With Kendra Stepputat *
Around the globe, people meet to practice music and dance. In many instances, this music-dance practice is not the one they grew up with, but one they encountered at a later stage of their lives. Such encountered music-dance practices might be translocal, meaning they are not bound to one particular place, but practiced in many places that are mutually connected, crossing regional and national boundaries.
In this presentation, I will focus on two such translocal music-dance practices: Irish traditional (trad) music, and tango argentino. I will particularly focus on the social spaces in which these translocal music-dance forms are practiced.
While discussing issues of translocality with my colleague Felix Morgenstern it occurred to us, that even though regular gatherings of translocal Irish trad musicians (sessions), and regular gatherings of tango dancers (milongas) are based on very different practices, the way musicians and dancers create their respective practice space is amazingly similar. This includes how the space is constructed physically, and also how it mirrors both the practice, and social hierarchies within the formation. Based on these discussions between Felix (an expert Irish trad musician) and myself (a longtime tango dancer), I will present basic issues of space construction, use, and representation in a session and in a milonga.
* Kendra Stepputat is Assistant Professor and Head of the Institute for Ethnomusicology, University of Music and Performing Arts Graz,
Austria. She is currently Chair of the ICTM Study Group on Sound, Movement, and the Sciences. Her research topics include Balinese
performing arts, in particular kecak, and tango argentino in European perspective. The focus in her research is on choreomusical aspects of
performing arts. She is editor of Performing Arts in Postmodern Bali (2013), co-editor of Sounding the Dance, Moving the Music (2016, with
Mohd Anis Md Nor), Choreomusicology (WOM special issues 2020/1,2, with Elina Seye) and Perspectives in Motion (2021, with Brian Diettrich), and author of The Kecak and Cultural Tourism on Bali (2021).
Le séminaire du CREM (Centre de recherche en ethnomusicologie) a lieu deux lundis par mois, de 10h à 12h. Les chercheurs (doctorants compris) membres du CREM ou invités de passage y présentent leurs travaux en cours. Les présentations durent 50 minutes, et sont suivies d’une pause café et d’une heure de discussion.
Occasionnellement, le séminaire prend la forme d’un atelier rassemblant plusieurs chercheurs autour d’un thème commun. Il dure alors un après-midi ou bien une journée complète.
La participation au séminaire est ouverte à tous. Il fait par ailleurs partie du cursus des Master d’ethnomusicologie des universités Paris Nanterre et Paris 8 Saint-Denis.