This session consists of 4 presentations and a joint Q&A with the presenters. The session contains:
➺ Musicultura Group - Ethnomusicological Archives and Social Conflict: Reflections on the Musicultura Group Archive 2004-2023 (Short presentation)
➺ María Jesús Lopez - Against all odds: women in the first flamenco recordings = Contra viento y marea: mujeres en las primeras grabaciones del flamenco (Short presentation)
➺ Agostina Invernizzi - Archivos hospitalarios e irradiaciones de la película Nuestra Natacha (Julio Saraceni, 1944) en Argentina (Short presentation)
➺ Dimitrije Bužarovski, Trena Jordanoska - Individuals Archives and Social Networks – New Perspectives in AV Archiving (Long presentation)
**Abstracts:**
➺ Ethnomusicological Archives and Social Conflict: Reflections on the Musicultura Group Archive 2004-2023
--
Musicultura Group (Short presentation)
--
This presentation reflects on the collection generated from the activities of the Musicultura Group, which has been conducting participatory action research on music and its social impact in the favelas of Maré, Rio de Janeiro, for about twenty years. We discuss the relationship between the material generated in the research and the academic production of the group, bringing it to the creation of an archive made available for public access via a website. This stage of the work, became a priority due to the escalation of the police brutality and of violent conflicts in Rio de Janeiro's favela areas, particularly from 2019 onwards, and intensified with the outbreak of the COVID-19 pandemic. Under these circumstances, a change of workspace was necessary, shifting from the Community Center for Citizenship Defense in Maré to the Escola de Música da UFRJ in Rio de Janeiro's city center. Subsequently, activities were carried out to organize, classify, and digitize this collection. This tool is envisioned as associated with the academic production carried out by Musicultura, contributing simultaneously to academic activities in the field of ethnomusicology and to knowledge production within the community itself. In this sense, strategies for dialogue with potentially interested local entities, such as public schools, memory centers, and social organizations, will also be addressed, allowing its utilization for interested groups and individuals as a reference for new possibilities in the production of collective memory, along with the return of the collection and of the group's activities to the community.
➺ Against all odds: women in the first flamenco recordings = Contra viento y marea: mujeres en las primeras grabaciones del flamenco
--
María Jesús Lopez (Short presentation)
--
Originally, flamenco performances were limited to family environments or very restricted gatherings aimed at a very specific audience. Over time, by the 19th century, the art form became professionalized and transitioned from popular and familial settings to stages. It was then that women, involved in both dance and singing, encountered rejection not only from their own families—who opposed women performing in taverns and live music cafés—but also from a deeply patriarchal society. Except for very exceptional cases, only those who sacrificed having a family life could pursue a professional career. In this presentation, we talk about recordings on wax cylinders and shellac records, preserved in the National Library of Spain, of those women who, breaking the stereotypes and barriers of their time, paved the way for those who came after them.
➺ Archivos hospitalarios e irradiaciones de la película Nuestra Natacha (Julio Saraceni, 1944) en Argentina
--
Agostina Invernizzi (Short presentation)
--
La pieza teatral Nuestra Natacha escrita por Alejandro Casona en 1935 es rápidamente acogida por el público y llevada al cine por Benito Perojo en 1936. La película homónima, según fuentes historiográficas, no se estrena, se pierde y confluye hasta la actualidad en un vacío para la historiografía del cine español. Juan Bonifacio Benavente (1987) y Román Gubern (1994) rastrean sus huellas a partir del análisis de publicaciones especializadas. La tesis de Juan Ramón Torreglosa (2016) comprende un estudio exhaustivo sobre la obra.
Tras su exilio, Casona se establece en Buenos Aires en 1939 y triunfa en la escena teatral colaborando, además, como guionista de cine. Nuestra Natacha es llevada nuevamente a las pantallas en 1944 por Julio Saraceni. El objetivo de este trabajo es actualizar un problema historiográfico e indagar sobre los sentidos irradiados por una narrativa que parte de las propuestas emancipatorias surgidas en la República, para desembarcar en la Argentina de transición de la Década Infame hacia el Peronismo. El trabajo se centrará en la recepción de la película a partir del estudio de fuentes historiográficas. Por otro lado, atenderá al análisis formal y a su relación con otros films corales de mujeres que circulan en este período en Argentina que tienen como foco la educación formal de las mujeres. La perspectiva utilizada combina nociones de la historia sociocultural de las mujeres, la teoría fílmica feminista y la historiografía del cine argentino. Se practicará una lectura hospitalaria de los archivos (Mónica Szurmuk, 2020) preocupada por expandir “tópicos que, en el contexto de su producción, pudieron resultar extemporáneos e impensables” (2020: 67).
➺ Individuals Archives and Social Networks – New Perspectives in AV Archiving
--
Dimitrije Bužarovski, Trena Jordanoska (Long presentation)
--
BuzAr (Buzarovski Archive) is undoubtedly an example of the new trends in the archiving of AV cultural heritage. With almost 3 TB of digitized and recorded AV materials (including 14 collections of folk songs, tales, customs, etc., documentary videos, recordings of concerts, Dimitrije Buzarovski's compositions, books, papers, etc.), BuzAr successfully accomplishes its mission for the preservation of Balkan cultural heritage. Established in 2012 as an archive based on the voluntary work of UKIM FM professors Dimitrije Buzarovski and Trena Jordanoska, it has become one of the major sources for Macedonian and Balkan music culture, housing over 70,000 audio, video, photo, text, and score files. In order to promote and make its digitized materials accessible, starting from May 28, 2021, the BuzAr YouTube channel was opened, with posts every four days. As of April 1, 2024, 287 videos have been posted. Additionally, a Facebook page was opened, linking to the YouTube channel and providing additional texts (in Macedonian) with explanations regarding the videos. Among the latest initiatives of BuzAr is MCMFS (Multimedia Corpus of Macedonian Folk Songs), where digitized recordings and transcriptions are combined with Sibelius score files and video recordings of performances made specifically for this occasion in 2023/2024, in an integrated video. BuzAr is an example of adjustments to new technologies, media, and particularly the competition with social networks, where individuals are making enormous contributions to the archiving processes of cultural heritage. In addition, BuzAr online files enable promotion and easy access and further indexing for AI use.
Open Zoom
