The Re-creation of Medieval Arabo-Andalusian Music in Modern Performance

Reynolds, Dwight F.

doi:10.1080/09503110902875442

Cited by 8 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…18 An early example is a collaboration between the Spanish musician Eduardo Paniagua and the Sudanese oud player and singer Wafir Sheikh. 19 The oud was a reminder of the benefits of European connections with Islamic culture: it could serve as a vehicle for cohabitation rather than conflict. It was a moment of recognition that Europe could work creatively with its neighbours.…”

Section: The Oud In Euro-america: a Bird's-eye Viewmentioning

confidence: 99%

Hearing Global Modernity: The Case of the Travelling Oud

Willson¹

2019

HCM

View full text Add to dashboard Cite

Musical instruments are integrated into the fabric of societies throughout the world and, like any number of objects, are adapted as they travel. In this article I place the oud (the eastern lute) in the context of a transformation that the late Arif Dirlik identified as ‘global modernity’, and analyze the career of the remarkable and hugely influential Iraqi musician Munir Bashir (1930–1997). I also use Bashir and his oud to nuance and extend aspects of the model set out by Dirlik which, for all its strengths, is geographically partial, and focuses strongly on the productive side of global competition and diversification. As I will demonstrate, Bashir’s oud was a part of the global modernity being negotiated by actors in the Iraqi, European and American culture-political spheres. But its success reveals the partiality of those negotiations, the precariousness of globally shared power, and the divisions between cultural, political and socio-economic spheres of ‘hearing’.

show abstract

Section: The Oud In Euro-america: a Bird's-eye Viewmentioning

confidence: 99%

Hearing Global Modernity: The Case of the Travelling Oud

Willson¹

2019

HCM

View full text Add to dashboard Cite

show abstract

“…While flamenco is traditionally associated with Andalusia's deeply-rooted Gitano (Gypsy) community, in recent years Andalusian public institutions and the regional government itself have co-opted flamenco as the region's 'core value' and premier identity symbol (Aix Gracia 2014; Conversi 2018; Machin-Autenrieth 2017; Washabaugh 2013). In other words, 9For recent scholarship on the different Arab-Andalusian traditions of the Maghreb see:(Chaachoo 2011;Ciantar 2012Ciantar , 2016Corfis 2009;Davila 2012Davila , 2013Glasser 2016;Reynolds 2009aReynolds , 2009bShannon 2012Shannon , 2015.…”

mentioning

confidence: 99%

“…For recent scholarship on the different Arab-Andalusian traditions of the Maghreb see:(Chaachoo 2011;Ciantar 2012Ciantar , 2016Corfis 2009;Davila 2012Davila , 2013Glasser 2016;Reynolds 2009aReynolds , 2009bShannon 2012Shannon , 2015). 20 'Nuestra institución surge precisamente para que las comunidades culturales [que] estén aquí lleguen a un momento en que se encuentren y exista esta interacción de interculturalidad.…”

unclassified

The Musical Bridge—Intercultural Regionalism and the Immigration Challenge in Contemporary Andalusia

Conversi

Machin-Autenrieth

2019

Genealogy

View full text Add to dashboard Cite

The ideals of tolerance and cultural exchange associated with the interfaith past of Muslim Spain (al-Andalus) have become a symbol for Andalusian regionalism and for the integration of Moroccan communities. Nowhere is this more keenly felt than in the context of music. In cities such as Granada, Moroccan and Spanish musicians actively promote the ideals of intercultural dialogue through the performance of repertoires such as flamenco and Arab-Andalusian music that allegedly possess a shared cultural history. In this article, we examine the interrelationship between music and ‘intercultural regionalism’, focusing on how music is used by public institutions to ground social integration in the discourse of regionalism. Against a backdrop of rising Islamophobia and the mobilization of right-wing populist and anti-immigration rhetoric both within Spain and internationally, the authors consider how music can be used to promote social integration, to overcome Islamophobia and to tackle radicalization. We advance two arguments. First, we argue that the musical interculturalism promoted by a variety of institutions needs to be understood within the wider project of Andalusian regionalism. Here, we note that musical integration of Spain’s cultural and historical ‘Other’ (Moroccans) into Andalusian society is promoted as a model for how Europe can overcome the alleged ‘death of multiculturalism’. The preferential way to achieve this objective is through ‘intercultural regionalism’, envisioned as the combination of regional identity-building and intercultural interactions between communities that share a common cultural heritage. Second, we assess some of the criticism of the efficacy of al-Andalus as a model for contemporary intercultural exchange. Combining approaches in political science and ethnomusicology, we focus on one case study, the Fundación Tres Culturas (FTC). Through interviews with figures within the FTC, we examine why this model has become partly insufficient and how it is borne out in the sorts of musical activities programmed by FTC that seek to move beyond the ‘andalusí’ myth. We conclude by recognizing the continuing regional and international importance of this myth but we question its integrating capacity at a time of radical political, economic and environmental upheaval.

show abstract

Spanish Musical Responses to Moroccan Immigration and the Cultural Memory of al-Andalus

Machin-Autenrieth¹

2019

Twentieth-Century Music

View full text Add to dashboard Cite

The notion of a shared history across the Mediterranean is central to a number of Spanish-Moroccan musical collaborations, which draw on the notion of convivencia: the alleged peaceful coexistence between Christians, Jews, and Muslims in medieval Spain. In this article, I explore the relationship between a ‘musical’ convivencia and Moroccan immigration in Spain, focusing on two prominent case studies: Macama jonda (1983) and Inmigración (2003). Spanning a twenty-year period, I argue that these two productions illustrate shifting responses to Moroccan immigration at distinct historical moments: the post-Franco era and post-9/11. These two productions illustrate the malleability of the convivencia myth, employing it for distinct social and political purposes. I argue that Macama jonda and Inmigración should be read as products of shifting political and cultural relations between Spain and Morocco, and Spain's negotiation of its Muslim past.

show abstract

The Re-creation of Medieval Arabo-Andalusian Music in Modern Performance

Cited by 8 publications

References 0 publications

Hearing Global Modernity: The Case of the Travelling Oud

Hearing Global Modernity: The Case of the Travelling Oud

The Musical Bridge—Intercultural Regionalism and the Immigration Challenge in Contemporary Andalusia

Spanish Musical Responses to Moroccan Immigration and the Cultural Memory of al-Andalus

Contact Info

Product

Resources

About