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Kola San Jon, Música, Dança e Identidades Cabo-Verdianas
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This research analyses the cape-verdean performative practice Kola San Jon and their place in the Portuguese diaspora. From field work carried out multi-situated in Alto da Cova da Moura neighborhood, Amadora, Portugal and at Santo Antão Island and São Vicente Island, Cape Verde, the dissertation tries to show how Kola San Jon sow identity bridges with Cape Verde as well as the presence of a proactive leader in the diaspora carries the immigrants to an area and actually links to Lusophone. Kola San Jon represents the memorie and feelings of African roots but at the same time appears like be proud of who got out and have a future desired by many.
It is through a mainly ethnomusicologic research I develop this study, in which seek I try to understand how social, historical and performative narratives wander around music and identity, within a location of negotiation where the memory compliments tradition.
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... O cortejo de Colá Son Jon apresenta uma dimensão na qual a dinâmica das memórias, das retóricas e narrativas não só apresenta uma polissemia de significados (MIGUEL, 2010), mas também é constantemente renegociada pelos atores que protagonizam os eventos. A estrutura do cortejo está definida em três elementos básicos que se complementam: O navio ou navios e o seu comandante, o grupo de tamboreiros e o grupo de coladeiras. ...
... A uma distância calculada entre elas, partem uma para a outra, ao ritmo do toque dos tambores e dão a umbigada e depois afastam-se para uma nova corrida, sempre ao ritmo cadenciado do toque. Por vezes também se formam em grupos de quatro colocando em cruz, ou seja, quando duas se afastam, outras duas colam, aproximadamente no mesmo lugar que será mais ou menos o centro da cruz» (SILVA, 1992apud RODRIGUES, 1997 (1997: 45) Por sua vez, Miguel (2010), ao descrever uma «toca» entre somente três tamboreiros e um tocador de apito, aponta para um motivo rítmico base para os tambores nas suas transcrições e outro motivo rítmico base para o apito (ver Figura 22. A), sendo que este último é repetido inúmeras vezes pelos músicos. De acordo com a pesquisadora, em segundo lugar há uma variação para os tambores, a qual ela elucida em nota de rodapé afirmando que as células rítmicas desta variação são, na verdade, muito próximas do motivo original, e outras variações para o apito (ver Figura 22. B e C), sendo que a execução destas últimas variações é aleatória no número de repetições e no momento que a realizam. ...
... O grupo de Colá Son Jon Botafogo, ao contrário dos outros grupos de Colá Son Jon em Porto Novo, realiza ensaios de preparação para a noite de desfiles do dia 22 de junho. Este aspeto foi fundamental para o meu trabalho de campo, pois acompanhando os ensaios, certamente encontra-ria uma forma de identificar os membros mais ativos e as formas de organização praticadas por eles, uma vez que, como já foi constatado por Miguel (2010) Durante as reuniões, a pessoa que falava em nome do grupo era um dos «capatazes» do cortejo. Os outros integrantes do grupo de coladeiras ou do grupo de tamboreiros, também tinham palavra para dar sugestões, fazer reclamações, etc. ...
KEYWORDS: Colá Son Jon, sociability, music, tamboreiros, Cabo Verde,
popular festivities.
This research is about the festivities of Colá Son Jon in the city of
Porto Novo, at the island of Santo Antão in Cabo Verde. One has proposed
to analyze, with special attention, the performance of the most
important musicians to the festivity, the tamboreiros, and their place in
this cultural manifestation trajectory, which, in turn, has been going
through significant transformations in these last decades. Fieldwork has
encompassed three steps. Two of them were carried out during the festivities
period, in the month of June in the years 2013 and 2014, and the
remaining one was carried out during December 2013 at the island of
Santo Antão, when one has tried to analyze the diverse forms of sociability
practiced by the residents of an outskirt neighborhood during the
mobilization that precedes, and remains until the end of the festivities.
The festivities of Colá Son Jon are deeply related to the island ancestor’s
ways of living through memory, the use of symbolic objects and the
living representations during this cycle.
The ethnomusicological approach comes into play in my work, in
order to comprehend the tamboreiros’ task from their perspective. In my
methodological procedure, I seek to value the practices and knowledge
that makes them legitimate as one of the main elements that constitute the
festivities of Colá Son Jon. In addition, the analytic decision of valuing
the functional approach of music, in order to value a unitary conception,
allows us to enter the various ways how we express ourselves rhythmically,
in a variety of rhythmic signification.
... It is this interdisciplinary context in which, in the last decade, projects related to musical practices of a quite different nature have been proposed in relation to most of the others that have been carried out previously in Portugal. In particular, the research for the master thesis of Ana Flávia Miguel (2010) has opened the field to diverse modalities of experiencing the research process. Facilitated by the pioneering work of Jorge Castro Ribeiro on the musical practice of the batuque developed in Cape Verde and in the Cape Verdean migrant neighborhood Cova da Moura (Ribeiro, 2012 and, Miguel's (2010) work on the performative practices related to the Kola San Jon festival in the same neighborhood, has consolidated the ground for an intense collaboration between the INET-md/UA and the inhabitants of Cova da Moura. ...
... In particular, the research for the master thesis of Ana Flávia Miguel (2010) has opened the field to diverse modalities of experiencing the research process. Facilitated by the pioneering work of Jorge Castro Ribeiro on the musical practice of the batuque developed in Cape Verde and in the Cape Verdean migrant neighborhood Cova da Moura (Ribeiro, 2012 and, Miguel's (2010) work on the performative practices related to the Kola San Jon festival in the same neighborhood, has consolidated the ground for an intense collaboration between the INET-md/UA and the inhabitants of Cova da Moura. ...
In the last few years, a group of researchers of the branch of the University of Aveiro of the Instituto de Etnomusicologia-Centro de Estudos em Música e Dança (INET-md/UA)-has been involved in ethnographic collaborative activities with vulnerable social groups. The shifting from research practices centred in the identification, analysis and explanation of events, to what we define as shared research practices, is deeply influencing the research group. Its priorities are increasingly decided through a dialogue between the academia and non-academic communities, originating an ecological process of construction of knowledg-es in music that goes towards knowledge de-hierarchization. This process is still in its initial stage and sometimes it has contradictory aspects. It is influenced by disagreements between the needs of the academia (who marks short research production times) and those of the communities (who need long-term sustainability). But at the same time, it is defined by unexpected and fruitful encounters. KEY WORDS Ethnomusicology, participatory methodologies, co-utility and transmodality of knowledges, Portugal. PRÁCTICAS DE INVESTIGACIÓN COMPARTIDA EN MÚSICA. TENTATIVAS Y DESAFÍOS DESDE PORTUGAL RESUMEN En los últimos años, un grupo de investigadores-md/UA)-se ha involucrado en una serie de actividades colaborativas de carácter etnográfico con grupos socialmente vulnerables. El pasaje de prácticas de investigación centradas en la identificación, análisis y explicación de fenómenos, a las que definimos como prácticas de investigación compartida, está influenciando profundamente la labor del grupo: cada vez más sus priori-dades se construyen en un diálogo continuo entre academia y comunidades, generando un proceso ecológico de construcción del conocimiento en música, que se mueve hacia una desjerarquización de saberes. Se trata de un proceso aún inicial y a veces contradictorio, hecho de desencuentros entre las necesidades de la academia (que marca tiempos de produc-ción de resultados de investigación cada vez más breves) y de las comunidades (que requie-ren procesos compartidos sostenibles en el tiempo), pero también de encuentros inesperados y fructíferos. PALABRAS CLAVE Etnomusicología, metodologías participativas, co-utilidad, transmodalidad, Portugal. 359 ANA FLÁVIA MIGUEL, DARIO RANOCCHIARI and SUSANA SARDO
... as festividades são celebradas em cortejo pelas ruas, largos e vielas do bairro, bem como pela Baixa Pombalina na noite de 12 de junho, consagrada a santo antónio de Lisboa. após quase três décadas de existência e de surpreendente trajetória (Miguel, 2010), a festa foi em 2013 inscrita, em Portugal, no inventário nacional de Património Cultural imaterial, vendo assim o seu valor cultural oficialmente reconhecido pelo estado Português. ix no início da década de 1990, período em que começa a celebrar-se na Cova da Moura o Kola San Jon, as pesquisas sobre imigração e minorias étnicas em Portugal indicavam que aproximadamente 80% dos imigrantes oriundos dos países africanos de língua oficial portuguesa (PaLOP) residia em habitações precárias, nos chamados "bairros clandestinos", e eram reféns de empregos marginais no mercado de trabalho, sem possibilidades de mobilidade social (Bruto da Costa et al., 1991, citado em Horta, 2000. ...
... vii Para informações etnográficas sobre estes ciclos vide Miguel (2010Miguel ( , 2016 e Lopes (2017Lopes ( , 2020. viii Por exemplo, os serviços municipais de saneamento não operam no espaço do bairro nos moldes em que tal se dá em outras áreas do concelho da amadora. ...
RESILIENT FORMS OF TRADITION IN THE AFRICAN DIASPORA
IN LISBON: KOLA SAN JON AND THE RIGHT TO THE CITY. The contemporary urban sphere presents us with challenges of different (dis)orders and is itself one of the main issues to be addressed nowadays. This article deals with the public use of city space in neoliberal times and the modalities and consequences of its appropriation for social life, according to Lefebvre. The essay focuses on the Bairro Cova da Moura and the inscription, in 2013, of the Cape Verdean Kola San Jon in the National Inventory of Intangible Cultural Heritage. The analysis is based on ethnographic research undertaken between 2011 and 2018 and deals with Kola San Jon both as a cultural practice that actualizes social processes and as a strategical identity device that reclaims the visibility of the community. We focus on the yearly festival at Cova da Moura and the schedule of activities outside the neighbourhood, considering the struggle for the valorization of the place in Lisbon Metropolitan Area, as well as the process of recognizing Kola as heritage in Portugal. The reflection around a practice committed to strategies of action that generate forms of resistance and identity-based assertion, takes us to the question of the right to the city, both in relation to a place that capitalism pushes to the margins as well as a playful event capable of the generating citizens’ centralities. Kola San Jon calls to the fore the notion that we currently inhabit, with increasing intensity, webs in which tangled trajectories cross each other, in ways that are more important than frontiers.
Link: https://www.tandfonline.com/doi/full/10.1080/21598282.2021.2024765
As cities experience the effects of increasing inequalities, so social movements, scholars and even mainstream institutions are once again placing Lefebvre’s notion of the “right to the city” on the agenda. This new popularity often strips the concept of its political meaning, namely by approaching Lefebvre’s notion as juridical and as an aspect of a more general way of proceeding by planning, that has effects in terms of what is recognised as part of the political sphere, and of claiming the city. We aim to contribute to the debate through the discussion of a case study interested in a yearly festive event in central Lisbon. Drawing on Henri Lefebvre’s lexicon for an interpretation of popular involvement with public urban life, the article starts with an account of Lisbon’s Fordist socio-spatial segregation, and the neoliberal deepening of gentrification and profit-making urban regeneration. It then focuses on the Cape Verdean performative event Kola San Jon in the context of Lisbon’s Festas da Cidade, and the active involvement of inhabitants of Cova da Moura, a marginalised neighbourhood which has, over the years, drawn on cultural and civic activities for reclaiming a voice in the public space.
En los últimos años, un grupo de investigadores de la sede de la Universidade de Aveiro del Instituto de Etnomusicologia —Centro de Estudos em Música e Dança (INET-md/UA)— se ha involucrado en una serie de actividades colaborativas de carácter etnográfico con grupos
socialmente vulnerables. El pasaje de prácticas de investigación centradas en la identificación, análisis y explicación de fenómenos, a las que definimos como prácticas de investigación compartida, está influenciando profundamente la labor del grupo: cada vez más sus prioridades se construyen en un diálogo continuo entre academia y comunidades, generando un proceso ecológico de construcción del conocimiento en música, que se mueve hacia una desjerarquización de saberes. Se trata de un proceso aún inicial y a veces contradictorio,
hecho de desencuentros entre las necesidades de la academia (que marca tiempos de producción de resultados de investigación cada vez más breves) y de las comunidades (que requieren procesos compartidos sostenibles en el tiempo), pero también de encuentros inesperados y fructíferos.
This paper describes an on-going project, the collaborative Thematic History
of Music in Portugal and Brazil; it details its context, rationale, concept,
structure and the process that led to its public presentation and
preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The
importance of Africa in the understanding of some facets not only of modern
popular music, but also of 16th- 18th century genres in Portugal and Brazil
is particularly stressed; examples of both polyphonic and instrumental music
are given to illustrate this early influence.
In October 2013 the Portuguese Official Gazette published the registration of the performative practice Festa de Kola San Jon, of Cape Verdian origin, in the National Inventory of Intangible Cultural Heritage (PCI). The inclusion of performative practices in the national list of intangible heritage refers, usually, to expressive behaviours associated with the country of registration by attributes of belonging and also to non-discontinued traditions, anchored in the past. In this context, and taking into account the post-colonial profile of the relation between Portugal and Cape Verde, it is important to understand how the classification of Festa de Kola San Jon as Portuguese intangible heritage drives to the reclassification of both Cape Verdian and Portuguese identities. We argue that this procedure is probably a condition to legitimize actions of coexistence, of living together and building a common world among Cape Verdeans, and between Cape Verdeans and the Portuguese. This paper is a draft analysis of three processes: (1) the transplant to Portugal of the performative practice Kola San Jon, (2) how its recontextualization also led to its resignification and, finally, (3) how the patrimony classification is also a way of enabling identity reclassification.
This stimulating Very Short Introduction to music invites us to really think about music and the values and qualities we ascribe to it. The world teems with different kinds of music-traditional, folk, classical, jazz, rock, pop-and each type of music tends to come with its own way of thinking. Drawing on a wealth of accessible examples ranging from Beethoven to the Spice Girls to Chinese zither music, Nicholas Cook attempts to provide a framework for thinking about all music. By examining the personal, social, and cultural values that music embodies, the book reveals the shortcomings of traditional conceptions of music, and sketches a more inclusive approach emphasizing the role of performers and listeners.