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Cuadernos De Etnomusicología Nº2 Cuadernos de Etnomusicología nº2 Cuadernos de Etnomusicología nº2 Abril, 2012 ISSN: 2014-4660 1 Cuadernos de Etnomusicología nº2 © “Poetar cantando nel Mediterráneo ”. Paolo Scarnecchia © “Música Mediterránea. Una realidad imaginada ”. Rubén G ómez Muns © “La Cançó C atalana y el Mare Nostrum . La gran metáfora del mar”. Belén Murillo Martínez © “La uni versalización del flamenco. De M úsica Mediterránea a Música Trasnacional”. Miguel Ángel Berlanga © “Andalusian Music, Cultures of Tolerance and the Negotiation of Collective Memories: Deep Listening in the Mediterranean ”. Jonathan H. Shannon © “La Música andalusí y su destino en Marruecos”. Amin Chaachoo © “La musique kabyle actuelle: entre influ ences orientales et occidentales “. Djamel Benbraham . © “Le chant folklorique au Liban. Composantes et Caractéristiques“. Youssef Tannous © “Los instrumentos en la música de Creta”. Jordi Alsina Iglesias © “ The Musical Role of Turkish Women in Perspectives from t he Mediterranean Music Scene“. Sehvar Besiroglu © “ Anatolian folk songs for soldiers who died in Yemen”. Songü l Karahasano ğlu © Imagen: Juan Eduardo Sara Zaror. Licencia Atribución-NoComercial - SinDerivadas 2.0 Genérica (http://creativecommons.org/licenses/by -nc- sa/2.0/deed.es) © Edición Cuadernos de Etnomusicología . SIBE-Sociedad de Etnomusicología Coordinador Nº2: Rubén Gómez Muns Equipo Editorial Rubén Gómez Muns (Universitat Rovira i Virgili) Teresa Fraile Prieto (Universidad de Extremadura) Maria Salicrú-Maltas (Universitat Autònoma de Barcelona) Eduardo Viñuela Suárez (Universidad de Oviedo) Edita: Este obra está bajo una licencia de Creative Commons Reconocimiento -NoComercial- SinObraDerivada 3.0 Unported . 2 SIBE-Sociedad de Etnomusicología Índice Presentación 4 1. Poetar cantando nel Mediterráneo. Paolo Scarnecchia 5 2. Música Mediterránea. Una realidad imaginada. Rubén Gómez Muns 17 3. La Cançó Catalana y el Mare Nostrum . La gran metáfora del mar. Belén Murillo Martínez 38 4. La universalización del flamenco. De Música Mediterránea a Música Trasnacional. Miguel Ángel Berlanga 80 5. Andalusian Music, Cultures of Tolerance and the Negotiation of Collective Memories: Deep Listening in the Mediterranean. Jonathan H. Shannon 101 6. La Música andalusí y su destino en Marruecos. Amin Chaachoo 117 7. La musique kabyle actuelle: entre influences orientales et occidentales. Djamel Benbraham. 144 8. Le chant folklorique au Liban. Composantes et Caractéristiques. Youssef Tannous 164 9. Los instrumentos en la música de Creta. Jordi Alsina Iglesias 190 10. The Musical Role of Turkish Women in Perspectives from the Mediterranean Music Scene. Sehvar Besiroglu 214 11. Anatolian folk songs for soldiers who died in Yemen. Songül Karahasano ğlu 248 Autores 266 3 Cuadernos de Etnomusicología nº2 Presentación stimados lectores, el segundo número de Cuadernos de Etnomusicología Ees un monográfico dedicado en exclusiva a la música en el Mediterráneo con la participación de investigadores procedentes de diferentes partes del área Mediterránea, ofreciéndonos una amplia diversidad de puntos de vista y temáticas, reflejo mismo de la complejidad que podemos encontrar dentro de esta área. l número abre con un artículo de Paolo Scarnecchia, quien aborda las Ediferentes formas de cantar poesía que podemos encontrar en el Mediterráneo. Seguidamente encontramos dos textos que tienen en común la noción de Mediterráneo como elemento identitario. El artículo de Belén Murillo se centra en la relación entre el Mediterráneo y la Cançó Catalana . En cambio, Rubén Gómez se centra en la noción imaginaria del término Mediterráneo. A continuación encontramos el artículo de Miguel Ángel Berlanga centrado en el flamenco y en su transnacionalización. Todo seguido podemos leer la contribución de Jonathan H. Shannon sobre las nociones de tolerancia y de memoria colectiva que a su juicio implica la música andalusí. En cambio, Amin Chaachoo, quien también trata el tema de la música andalusí, se centra sobre su situación en Marruecos tras realizar una introducción histórica y teórico- musical de la misma. Siguiendo por el Magreb llegamos a la música de la Kabylia argelina, tratada por Djamel Benbraham, quien analiza el debate interno entre influencias occidentales y orientales. Por el contrario, Youssef Tannous nos transporta al Mashreq al explicarnos los elementos y características principales del canto folklórico libanés. Desde las costas libanesas viajamos a la isla de Creta, desde donde Jordi Alsina nos habla del papel de diferentes instrumentos musicales en esta isla y de la importancia ideológica de la ta kritiká (música tradicional griega). De Creta nos trasladamos a Turquía donde Sehvar Besiroglu nos habla del rol de la mujer turca en la música y Songül Karahasano ğlu nos habla de la música turca y su relación con el Yemen. speramos que la lectura de estos once artículos sea de vuestro agrado y Eos ayude a conocer y comprender mejor la complejidad músico-cultural del Mediterráneo. El equipo editorial 4 SIBE-Sociedad de Etnomusicología 1 POETAR CANTANDO NEL MEDITERRANEO Paolo Scarnecchia Astratto Un'arte socialmente utile che vive nel presente - parlando del passato - e guarda al futuro immaginando anche l'impossibile. Questa è la poesia a braccio che assume diversi nomi a seconda dei paesi e dei contesti: cantoria , chjama e rispondi , glosa , mandinadha , ottava rima , spirtu pront , trovo ,zajal , e altri ancora. Nelle sue radici scorre la linfa storica delle lingue materne, ma è soprattutto dall'humus del quotidiano che fioriscono le invenzioni verbali. Cantata in forma di contrasto in buona parte del Mediterraneo, si è adattata ad un mondo in trasformazione, cercando nuovi spazi di trasmissione e di pratica. I suoi cantori, ieri contadini o pastori analfabeti, e oggi studenti universitari o professionisti, la praticano prima di tutto per puro piacere. E chi l'ascolta non può fare a meno di stupirsi... Parola chiave: poesia cantata, trasmissiones, practica Abstract One social artistic manifestation is very useful when at the same time she is living in contemporary time –speaking about the past- and looking to the future with imagination. This is the poetry that assumes different names according to the countries and contextual situations: cantoria, chjama and rispondi, glosa, mandinadha, ottava rima, spiritu protn, trovo, zajal , etc. In their roots flows the historical influence of their tongue languages. All they are sung around the Mediterranean region and they have been adapted to new spaces of transmission and practice as consequence as of one world in continuous transformation. In the past, the poetry was sung for rural and illiterate persons, nowadays, the poetry is sung for university students or professional musicians. All they sang in the past and sing in the present time for pure pleasure. Key words: poetry and music, transmission, practice Una pratica culturale che resiste nel tempo A cavallo tra due secoli - e due millenni - la poesia estemporanea cantata manifesta la sua vitalità e si adatta a nuovi contesti di trasmissione e di esecuzione in modo sorprendente. Questa almeno è l’impressione che si prova facendo un giro d’orizzonte euro-mediterraneo: incontri, rassegne, convegni, feste, laboratori, atelier, spettacoli, pubblicazioni, partenariati, si sono moltiplicati in questi ultimi anni, nonostante il declino della cultura contadina e il conseguente indebolimento della catena di trasmissione tradizionale di questa pratica verbale. 1 Existe una versión modificada de este artículo en lengua portuguesa titulado “Poetar cantando entre o Mediterraneo e o Atlantico” en la reedición de la filmografía de Michel Giacometti. La referencia bibliográfica es: Michel Giacometti – Filmografía Completa Vol.5. Povo que canta , coord. Paulo Lima. Lisboa: Tradisom. 2010 5 Cuadernos de Etnomusicología nº2 Se l’età media dei poeti e del loro pubblico sembrava sempre più avanzata ed era motivo di preoccupazione per la sua stessa sopravvivenza, negli ultimi anni si è assistito ad un ricambio generazionale che rappresenta una transizione e un rinnovamento. Mentre stanno scomparendo i poeti a braccio analfabeti o di incerta scolarizzazione provenienti dall’ambiente rurale e dal ceto medio basso, celebrati come incomparabili rappresentanti di una tradizione umile e allo stesso tempo gloriosa, si affacciano sulla scena giovani acculturati di estrazione sociale diversa, che pur mantenendo l’impronta conforme alla tradizione infondono alla poesia a braccio una diversa sensibilità, espressa soprattutto nei contenuti e nella articolazione del discorso in versi e rime. Come in un contrasto a distanza - nel tempo e nello spazio - si assiste ad una dialettica differita tra città e campagna, che era uno dei temi prediletti delle controversie in ottava rima 2 del passato: salvo eccezioni i giovani poeti di oggi sono prevalentemente cittadini, rispetto alle generazioni precedenti, e hanno spesso titoli di studio universitari. La proverbiale locuzione “poeti si nasce” rivendicata dagli anziani come sinonimo di appartenenza ad una comunità ben definita e simbolo di condivisione dei suoi valori, potrebbe oggi essere messa in discussione da alcune testimonianze del “poeti si può diventare”, attraverso modalità di trasmissione del patrimonio indirette o trasversali. C’è chi ha scoperto la poesia improvvisata per caso e al di fuori del suo ambiente specificatamente d’origine, ed anche le ricerche sul campo non sono più solo un bucolico girovagare tra poderi e masserie ma si possono trasformare in una caccia al tesoro
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