BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20220129T100000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:155c2c74da934b0a335076979a3cbca6 CATEGORIES:Séminaire du CREM, CREM CREATED:20220711T111844 SUMMARY:The construction of space for translocal music-dance practice gatherings LOCATION:Lesc – salle 308F (3e étage) - 21\, allée de l’Université\, Nanterre\, \, 9 2000\, France DESCRIPTION:With Kendra Stepputat *\nAround the globe, people meet to practice music an d dance. In many instances, this music-dance practice is not the one they g rew up with, but one they encountered at a later stage of their lives. Such encountered music-dance practices might be translocal, meaning they are no t bound to one particular place, but practiced in many places that are mutu ally connected, crossing regional and national boundaries. \nIn this presen tation, I will focus on two such translocal music-dance practices: Irish tr aditional (trad) music, and tango argentino. I will particularly focus on t he social spaces in which these translocal music-dance forms are practiced. \nWhile discussing issues of translocality with my colleague Felix Morgens tern it occurred to us, that even though regular gatherings of translocal I rish trad musicians (sessions), and regular gatherings of tango dancers (mi longas) are based on very different practices, the way musicians and dancer s create their respective practice space is amazingly similar. This include s how the space is constructed physically, and also how it mirrors both the practice, and social hierarchies within the formation. Based on these disc ussions between Felix (an expert Irish trad musician) and myself (a longtim e tango dancer), I will present basic issues of space construction, use, an d representation in a session and in a milonga.\n* Kendra Stepputat is Assi stant Professor and Head of the Institute for Ethnomusicology, University o f Music and Performing Arts Graz,\nAustria. She is currently Chair of the I CTM Study Group on Sound, Movement, and the Sciences. Her research topics i nclude Balinese\nperforming arts, in particular kecak, and tango argentino in European perspective. The focus in her research is on choreomusical aspe cts of\nperforming arts. She is editor of Performing Arts in Postmodern Bal i (2013), co-editor of Sounding the Dance, Moving the Music (2016, with\nMo hd Anis Md Nor), Choreomusicology (WOM special issues 2020/1,2, with Elina Seye) and Perspectives in Motion (2021, with Brian Diettrich), and author o f The Kecak and Cultural Tourism on Bali (2021).\n X-ALT-DESC;FMTTYPE=text/html:

Milonga at Casa Valencia, Barcelona 20 16. Photo: Kendra StepputatWith 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 musi c-dance practices might be translocal, meaning they are not bound to one pa rticular place, but practiced in many places that are mutually connected, c rossing regional and national boundaries.

In this presentation, I will focus on two such translocal music-dance pract ices: Irish traditional (trad) music, and tango argentino. I will particula rly 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 tra d 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 th e space is constructed physically, and also how it mirrors both the practic e, 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 repres entation in a session and in a milonga.

* Kendra Stepputat is& nbsp;Assistant Professor and Head of the Institute for Ethnomusicology, Uni versity of Music and Performing Arts Graz,
Austria. She is currently C hair of the ICTM Study Group on Sound, Movement, and the Sciences. Her rese arch topics include Balinese
performing arts, in particular kecak, and tango argentino in European perspective. The focus in her research is on c horeomusical aspects of
performing arts. She is editor of Performi ng Arts in Postmodern Bali (2013), co-editor of Sounding the Dance , Moving the Music (2016, with
Mohd Anis Md Nor), Choreomusic ology (WOM special issues 2020/1,2, with Elina Seye) and Perspecti ves in Motion (2021, with Brian Diettrich), and author of The Keca k and Cultural Tourism on Bali (2021).

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