BASE delovna skupina SIEF (International Society for Ethnology and Folklore): Telesa, afekti, čuti in čustva
3. delavnica v Ljubljani, bo 4. in 5. junija 2020
Kraj: Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti
Tretja BASE delavnica želi predstaviti raziskave, ki jih opravljajo članice in člani delovne skupine in drugi raziskovalke_ci, katerih raziskave so osredotočene na telo, afekte, čute in čustva.
K sodelovanju vabimo 20-minutne predstavitve znanstvenic_kov iz polja umetnosti, humanističnih in drugih ved, ki se osredotočajo na telesa, afekte, čustva, čute iz različnih vidikov (iz diahrone in sinhrone perspektive, itd.). Posebej pozdravljamo predstavitve, ki se osredotočajo na »kolektivna postajanja” – afektivno politiko v času svetovnih uporov.
Predloge z največ 300 besedami, ki jih spremlja življenjepis z največ 100 besedami, pričakujemo do ponedeljka, 3. februarja 2020 na e-pošto: firstname.lastname@example.org in na email@example.com.
Organizator_ke delavnice v Ljubljani :
Dr. Ana Hofman, dr. Martin Pogačar, Teja Komel Klepec (Inštitut za kulturne in spominske študije ZRC SAZU)
The panel will touch affection of sounds and politics in SE Europe in the widest anthropologically relevant aspects: from sound studies to anthropology of music and dance. It will especially theorize cross-sections of art and politics, work and leisure, affect and defiance, past and the present.
Preberi več ““Affection of Sounds and Politics in South-Eastern Europe: Challenges and Perspectives” – EASA, konferenca 2020″
Ana Hofman v debati o dekolonialnosti in etnomuzikologiji z: Naila Ceribašić, Institute of Ethnology and Folklore Research, Zagreb; Regina F. Bendix, Institute for Cultural Anthropology/European Ethnology, Göttingen, Germany; Olga Pashina, State Institute for Art Studies, Moscow, Russia; Timothy Rice, Department of Ethnomusicology, University of California, Los Angeles, USA; Jonathan P. J. Stock, Department of Music, University College Cork, Ireland
Članek je dostopen na tej povezavi.
It is the evening of 11 December in Vienna’s 15th district, and I am sitting with Jana, Lejla, and Šarlot, eagerly awaiting the screening of a documentary about a unique community choir on the occasion of its fourth anniversary. We are in Brunnengasse, known as a migrant district of Vienna, at the AU Gallery, which is starting to crowd with men, women, and children of all ages and various ethnicities, all of them warmly greeting each other. In this setting, through the documentary and a public rehearsal that soon began, I became acquainted with a most interesting Viennese singing collective, the 29th of November Choir. Vienna is a city known for its music, and one can expect many different musical networks, organizations, and professional bodies. And yet the choir members, many of whom I met at the documentary screening, do not perceive themselves as musicians at all. Rather, they claim radical amateurism, musical self-education, and self-organization. Why?
Ana Hofman je predavala na Inštitutu za Slavistiko, Univerza na Dunaju
In this talk, I examine how affective power of collective singing (and listening) of partisan songs is an essential aspect of the construction of Yugoslav revolutionary subjectivity. I draw on my long-term research on the genre of partisan songs, its affective politics during Yugoslav socialism and its afterlife in the post-Yugoslav societies. Looking at the iconic soundtracks from the partisan films Bitka na Neretvi (1969) and Užička Republika (1974), I observe the affective encounters produced by and through the auditory experience of partisan songs as a main tool for portraying collective revolutionary becomings. The fact that partisan songs are “born” in the moment of struggle and resistance suffuses them with a particular drive or spirit that triggers the songs’ mobilizing force and enables mobilization on various somatic, sensorial, emotional and cognitive levels. For this reason, they are not employed in the films as a tool for mediating a particular set of ideas and values, but are primarily as affectively imbued sonic objects. In other words, affective power of collective singing and listening is used to portray the emergent revolutionary sense of collectivity as highly somatic and affective experience. In this talk, I first examine the historical discourses of the affective power of partisan songs with an emphasis on their collective authorship, performance, mediation and circulation. In the second part, I engage with complex overlapping histories and memories of the antifascist struggle, resistance, and revolution as condensed in an aural experience that is capable of transmitting a spirit of the moment of Yugoslav partisan struggle with all its revolutionary exceptionality.
Konec oktobra je v okviru Erasmus+ učiteljske izmenjave na Oddelku za etnologijo in kulturno antropologijo na Univerzi v Zadru predavala doc. dr. Alenka Bartulović, ki je med drugim govorila o zamišljanju bodočnosti v povojnem Sarajevu in o vlogi glasbe pri antinacionalističnem aktivizmu. V drugem predavanju je predstavila raziskavo o afektivnosti in političnosti bosanske glasbe v Ljubljani.