Spatializing Galician Music at the International Festival of the Celtic World of Ortigueira Ana-María Alarcón-Jiménez Tese de Doutoramento em Ciências Musicais (Etnomusicologia) Julho 2017 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Ciências Musicais (Etnomusicologia), realizada sob a orientação científica das professoras Doutoras Salwa El-Shawan Castelo-Branco e Cristina Sánchez-Carretero Aos meus pais, Hernando e Pilar, meus irmãos, Andrés e Camilo, meu sobrinho, Dante, e ao meu companheiro de viagem, Luis 2 ACKNOWLEDGEMENTS I would like to thank, first and foremost, my dissertation advisors Dr. Salwa El Shawan Castelo-Branco and Dr. Cristina Sánchez-Carretero. I am especially grateful for their continuous support and their intellectual and moral encouragement, sent tirelessly from and to different points of the Iberian Peninsula. In addition to the travels related to my field research in Galicia (Spain) and to the completion of my Ph.D. courses in Lisbon (Portugal), the writing of this dissertation took place on the move, as I came to a new continent, got a new nationality, and changed my city of residence three different times. Dr. Castelo-Branco and Dr. Sánchez-Carretero have been moving with me as advisors, by making use of the latest communication technologies as well as of online and off-line academic resources. This dissertation is one of the results of the research project entitled Celticism and its Musical Repercussions in Galicia and Northern Portugal, supported by the Fundação para a Ciência e a Tecnologia, coordinated by Professor Salwa El-Shawan Castelo-Branco and based at the Instituto de Etnomusicologia-Centro de Estudos em Música e Dança (INET M-D), of the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa. My work is thus deeply indebted to the authors of the project, Dr. Salwa El Shawan Castelo-Branco and Dr. Susana Moreno Fernández, as well as to all the scholars from Portugal and Spain who integrated this project. Furthermore, the Celticism project provided financial support throughout the different stages of this dissertation, including its preparation, field, and archival research, dissemination at national and international conferences, and writing. I am deeply indebted to INET M-D, its president, Dr. Salwa El Shawan Castelo-Branco, and FCT, for this support. I am grateful to all the scholars, staff members, librarians, and friends I met and learned from at both the INCIPIT, Institute of Heritage Sciences (Spanish National Research Council), in Santiago de Compostela, and the Milà I Fontanals Research Center (Spanish National Research Council) in Barcelona. In particular, I am indebted to Dr. Cristina Sánchez-Carretero and Dr. Guadalupe Jiménez Esquinas, in Santiago, and to Dr. Josep Martí and Dr. Luis Calvo, in Barcelona. Other scholars that have made this dissertation possible include Galician historian Lourenzo Fernandez Prieto and Spanish musicologist Javier Campos Calvo-Sotelo, who (independently) mailed me their books at 3 no cost directly to my house, as finding their documents online or in the local libraries available to me was impossible. I am also deeply grateful to the Department of Ethnomusicology of the Graduate Center of CUNY, where I started my doctoral studies in Ethnomusicology and where I returned to in 2014, as a three-month visiting student. I feel indebted to Dr. Jane Sugarman and to Dr. Peter Manuel for inspiring me to read, write, and, teach with passion. Before them, my teachers and mentors at the University of California, in San Diego, at the University of Arkansas, in Fayetteville, and at the National University of Colombia, in Bogotá, have all helped me to walk this thrilling but certainly challenging research path. I am immensely grateful to Ramón Pinheiro and the school/music project A Central Folque, of which Ramón is a founder and Artistic Director. Ramón and Sabela welcomed me into their house, their library, and their deep knowledge of Galicia and Galician music. Ramón has generously shared his time with me, answering at length all my questions, and guiding me to the right sources. Ramón’s friend and colleague, José Luis Pico Orjais, has also been extremely generous with his knowledge and time. In Ortigueira, I was guided by Marías and in Espasante by Fredi López. Both of them made me feel at home, taught me about Galician music and dance, and invited me to their rehearsals. I am also thankful to Antón Hermida and his mother Olga (members of the family who owns the Bar Caracas, in Ortigueira), to Belén Pérez Pérez, to all the members of Gamelas e Anduriñas, to all the members of the Escola de Gaitas de Ortigueira, to the group Os Devotos, and to all the musicians in Ortigueira and other parts of Galicia who generously shared their knowledge, stories, and music with me. I am deeply indebted to my family (including my “academic family”) and friends. My mentors and deer professors Elizabeth J. Markham and Rembrandt F. Wolpert have been a source of endless inspiration and support throughout my ethnomusicological path. Their contribution, reading this dissertation, and helping me with corrections and suggestions, has been invaluable to me. My friends Alex Khalil, Bart Vanspauwen, and Carolina Rodríguez have been there, lovingly and patiently, at all moments. And lastly, my family in Colombia, Mexico, France, and Spain, have been a center of unconditional love and support. Luis, my husband, has helped me more than I can say. 4 SPATIALIZING GALICIAN MUSIC AT THE INTERNATIONAL FESTIVAL OF THE CELTIC WORLD OF ORTIGUEIRA ANA-MARÍA ALARCÓN-JIMÉNEZ ABSTRACT This dissertation inquires into the process of locating socio-musical relations and practices, pertaining to Galician Music, in the context of the International Festival of the Celtic World of Ortigueira (1978 to the present). It aims to show, first of all, that the festival itself was a result of the process of spatialization of Galician Music in post-Franco Ortigueira. This process was led and developed by the members of the Escola de Gaitas de Ortigueira, a grassroots, free of charge music school founded in 1975, made up of voluntary teachers, children, and young people from this town. Drawing on anthropologist Setha Low’s definition of spatialization as the process of "locating, both physically and conceptually, social relations and social practice in social space" (1999, 111), I argue that the initial process of spatialization of Galician Music at the IFCW (1978- 1983), together with the broader process of spatialization of Galician Music in Ortigueira, produced an alternative sense of locality in Santa Marta de Ortigueira. Although pretty much absent from present-day Ortigueira, this “alternative locality” is still embedded in the collective meaning of the festival, and local Galician-music performers are struggling to maintain it. Contrasting the historical emergence of the IFCW with the present state of the festival (2011-2013), this work expounds on the changing process of spatialization of Galician Music within the IFCW, highlighting, though, its continuity as a practice of resistance. RESUMO Esta tése investiga o processo de localização das relações e práticas sócio-musicais, pertencentes à música galega, no contexto do Festival Internacional do Mundo Celta de Ortigueira (IFCW) (1978 até o presente). Pretende mostrar, antes de tudo, que o próprio festival foi resultado do processo de espacialização da música galega em Ortigueira no período pós-Franquista. Este processo foi liderado e desenvolvido pelos membros da Escola de Gaitas de Ortigueira, uma escola de música de base, fundada em 1975, formada por professores voluntários, crianças e jovens deste povoado. Baseada na definição de espacialização da antropóloga Setha Low, como o processo de "localizar, tanto física quanto conceptualmente, as relações sociais e as práticas sociais no espaço social" (1999, 111), argumento que o processo inicial de espacialização da MúsicaGalega no IFCW (1978-1983), juntamente com o processo mais amplo de espacialização da música galega em Ortigueira, produziu um sentido alternativo de localidade em Santa Marta de Ortigueira. De fato, o IFCW repetiu e reafirmou a possibilidade de ser local, e 5 diferente. Apesar de estar quase ausente da atual Ortigueira, esta "localidade alternativa" ainda está inserida no sentido coletivo do festival, e os artistas locais de música galega estão a lutar para mantê-lo. Contrastando o surgimento histórico do IFCW com o estado atual do festival (2011-2013), este trabalho aborda o processo de mudança da espacialização da Música Galega dentro do IFCW, destacando, entretanto, a sua continuidade como prática de resistência. KEYWORDS: Galician music; music festivals; Spanish transition; spatialization of culture; autoconstruction. PALAVRAS-CHAVE: Música galega; festivais de música; Transição espanhola; espacialização da cultura; autoconstrução. 6 TABLE OF CONTENTS Acknowledgements ............................................................................................ 3 Abstract ............................................................................................................... 5 List of Figures ..................................................................................................... 10 Introduction ...................................................................................................... 12 i. Theoretical Framework ........................................................................ 14 ii.