On the website https://soundcloud.com/markotadik/sets/13-pieces-for-prvomajska one can listen to the sound installation by artists Marko Tadić and Miro Manojlović “Concrète machines: 13 pieces for Prvomajska”. These sound pieces have been used at the exhibition in the framework of The Second Biennale of Industrial Art in Istria under the title “On the Shoulders of Fallen Giants.” The installation was placed in the cinema hall in Raša, a small mining town, known as the youngest town in Istria: it was built in 1936 and 1937 to be home of miners and their families. The mines were closed only 30 years later, and the town is today just a monument to mining life and labor. The cinema hall also lost its function – its interior is emptied of seats and void of function. It is just one among many empty, ruining buildings in this town, built by Italians during their administration in Istria. The town that was carefully conceptualized to cater the needs of its inhabitants, for a long time already stands still, bond with the past, as a monument to a bygone era, and as a ruin of the imagination of the future that industrialization used to embody.
The empirical study in which we focus on the affective and emotional potential of music in shaping political collectivities also involves fieldwork at selected communal events, such as official and unofficial commemorations, festivals, protests. In addition to autoethnography, on which researchers of affective and emotional states often base their approach, we are primarily interested in the singing and listening experiences of active participants. Of course, a question immediately came up: How to capture those momentary states or bodily responses to music performance (before, during or after the event)? We wanted to collect data on an individual’s bodily experience, but we didn’t opt for a neuroscientific approach. Namely, we see such an approach as limited, as it often neglects previous experiences or histories of performance and listening involved in “current” bodily reactions (see Martin 2013). However, we don’t deny that a combination of the two would also contribute to our approach.
The online discussion was hosted by Samuel Araujo and several ethnomusicological organizations in Brazil (Ethnomusicology Laboratory and Musiculture Group – Tide, UFRJ, UFPA Ethnomusicology Laboratory composed of the Studies Group on Music in Pará, Research Group on Music and Identity in the Amazon, both from UFPA, and the Studies Group of Music in the Amazon, from UEPA).
Shortly after lockdown in Italy began, Italian apartment-dwellers started joining in co-ordinated singing from their balconies, including the song that had just won the Sanremo Music Festival and was still officially Italy’s entry for the 2020 Eurovision Song Contest. When it became clear that that too would have to be cancelled, Eurovision fans rallied together on social media to bind their sense of community back together by watching past contents online. Continue reading “Catherine Baker: The space of an embrace: Eurovision’s affective communities in lockdown”
A couple of years ago I was browsing YouTube videos when a video popped of a 1941 recording of an old Slovenian choir song Lipa zelenela je (“The linden tree grows green”). I knew the song only too well. It was a ubiquitous sonic feature of my growing up in the socialist Slovenia/Yugoslavia, part of choir repertoires, and a popular funeral song (as it is today). Hence it was generally disliked at the time by myself and my peers, and also became a matter of pop musical reinterpretations. Lačni Franz, for example, took the title and ironicised the funeral motive in his reinterpretation of the song. However, I hardly knew anything about the 1941 recording that, found on YT about 75 years later, shows two images, one of a map of occupied Slovenia during the Second World War (1941–1945) and another of Ljubljana under fascist occupation (1941–1943).
Lipa zelenela je. 1941 performance. Source.
We live in deeply paradoxical times. Everybody has access to more music than ever, but at the same time music is becoming less and less powerful as a social activity. Music – especially popular music – does still affect society, but not the way it did decades ago. All around the western world, music venues are rapidly disappearing or barely surviving at the margins. Pocket loudspeakers occasionally disturb social “peace”, but earphones seem to inscribe definite symbolic boundaries in everyday reality, at home and in public.
Still, music’s basic appeal has not changed, with it being the most effective symbolic practice that catches both the whole body and the mind. It is essentially intimate, social and common at the same time. Live music will not disappear so easily.
In this short post I will present some thoughts related to continuous encounters with various music venues in Slovenia in several capacities – as part of the audience, as an active participant in the establishment and short-term operation of such a venue, as a musician, and, finally, as a researcher. In the 1990s I studied the Rock and Youth Club in the Slovenian village of Trate, which eventually became a dissertation-based monograph.
Music and Musicians “in the Days of Corona” – creating a new hope or deepening inequalities?
Coronavirus (COVID-19) pandemic not only determines our agenda but also surrounds us all. What we do and what we cannot, everything is related to it. We live through the pandemic and speak its language. Our way of seeing the present world, our ways of understanding the past and envisioning the future are all under transformation. This epistemological shift, most probably, will become more distinctive in the following days and we will discuss it a lot. My intention here is to think about how our relationship with music gets and can get its share of this transformation.
Keywords: Corona pandemic, precarity, solidarity
Ana Hofman: Dear SEM : a response column … with Dr. Ana Hofman … SEM student news. fall/winter 2020, vol. 15, no. 2, str. 4-6. ISSN 2578-4242.
The 3rd BASE workshop seeks to explore the work which is currently being done by working group members and other researchers whose work focuses on the body, affects, senses and emotions.
We invite 20-minute presentations from scholars across the arts & humanities concerned with the focus of the working group – bodies, affects, emotions, senses – but taking a variety of perspectives (historical, synchronic etc). We especially welcome presentations that focus on “collective becomings” – affective politics in the time of global uprisings.
Proposals of no more than 300 words, accompanied by a max 100-word biography, should be submitted to Ana Hofman firstname.lastname@example.org and to email@example.com by Monday, 3 February 2020.
Workshop Convenor: Dr. Ana Hofman, Institute of Culture and Memory Studies, Research Centre of Slovenian Academy of Sciences and Arts
Venue: Research Centre of the Slovenian Academy of Sciences and Arts
Local organising team: Dr. Ana Hofman, Dr. Martin Pogačar, Teja Komel Klepec (Institute of Culture and Memory Studies, Research Centre of Slovenian Academy of Sciences and Arts)
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.