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"Nós somos o Estado e o Estado é o território": música e representação identitária na Orquestra Chinesa de Macau
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A transição política e social suscita um conjunto de variáveis que influenciam a música desenvolvida por grupos de indivíduos afetados por esse processo. Ao estudar a atividade expressiva produzida em Macau, mais especificamente a Orquestra Chinesa de Macau, procuro analisar a sua importância no contexto histórico- político e cultural correspondente. O estudo da performance musical da Orquestra Chinesa de Macau possibilita compreender de que modo é que são construídas e representadas identidades locais. A apresentação e a representação da Orquestra para o exterior é feita através de um instrumentário chinês e de um repertório que, segundo esta instituição integra vários géneros musicais, desde melodias tradicionais chinesas, adaptações de músicas produzidas em Portugal, música ocidental e música contemporânea chinesa. Fundada pelo Instituto Cultural de Macau, em 1987, a Orquestra Chinesa de Macau é constituída por 40 músicos e já conta com atuações em diversas partes do mundo, desde a Região Administrativa Especial de Macau, República Popular da China, Portugal e outros países da Europa. A estrutura e a apresentação pública da Orquestra é feita de acordo com o público e o espaço de performance. Nas suas atuações o repertório e a formação orquestral são adaptados consoante a altura do ano, o local (ex. igrejas, museus, jardins) e a audiência.
Political and social transition in a territory raises a set of variables that affect the music developed by groups of individuals affected by this process. By studying the expressive activity produced in Macau, specifically the Macao Chinese Orchestra, I try to analyze its importance in the political-historical context and corresponding cultural. The study of musical performance of the Macao Chinese Orchestra allows to understand how are they constructed and represented local identities .The presentation and representation of the Orchestra abroad is made by a Chinese instruments and a repertoire that, according to this institution integrates various musical genres from traditional Chinese melodies, songs adaptations produced in Portugal, western music and contemporary Chinese music. Founded by the Macao Cultural Institute in 1987, the Macao Chinese Orchestra consists of 40 musicians and already has performances in various parts of the world, since the Special Administrative Region of Macao, China, Portugal and other European countries. The structure and the public presentation of the Orchestra is made in accordance with the public and space performance. In their performances the repertoire and orchestral disposition are adapted depending on the time of year, the location (eg. churches, museums, gardens) and the audience.
Political and social transition in a territory raises a set of variables that affect the music developed by groups of individuals affected by this process. By studying the expressive activity produced in Macau, specifically the Macao Chinese Orchestra, I try to analyze its importance in the political-historical context and corresponding cultural. The study of musical performance of the Macao Chinese Orchestra allows to understand how are they constructed and represented local identities .The presentation and representation of the Orchestra abroad is made by a Chinese instruments and a repertoire that, according to this institution integrates various musical genres from traditional Chinese melodies, songs adaptations produced in Portugal, western music and contemporary Chinese music. Founded by the Macao Cultural Institute in 1987, the Macao Chinese Orchestra consists of 40 musicians and already has performances in various parts of the world, since the Special Administrative Region of Macao, China, Portugal and other European countries. The structure and the public presentation of the Orchestra is made in accordance with the public and space performance. In their performances the repertoire and orchestral disposition are adapted depending on the time of year, the location (eg. churches, museums, gardens) and the audience.
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Palavras-chave
Etnomusicologia Região Administrativa Especial de Macau Performance musical Orquestra Chinesa Representação Identitária Políticas Culturais Transição Social e Política Ethnomusicology Musical Performance Identity Representation Chinese Orchestra Social and Political Transition Cultural Policy Macao Special Administrative Region