSH).
The event will also include an inter-institutional panel entitled “Musical Synergies: Collaboration between Institutions on the Path of Research”, featuring Isabel Novais Gonçalves (National Library of Portugal), Edward Ayres de Abreu (National Museum of Music) and Maria Clara Assunção (Municipal Hemeroteca of Lisbon).
We invite the press, academics, music enthusiasts and the general public to embark on this experience, immersing themselves in three intense days of music and knowledge sharing in the stunning city of Lisbon. Don’t miss the opportunity to be part of this inspiring chapter in the journey of Post-ip.
1-12-2023| 2:30 pm - 4 pm | CAN -  Room 219 | Chair: Salwa El-Shawan Castelo-Branco
Yalda Yazdani | The Politics of Musical Participation: An Ethnographic Study of Women Singers in Post-Revolutionary Iran
The position of women in Iranian society is mostly dependent on the political discourse of the country. After the Revolution of 1979, the position of women in Iranian society drastically changed. This has also extended into the role of females as musicians in Iran. According to the revolutionary fundamentalist Islamic government, it is illegal and improper for women to sing solo in public spaces and women's participation in music became more restricted. In some ways, women’s status has improved such as increased literacy, and a greater number of women musicians in general (paralleling an increase in musicians of both genders). However, in the sight of the law, women and men do not have equal rights. So, the dynamic of an increased number of women musicians appearing even as restrictions increased creates a rich opportunity for research. The opportunities for women to record and perform music differ from those of men, and many women, especially singers, find a creative outlet only in underground, illegal situations. Therefore, the main focus of my presentation is based on strategies of female singers for overcoming the censorship in Iranian society. In addition, I am going to present the activities and significant role of women's music in the recent revolutionary protests in Iran by the slogans such as “Woman-Life-Freedom".
Yalda Yazdani is an Iranian ethnomusicologist, filmmaker and curator. Currently she is working as a research fellow and also completing her PhD studies at University of Siegen, Germany. In 2017 and 2018 she founded and curated the festivals “Female Voice of Iran", in 2021, "Female Voice of Afghanistan” and in 2023, "Female Voice of Kurdistan" in collaboration with Contemporary Opera Berlin. 
2-12-2023 | 3:30 pm - 4 pm | Av. Berna - Tower B / Auditorium B2 | Chair: Helena Marinho
Diāna Zandberga | Breaking Boundaries of Musicians Corporeality
Recital program of pianist and dancer Diāna Zandberga includes piano works of Franz Schubert, Franz Liszt, and contemporary Baltic composers inspired by dance and vocal music. Generally, the bodies of professional musicians and dancers have been trained in the respective field since childhood. Despite that, dance and music are closely related to each other, as they are movement-related arts and subjects of temporality. The program includes choreomusical works dedicated to multisensory integration of body movements and sound in contemporary music specially written for musician (pianist) who can dance and express music in various ways. Thus, movement of musician can turn into a sound, visual and kinesthetics phenomenon. 
Diāna Zandberga is a pianist and musicologist specialising in Artistic Research. She completed her PhD at the Jāzeps Vītols Latvian Academy of Music and improved her performance with pianists Lazar Berman and Alicia de Larrocha. Diāna Zandberga has won acclaim for a succession of recitals in European countries and the USA. Her discography includes eight solo albums. Since 2015 she has been a faculty member of the Piano Department and from 2021 a Researcher at the Scientific Research Center of Jāzeps Vītols Latvian Academy of Music and the Director of the Joint Professional Doctoral Study Programme in Arts. 
3-12-2023 | 3 pm - 4:30 pm | Av. Berna - Tower B / Auditorium B2 | Chair: Maria José Artiaga

Helena Lopes Braga | O que pode a musicologia feminista em 2023?
Embora a musicologia feminista esteja academicamente estabelecida desde os anos 1990, foi apenas ao longo da última década, que se começou a ver sistematicamente incorporados aspetos de género na investigação musicológica. Porém, quando lemos alguma da investigação de pessoas que hoje listam “género” entre as suas especialidades, esses aspetos de género são, não raras vezes, bastante superficiais e revelam pouca ou nenhuma crítica ao que se entende por género e ao que é/pode o género ser. Mais significativo é verificar que há pouco ou nenhum feminismo nas suas práticas, incluindo na forma como as pessoas gerem as suas carreiras, e como se relacionam com colegas, estudantes, e orientandas/os. Nesta comunicação, discutirei algumas possibilidades da investigação em género, sexualidade e música, novas abordagens e metodologias, desafios do século 21 à musicologia feminista, abordagens interseccionais à música: a necessidade de integrar aspetos de género, classe, raça/etnia, sexualidade, entre outros, e a fundamental posicionalidade e a ética feminista na investigação.
Helena Lopes Braga (ela/dela) é doutorada em estudos de género pela Central European University, em Viena, mestre em musicologia histórica (Prémio melhor mestre em ciências musicais 2013/2014) e licenciada em Ciências Musicais (Prémio Luiz Krus de Mérito e Excelência) pela FCSH-NOVA. Lopes Braga tem formação em piano e canto pelo Conservatório de Música de Braga, deu aulas de música e manteve-se ativa como cantora até ingressar no programa de doutoramento. Co-traduziu o livro Manifesto Contrasexual de Paul Preciado para português (UNIPOP, 2015), e foi ativista LGBTQI+. Como investigadora foi colaboradora do CESEM entre 2012 e 2023, tendo sido co-fundadora do Núcleo de Estudos em Género e Música (NEGEM). Enquanto doutoranda esteve como visiting student na Faculdade de Música da Universidade de Toronto. Foi vice-presidente da Sociedade Portuguesa de Investigação em Música (SPIM) de 2013 a 2015, e foi membro do Projecto Euterpe Revelada: Mulheres na composição e interpretação musical em Portugal nos séculos XX e XXI. Em 2022, a sua comunicação sobre a maestra Natércia Couto foi distinguida com o Prémio Joaquim de Vasconcelos pela Sociedade Portuguesa de Investigação em Música. Tem desenvolvido investigação na área da musicologia feminista, sociologia da música e historiografia musical, especializando-se na história das mulheres músicas, género e sexualidade, música e política, e redes de sociabilidade na história da música em Portugal durante o Estado Novo. Entre a sua produção, destaca-se a sua tese de doutoramento sobre Francine Benoît, bem como um artigo sobre a história das mulheres maestras em Portugal.