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PERMANENT SEMINAR OF THE RESEARCH GROUP ON ETHNOMUSICOLOGY AND STUDIES IN POPULAR MUSIC
 
 
2024-01-10 | 3 p.m. | NOVA FCSH, Colégio Almada Negreiros, Campolide (Lisbon) | Room 208 -  Floor 2 | Zoom Room 
 
Free entrance, both online and in presence.
 
 
 
The resonances of the Other: Social interactions during musical education in disadvantaged contexts from Latin America and Europe
 
Alix Didier Sarrouy | INET-md
 
If Ethnomusicology aims to open itself to the culture of the Others by being in situ experiencing the music and the sounds they produce, my work has a paradox: I go to meet the Others to study the way they learn/play a genre and a music set up that has European origins (supposedly). Based on ethnographic work in Latin America (with young people living in urban poverty) and in Europe (with underage young migrants and refugees), I will focus on the importance of the cultural context to better understand how the actors in musical education can make the bodies of everyone involved in it resonate (students, teachers, assistants, directors, guardians... and objects too!)
 
 

 

If Ethnomusicology aims to open itself to the culture of the Other by being in situ experiencing the music and the sounds it produces, my work has a paradox: I go to meet the Other to study the way they learn and play a genre and music set up that has European origins (supposedly). This is the case of the musical education programs El Sistema in Venezuela and Neojiba in Brazil when they use the teaching of orchestral music as a tool for education, emancipation, and citizenship with young people in disadvantaged socioeconomic contexts (Sarrouy, 2022). But each territory has its idiosyncratic way of teaching and playing musical genres. Students' culture has a strong impact on the way they learn and make music. The orchestral repertoire itself goes far beyond the composers who nurtured it over centuries in the Global North. The Global South is full of composers, performers and pedagogues who continue to influence the entire art-worlds of music. The connection between so-called “popular music” and “classical music” is profound (i.e.: Bartók, Manuel de Falla, Arturo Marquez, Villa Lobos…).

On the other hand, the discipline with which I approached the various fields of study in Europe and Latin America was primarily the Sociology of Music. With a strong anthropological base and applying dense ethnography methods, attentive to the micro-sociologies of everyday life, I propose to return to the basis that are the various “actors of music education”: students, teachers, assistants, directors, guardians... and objects too! In what contexts do social interactions develop and how are they affected by them?

Finally, I would like to end the seminar by referring to my most recent research titled “YOUSOUND – Music education as an inclusive tool for underage refugees in Europe” (www.yousound.eu). This concerns other encounters: this time the Other has been “forced” to migrate to Europe and there they may learn orchestral music, contributing to their social inclusion/integration. As we will see, the most important thing is not the musical genre, but rather the nature, quality and durability of the contexts of social interactions where Human Beings resonate.

 
 
 
Alix Didier SarrouyPrincipal Investigator of a six-year project (2020-2026) named “IncArt - Migrants and refugees in Europe: arts as tools for sociocultural inclusion”. Financed by Fundação para a Ciência e Tecnologia (CEECIND/00658/2018). I am a social science researcher, a musician and a performer. I am French and have worked in several countries, mostly in Portugal. BA in Cultural Mediation (Paris III) and MA in Cultural Politics (Paris VII). In 2017, under the supervision of Professor Dr Antoine Hennion and Professor Dr Beatriz Padilla, I completed a double PhD in Sociology of Arts & Culture (Université Sorbonne Nouvelle & Universidade do Minho). Arts and cultures are at the core of my academic and professional work. I specialize in the sociological and anthropological study of artistic ways of expression as tools for education/emancipation, namely with socioeconomically disadvantaged populations in Europe, Africa and Latin America. I am focused on the types of social interactions produced by projects involving music and dance as reasons to be, to learn, to create and to evolve.