ATeM Archiv für Textmusikforschung
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Isolde Schmid-Reiter (Hg.): Zwischen Revolution und Bürgerlichkeit. Beaumarchais’ Figaro-Trilogie als Opernsoff (= Schriften der Europäischen Musiktheater-Akademie 12). Regensburg: ConBrio Verlagsgesellschaft, 2019. ISBN 978-3-940768-79-7. 260 Seiten.
No full textLe cas de la chanson occitane dans les luttes écologiques locales et spécifiquement de la chanson « Ai Mamà » de Rodín autour de la ZAD de Sivens
Full text linkL’occitan, une des langues autochtones minoritaires d’ Europe, a été utilisée depuis les années 70, et notamment dans des chansons, pour défendre le droit des opprimés ainsi que les modes de vie traditionnelle face aux grands projets d’aménagement du territoire. En effet, les chanteurs occitans engagés semblent faire le parallèle entre le danger d’extinction de leur langue et les attaques contre la nature et l’aménagement traditionnel de l’environnement. La présence de la langue occitane dans le grand mouvement du Larzac contre l’extension d’un camp militaire dans les années 70, et particulièrement grâce aux chansons de Claude Martí, révèle l’importance que les militants voient dans l’usage de cette langue. De nos jours, le nouveau mouvement écologiste d’occupation et de désobéissance civile nommé ZAD continue d’utiliser l’occitan, même si celui si n’est plus parlé que par 7 % de la population globale des pays d’oc. Cela semble révéler le fait que cette langue minoritaire a une signification en soi et représente la lutte contre la destruction des cultures populaires et traditionnelles comme celle contre la destruction de la nature. Ceci expliquerait pourquoi la chanson occitane « Ai mamà » de Rodin Kauffman, qui rend hommage à la ZAD de Sivens (2014), est entrée dans le répertoire de nombre de chorales militantes. Ainsi, on peut considérer que la défense des langues et des cultures minoritaires s’associe parfaitement à la lutte écologique actuelle.
As a minority language of Europe, the Occitan language has been used since the 70s, especially in songs, to defend the right of the oppressed and the traditional way of life against the major land development projects. Indeed, the occitan protest singers seem to make the parallel between the danger of extinction of the occitan language and the attacks against nature and traditional environment. The presence of Occitan in the great movement to occupy Larzac against the extension of a military camp in the 70s, especially the songs of Claude Martí, reveals the importance of the meaning activists see in that language. Now the days, new ecologist occupy movements called “ZAD” keep using the Occitan language, even though it is only spoken by 7% of the global population of Occitan territories. This seems to reveal that the minority language has got a meaning in itself as it represents the fighting against the destruction of popular and traditional cultures as well as the destruction of nature. This would explain why the occitan song “Ai mamà” by Rodin Kaffmann, that pays tribute to the ZAD of Sivens (2014), has entered the repertoire of many militant choirs. Thus, we can consider that the defense of minority languages and cultures is perfectly associated with the actual ecological struggle.As a minority language of Europe, the Occitan language has been used since the 70s, especially in songs, to defend the right of the oppressed and the traditional way of life against the major land development projects. Indeed, the occitan protest singers seem to make the parallel between the danger of extinction of the occitan language and the attacks against nature and traditional environment. The presence of Occitan in the great movement to occupy Larzac against the extension of a military camp in the 70s, especially the songs of Claude Martí, reveals the importance of the meaning activists see in that language. Now the days, new ecologist occupy movements called “ZAD” keep using the Occitan language, even though it is only spoken by 7% of the global population of Occitan territories. This seems to reveal that the minority language has got a meaning in itself as it represents the fighting against the destruction of popular and traditional cultures as well as the destruction of nature. This would explain why the occitan song “Ai mamà” by Rodin Kaffmann, that pays tribute to the ZAD of Sivens (2014), has entered the repertoire of many militant choirs. Thus, we can consider that the defense of minority languages and cultures is perfectly associated with the actual ecological struggle
La relation humain-nature : une lecture écocritique décoloniale du clip « Mundo Líquido » de la brésilienne Maria Gadú
Full text linkThis article aims to analyse – from an eco-critical perspective (Buell 1995; Glotfelty 1996; Garrard 2004) – how the human-nature relationship is represented in the clip of the song "Mundo Líquido", by the Brazilian composer Maria Gadú. The analysis concentrates on the ethos of reconciliation with Nature which goes beyond a simple return to the ‘wild paradise’ and intends to highlight the decolonizing posture of the song. The analysis is theoretically inspired by the Latin American decolonial thought, especially by Quijano (2014).This article aims to analyse – from an eco-critical perspective (Buell 1995; Glotfelty 1996; Garrard 2004) – how the human-nature relationship is represented in the clip of the song "Mundo Líquido", by the Brazilian composer Maria Gadú. The analysis concentrates on the ethos of reconciliation with Nature which goes beyond a simple return to the ‘wild paradise’ and intends to highlight the decolonizing posture of the song. The analysis is theoretically inspired by the Latin American decolonial thought, especially by Quijano (2014)
Jean Nicolas De Surmont : « Entretien avec Bruno ROY autourdu livre Pouvoir chanter. » Québec, juin 1991. Radio Basse-Ville,96,1, fm.
Full text linkEntre lieu-dit et monde : cultures de l’habitat écologique dans la chanson poétique occitane et française des années 1960 aux années 1980
Full text linkThis article focuses on a historic moment that is a precursor to contemporary ecological questions: the relationship between human vitality, ecosystem viability and cultural resistance to the standardization of sensitivity and to the predation of the common habitat. From the sixties to the eighties, minor cultures become aware of themselves in the neighborhood of the protest-song and the hippie counterculture, and in the distant heritage of collections initiated in the 19th century. A new kind of politically committed popular song emerges from this awareness, which goes hand in hand with an ecological culture in every meaning of the word culture. In the cultural context of centralized State in France, it deals with the renaissance of songs in regional languages, including, for the one that concerns us here, the “renaissance of Occitan song”. In the context of the international “pop” moulding, this awareness works on poetic songs in french, which it is hardly surprising that it is particularly active in Quebec. Thus, a conception of the terrestrial habitat as ecosystem is opposed to the mainstream environmentalist conception of ecology (considered as a pure alibi for a type of organization of reality that consists in dominating, exploiting and destroying the biodiversity). In those works and in this way of thinking, the renewal of local vitality is the opposite of its folkloric freezing, and this is why some sort of degrowthing creation in tune with localized dynamism is the condition, and not the reverse, of the viability of the presence in the world and of common humanity. This results in a critical articulation of the themes of the local habitation and the world’s habitat, as hostile to a narrow territorialism as to an abstract universalism and reminding Hölderlin’s famous thought « yet poetically, we dwellon this earth ».This article focuses on a moment in history that is a precursor to contemporary ecological questions: the relationship between human vitality, ecosystem viability, and cultural resistance to the standardization of sensitivity and to the predation of the lieu habitable and the common habitat. From the sixties to the eighties, influenced by the folk wave and the hippie counterculture as well as by the distant echo of collecting activities initiated in the 19th century, minority cultures become aware of themselves. From this awareness, a new kind of popular song will emerge, which carries the banner of an ecological culture in the full sense of the word culture. In the context of French centralism, this goes along with the renaissance of songs in regional languages, in our case the “renaissance of the Occitan song”. With the internationalisation of pop, this awareness finds expression in the French poetic song, which unsurprisingly is particularly active in Quebec. Thus, a conception of the terrestrial habitat as ecosystem is opposed to the mainstream environmentalist conception of ecology (considered as a pure alibi for a type of organization of reality that consists in dominating, exploiting, and destroying biodiversity). In this new conception, the renewal of local vitality is the opposite of its folkloric ‘freezing’, and it is the precondition, and not the reverse, of the viability of the presence in the world and of our common humanity. This results in a critical articulation of the themes of the local habitat du lieu and the global habitat du monde, which refutes a narrow territorialism just as it refutes an abstract universalism reminding of Hölderlin’s famous thought “[Y]et poetically, mandwells on this earth”.Cet article s’intéresse à un moment historique précurseur de questionnements écologiques qui nous sont contemporains : la relation entre vitalité humaine, viabilité écosystémique et résistance culturelle à l’uniformisation de la sensibilité et à la prédation conjointes du lieu habitable et de l’habitat commun. Des années 1960 aux années 1980, sous l’impulsion de la vague folk, de la contre-culture hippie, et dans le lointain héritage du travail de collectages initié au XIXe siècle, on assiste à une conscientisation des cultures minorées dont un type de chanson populaire d’un nouveau genre va émerger, qui va porter haut les couleurs d’une culture écologique à tous les sens du mot culture. Dans le contexte centraliste français, cela prend la forme de ce qu’on appelle aujourd’hui la renaissance des chansons en langues régionales, dont, pour celle qui nous occupe ici, la « renaissance de la chanson occitane ». Dans le contexte de l’internationalisation du formatage « pop », cette conscientisation travaille la chanson poétique en français, dont on ne s’étonnera guère qu’elle soit particulièrement active au Québec. Ainsi, une conception environnementaliste mainstream de l’écologie, pur alibi d’un type d’organisation du réel constitué de domination et d’exploitation destructeur de la biodiversité de l’habitat terrestre, se voit opposer une conception écosystémique de cet habitat. Pour celle-ci, le renouvellement de la vitalité locale, inverse de sa congélation folklorique, est la condition, et non le contraire, de la viabilité de la présence au monde et de l’humanité commune. Cela se traduit par une articulation critique des thématiques de l’habitat du lieu et de l’habitat du monde, aussi hostile à un territorialisme étriqué qu’à un universalisme abstrait, qui rappelle la maxime célèbre de Hölderlin « L’homme habite en poète »
Bost, Sébastien / Douzou, Catherine (éds) : Barbara en scène(s). Une femme, une œuvre en performance. Aix-en-Provence : Presses Universitaires de Provence, 2022. ISBN 9791032003886. 260 pages.
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Camillo Faverzani: Il tradimento di Leporello. Libretti italiani e dintorni. Lucca: Libreria Musicale Italiana, 2022.ISBN 9788855431613. 540 pagine.
Full text linkDe Pomme à Paradis de Ben Mazué : un hymne à la nature
Full text linkIn this two-author article, we explore the cantological universes of two artists, Pomme and Ben Mazué, who have collaborated and come together around a relationship with nature that would be of the order of consolation or even refuge, and which thus re-enchants their respective universes. With this in mind, we will analyze their commitment and the way in which their songs express the values of sorority and conviviality, before developing the image of the sequoia to delve deeper into the songs and worlds of these two artists