Matthew Machin-Autenrieth – författare

How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina SÁnchez-Carretero, JosÉ Hugo Pires Castro, Paulo Ferreira de Castro, FernÁn del Val, HÉctor Fouce, Diego GarcÍa-Peinazo, Leonor Losa, Josep MartÍ, Eva Moreda RodrÍguez, Pedro Russo Moreira, Cristina Cruces RoldÁn, and Igor Contreras Zubillaga

How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music’s role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO’s Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina SÁnchez-Carretero, JosÉ Hugo Pires Castro, Paulo Ferreira de Castro, FernÁn del Val, HÉctor Fouce, Diego GarcÍa-Peinazo, Leonor Losa, Josep MartÍ, Eva Moreda RodrÍguez, Pedro Russo Moreira, Cristina Cruces RoldÁn, and Igor Contreras Zubillaga

Flamenco, Regionalism and Musical Heritage in Southern Spain explores the relationship between regional identity politics and flamenco in Andalusia, the southernmost autonomous community of Spain. In recent years, the Andalusian Government has embarked on an ambitious project aimed at developing flamenco as a symbol of regional identity. In 2010, flamenco was recognised as an Intangible Cultural Heritage of Humanity by UNESCO, a declaration that has reinvigorated institutional support for the tradition. The book draws upon ethnomusicology, political geography and heritage studies to analyse the regionalisation of flamenco within the frame of Spanish politics, while considering responses among Andalusians to these institutional measures. Drawing upon ethnographic research conducted online and in Andalusia, the book examines critically the institutional development of flamenco, challenging a fixed reading of the relationship between flamenco and regionalism. The book offers alternative readings of regionalism, exploring the ways in which competing localisms and disputed identities contribute to a fresh understanding of the flamenco tradition. Matthew Machin-Autenrieth makes a significant contribution to flamenco scholarship in particular and to the study of music, regionalism and heritage in general.

The Día de la toma [Conquest Day], held every 2nd January, celebrates the Catholic 'reconquest' of the Nasrid Kingdom of Granada (1492), which resulted in the collapse of Muslim Spain. The festival has become politicised by ultra-nationalist, anti-immigration groups, as well as Andalusian regionalist movements that want the event to become a 'festival of tolerance'. I examine the 'soundtrack' of the festival in dialogue with work on music and politics, sound studies, cultural memory and affect. From fascist anthems, to chants and flamenco fusions, music and sound serve conflicting readings of Granada's cultural memory. I argue that musical and sonic protest delineates conflicting political and territorial positions in a city that is polarised along regionalist vs nationalist and multiculturalist vs nativist lines. Moreover, I contend that the festival highlights an ambivalence towards the city's Muslim community, and so I consider how this community is sounded and silenced at the event.

The Día de la toma [Conquest Day], held every 2nd January, celebrates the Catholic 'reconquest' of the Nasrid Kingdom of Granada (1492), which resulted in the collapse of Muslim Spain. The festival has become politicised by ultra-nationalist, anti-immigration groups, as well as Andalusian regionalist movements that want the event to become a 'festival of tolerance'. I examine the 'soundtrack' of the festival in dialogue with work on music and politics, sound studies, cultural memory and affect. From fascist anthems, to chants and flamenco fusions, music and sound serve conflicting readings of Granada's cultural memory. I argue that musical and sonic protest delineates conflicting political and territorial positions in a city that is polarised along regionalist vs nationalist and multiculturalist vs nativist lines. Moreover, I contend that the festival highlights an ambivalence towards the city's Muslim community, and so I consider how this community is sounded and silenced at the event.