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Integrated Doctor
Departamento de Comunicação e Arte | Universidade de Aveiro
3810-193 Aveiro
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Tel: (+351) 234 370 389 (ext. 23700)


Ana Flávia Miguel completed BMus - Piano (2004), a Masters in Music (Ethnomusicology) (2010) and a PhD in Music (Ethnomusicology) (2016) from the University of Aveiro, Portugal. Over the years she has conducted fieldwork in Portugal, Cape Verde, Italy, Brazil and South Africa.  As a researcher, she is jointly responsible for the nomination file of Kola San Jon as Intangible Cultural Heritage. She is the scientific consultant for the nomination file of Cantar os Reis em Ovar as Intangible Cultural Heritage (in progress). She produced the Documentary "Kola San Jon" that won the Intangible Heritage Documentation Award at the 6th Folk Music Film Festival on November 27, 2016 (Nepal). She also won the award "Research Day'14" with the poster presentation entitled "Classifying heritage by (re)classifying identities: The inclusion of Kola San Jon in the Portuguese List of Intangible Heritage". Her main domains of study include African Musics, Applied Ethnomusicology and Research Practices in Ethnomusicology in studies about music in Cape Verde and music in Portugal. She is assistant editor of "El oído pensante" journal. From 2005 to 2013 she had been Lecturer at the Polythechnic Institute of Bragança. She is currently a Postdoctoral Research Fellow in Ethnomusicology at the University of Aveiro and a integrated researcher at INET-md.
Doctoral Thesis


The Cape Verdean musical everyday life and its representation by the Recording Industry




Susana Sardo and Samuel Araújo (co-advisor)



This thesis lies within the domain of ethnomusicology and comprises a proposal for the way that research practices establish valuable instruments for the construction of knowledge, a model in which the permeability of knowledges is the creator of way of making emancipatory worlds. The research led from a journey dedicated to the study of Cape Verdian music that began in 2006, characterised by a progressive immersion in the field and by the adoption of different research practices in close dialogue with the music’s keepers. In this sense, I discuss two observational experiences: with the Musicultura group, in Rio de Janeiro/Brazil, and with the AMD Program, in Durban/South Africa. In order to discuss research practices, this thesis contains an analysis of the scientific production of ethnomusicologists who have acted within the context of applied ethnomusicology and who have reflected on the way in which contexts “convoke” ethnomusicologists to mediate and to act. I employ two case studies which constitute my universe of observation, analysis and action: the process of the patrimonialization of Kola San Jon and the Skopeofonia project. In the first case, I describe the practices and the way the ICH application file was constructed. With regard to the Skopeofonia project, I describe the research practices shared between the different actors involved (academics and non-academics). The analysis of the consequences of the patrimonialization of KSJ led me to a reflection on how ethnomusicology and music can acquire a singular protagonism in actions of social responsibility. The discussions about the practices protagonised by Skopeofonia allowed me to access different versions of worlds through knowledges and experiences of music. This process is reflected in a deeper understanding of the ways in which music and other sensitive knowledges can be decisive in the promotion of emancipatory knowledges and in the very construction of knowledge within ethnomusicology.