Maria Isabel Ribeiro de Castro was born in Fontelonga, Carrazeda de Ansiães (Portugal). She is a member of the Music Department at the School of Higher Education, Polytechnic Institute of Bragança, as Associate Professor. She has performed multiple duties: Department Coordinator (2000-2012); Director of Music Teaching in Elementary Education Master’s Degree (2009-2012); President of the Scientific Committee of the Music Education in Primary School Master’s Degree (2007-2012); Scientific /Technical Advisor of ESEB (2003- 2010); Member of the Permanent Executive Board of the ESE (2008-2010); Pedagogical Advisor of ESE (2004-2009); Member of the Direction Board of the IPB (2003-2009); Director and founding member of Bragança Music Conservatory (2003-2009). Degree in Historical Sciences; Degree in Music Education; Master’s Degree in Psychology – specialization in Music Psychology; Post-Graduation Degree in Psychology; Qualified Music Specialist. She has published articles in books and scientific articles in academic journals. She is currently a doctoral student at the University of Aveiro, DECA, supervised by Professor Susana Sardo.
On the Indian side: ethnomusicological study of the Goesa community in Maputo
This work is in the field of ethnomusicology and, especially, in the framework of studies on music, postcolonialism and diasporic communities. It results from a central issue associated with the behavior of music within the Goa community in the diaspora, and the analysis of these behaviors in Maputo. Knowing that (1) Goan witness a long history of migration between Goa, Portugal and Mozambique, and (2) music occupies a privileged space in the construction and maintenance of Goan identity, as well as in the identification of its elements within the community and the main objective of this project is to assess how the migrant and sometimes dual migrant condition of the Go Go operated new ways of looking at and making music. This work should be developed in Portugal (Lisbon), Mozambique (Maputo) and Goa, using field work as the main methodological instrument, and theoretically fit in the line of modern ethnomusicology and its articulation with studies of culture and theory of post-colonialism.