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Transcultural Mobilities and Memories” International Online Conference “Transcultural Mobilities and Memories” HTTP://CEHUM.ILCH.UMINHO.PT/MOBILITIES 15 & 16 APRIL/ABRIL 2021 ABSTRACTS AND BIO-NOTES RESUMOS E NOTAS BIOGRÁFICAS Congresso Online Mobilidades e Memórias Transculturais Online Conference Transcultural Mobilities and Memories Site: http://cehum.ilch.uminho.pt/mobilities Resumos e Notas Biográficas / Abstracts and Bio-notes Dia / Day 1 - Quinta-feira / Thursday - 15 de Abril / April Keynote / Palestra plenária 1: Astrid Erll (Goethe University Frankfurt) The Transcultural Challenge: Thinking about Mobility and Memory without the ‘Lies that Bind’ In this lecture I argue that the particular link between social group, memory, and identity as it was theorized by Maurice Halbwachs and has become a building block of Memory Studies, is no longer tenable – and perhaps was never quite accurate. It is a product of the age of nationalism. But this nineteenth-century thinking is of little use in the twenty-first century, our age of heightened worldwide mobility. How can we think about the relations between people in ways that are less detrimental – and intellectually more consistent – than the ‘lies’ (sensu Appiah) we’ve told ourselves about race, ethnicity, religion, cultural history, and collective identity? And how can Memory Studies help us address questions of living-together in increasingly diverse societies? Meeting this ‘transcultural challenge’, I argue that thinking about relationality, indebtedness, and responsible inheritance may be useful ways of understanding memory in an age of mobility. No Bio-note: Astrid Erll is Professor of Anglophone Literatures and Cultures at Goethe-University Frankfurt. She has worked on German, British, South Asian, American, and South African literatures and media cultures. Her research interests include literary history (focus on 19th- 21st centuries), media history (focus on film and photography), English and comparative literature, cultural theory, media theory, narratology, transcultural studies and – last not least – memory studies. 1 Astrid Erll is general editor of the book series Media and Cultural Memory (with A. Nünning, De Gruyter, since 2004) and co-editor of A Companion to Cultural Memory Studies (with A. Nünning, 2010) and Mediation, Remediation, and the Dynamics of Cultural Memory (with A. Rigney, 2009). More recently, she published with Ann Rigney Audiovisual Memory and the (Re)Making of Europe (Image & Narrative, 2017) and Cultural Memory after the Transnational Turn (Memory Studies, 2018). She is author of Memory in Culture (Palgrave 2011), an introduction to memory studies which was originally published in German as Kollektives Gedächtnis und Erinnerungskulturen (2005, 3rd ed. 2017) and has also been translated into Chinese, Spanish, and Polish. In 2011, Astrid Erll founded the Frankfurt Memory Studies Platform, a vibrant forum for memory studies across the disciplines, connecting researchers both in Frankfurt and internationally. In 2016, she received a research grant from the VolkswagenStiftung for an „Opus Magnum“ on the reception of Homer as cultural memory (“Odyssean Travels: A Literary History of Cultural Memory“). _________________________________________________________________ Painel/Panel 1 1- Helena Maria da Silva Santana (Universidade de Aveiro) Maria do Rosário da Silva Santana (Instituto Politécnico da Guarda) A memória nos tempos modernos: quando as ações culturais nos comunicam espaços de saber, mitos, lendas, tradições. Portugal suportou nos últimos anos transformações que metamorfosearam a sua paisagem material e imaterial traduzida em mudanças a nível social e cultural às quais não podemos ficar alheios. A recuperação dos territórios tem conduzido ao (re) aproveitamento e desenvolvimento de novas valências sociais, de renovadas identidades territoriais e culturais, preservando tradições. Neste contexto, surgem ações de divulgação e dinamização de territórios cujas dinâmicas dependem das atividades sociais e culturais aí desenvolvidas. Questionando as narrativas e as poéticas gestuais, visuais e sonoras propostas pelas diversas ações culturais que se dinamizam nesses territórios, vemos no uso da Máscara um rito apoiado em mitos que revelam a particularidade dos contextos onde se exteriorizam estes rituais. Assim sendo, a preservação da tradição transforma-se num importante fator para a conservação da autenticidade e da cultura de uma região, promovendo a conservação de lendas e mitos que se podem mostrar em ações tais que A Guarda Folia - O enterro do Galo, uma ação que permite aferir das diferentes manifestações que ora se dizem nas tradições, mitos e lendas locais, ou no Caretos do Nordeste Transmontano entre outros eventos. Assim, nesta comunicação, temos como objetivo principal a identificação e apresentação de dois recursos culturais do nosso território, percebendo como o património reflete a forma como um povo, uma nação, um país, se diz, num espaço vivencial que se mostra cada vez mais plural e multicultural. Neste contexto, pretendemos efetuar uma reflexão sobre a forma como a Máscara surge e se expressa enquanto recurso, mas também como espaço de narrativa multicultural. Concomitantemente, salientaremos a especificidade das construções e das narrativas propostas pelos Caretos da região de Trás-os-Montes, ou dos 2 Cardadores de Vale-de-Ílhavo. A Máscara está ainda presente nas poéticas gestuais, visuais e sonoras do Boi Bumbá, ou do Perú, naquilo que se mostra em a Diablada. Palavras-Chave: Máscara; Boi Bumbá; Diablada; Narrativas visuais; Enterro do Galo Nota Biográfica: Helena Santana Helena Santana estudou Composição Musical na Escola Superior de Música e Artes do Espectáculo do Porto. Em 1998 obteve o grau de Docteur na Universidade de Paris-Sorbonne (Paris IV) defendendo a dissertação intitulada - “L’Orchestration chez Iannis Xenakis: L’espace et le rythme fonction du timbre”. Desde 2000, desempenha as funções de Professor Auxiliar no Departamento de Comunicação e Arte da Universidade de Aveiro. Pertence à unidade de Investigação – Inet-MD -, realizando diversa investigação no domínio da música contemporânea. É coautora do livro, (semi)- BREVES. Notas sobre música do século XX, e autora do livro (In)EXISTÊNCIAS do SOM. Nota Biográfica: Rosário Santana Rosário Santana estudou Composição Musical na Escola Superior de Música e Artes do Espectáculo do Porto. Em 1998 obteve o grau de Docteur na Universidade de Paris-Sorbonne (Paris IV) defendendo a dissertação intitulada - “Elliott Carter: le rapport avec la musique européenne dans les domaines du rythme et du temps”. Desde 1999, exerce funções de Professora Coordenadora no Instituto Politécnico da Guarda. Pertence à Unidade de Investigação da referida instituição, bem como ao INET-MD. É co-autora do livro, (semi)- BREVES. Notas sobre música do século XX, publicado pela Universidade de Aveiro. 2- Karla Barroso (Universidade Federal do Estado do Rio de Janeiro) Samba-enredo, rastros e memórias Vivências múltiplas e experiências são compartilhadas num mesmo tempo e espaço, o fato de interagirmos com sujeitos distintos socialmente, abarcam nessas relações laços e rompimentos. Simultaneamente, elaboramos nossa memória, não vivemos sem trocas e circulação de significados, conforme aponta Hall (2015). Os indivíduos interpretam, vivem suas realidades, negociam, atuam em seus dramas assimilando os aspectos externos da vida social, conforme a proposição de Halbwachs (2006) no entendimento dos conceitos de memória coletiva e individual, representa o coletivo, a ideia de um grupo social, o individual se submete as prioridades do coletivo nas negociações sociais. A proposta dessa comunicação, abordar uma das representações culturais elaboradas nas estratégias de sobrevivência cultural nos processos da diáspora africana no Brasil: o samba-enredo. O samba-enredo, gênero musical brasileiro, um dos elementos norteadores da memória das escolas de samba, do samba e identidade cultural, pois, em suas narrativas a presença de rastros culturais e vestígios de termos relacionados ao léxico africano, se assemelha com a ideia de espaços de recordação proposto por Assman (2009). São relatos de mitos que sobrevivem contados de geração em geração na vida cotidiana e narrados no samba-enredo. A memória, a oralidade e a tradição perpassam toda a 3 construção cultural. O mito é interpretado, reinterpretado e atualizado. O samba-enredo convoca e envolve pelas nuances da memória coletiva que são descritos nas suas letras e música. Palavras-chave: Samba-enredo; Memória coletiva; Estudos Culturais; Diáspora africana; Rastros. Nota Biográfica: Sou Museóloga, Mestra em Memória Social e tenho colaborado com investigações que abordam os seguintes temas: Narrativas, Memória Coletiva, Diáspora Afro Brasileira e Patrimônio Cultural. Interesso-me profundamente pelas formas específicas de transmissão de saberes, nas redefinições e reconfigurações provocadas pelos deslocamentos e a desterritorialização dos grupos culturais que transpassam o Atlântico Negro, pois, considero o processo dessa diáspora como afirmação das identidades culturais. 3- Sergio Schargel (Instituto Igarape) Reticências: pós-memória e reconstrução nos Schargels/Szargels O testemunho é vital para que gerações posteriores possam construir uma identidade. Na ausência de narrativas, no silêncio, a memória é mutilada, substituída por retalhos, forma- se uma pós-memória. Este ensaio trata das questões relativas ao desconhecimento do passado utilizando, para isso, de uma reconstrução de arquivo da história
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