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PALCOS é un proxecto de investigación que pretende mapear, catalogar e documentar os palcos de música repartidos polo territorio galego. Buscamos palcos vivos, reapropiados, fósiles ou lembrados. Buscamos aqueles palcos modestos de bloques, ladrillos ou formigón, rebocados ou sen rebocar, con ou sen ornamentación, en bo ou mal estado. Tamén queremos recoller as historias, memorias e relatos que circulan ao seu redor. Podes colaborar en www.palcos.gal Redes sociais do proxecto: Web (palcos.gal); Instagram (@palc_o_s); Facebook (ProxectoPalcos). Proxecto do Instituto de Ciencias do Patrimonio (INCIPIT-CSIC) financiado por Axencia Galega de Innovación (GAIN). Coa colaboración de Rexenerando S. Coop. Galega.

Ambiance, Tourism and the City considers how tourism and urban development affect the lived ambiances of contemporary cities around the world. As most of the existing literature on sensory atmospheres says little about the intersection between tourism and atmospheric production, this book affirms the centrality of the notion of ambiance as a mode of inquiry into the making and remaking of urban places for tourist consumption. The book takes the reader into the sensory worlds of a traditional Italian marketplace, a jungle park in Kuala Lumpur, a slum in the Colombian city of Medellín, or the "sun and sand" tourism destinations in Southern Spain, among other case studies. It offers new insights into the impact of tourism on the urban environment from multidisciplinary perspectives and a wide range of geographical regions across Europe, North America, Asia, and South America. Through these contemporary case studies, the book further deepens our understanding of the ways in which "ambiances" and "atmospheres" pervade the physical regeneration and sensory transformation of contemporary tourist destinations. Conversely, this book offers insights on the effects of tourism on everyday urban experience. By bringing together a diverse group of scholars and case studies to present a global perspective on the atmospheric production of the tourist city, this book is to serve as a valuable reference tool for researchers and undergraduate and postgraduate students with an interest in urban ambiances, tourism, cultural geography, and urban planning.

Commercial airplanes have gradually come to replace ships and other modes of transport as the vehicles connecting countries and continents. In addition to carrying people, modern aircraft have increasingly also delivered cultural content. With the rise of digital technology, interactive inflight entertainment systems became available to passengers to turn the sky into an almost stressless place for cultural consumption. Framing our work conceptually through theories of flow and mobility, we analyze a number of the soundscapes created by TAP Air Portugal, the Portuguese flag carrier, on its long-haul flights. Following the anthem ‘With arms wide open’ launched in March 2011 - and on which Portuguese fado singer Mariza, Angolan semba musician Paulo Flores, and Brazilian MPB singer Roberta Sá sing in unison - we study some of the strategies by which TAP has aired on-board postcolonial cultural connections between Portugal and the Portuguese-speaking world. While we quantitatively analyze the categorization of music as a tool for brand management, we also reflect on the individual sound experiences that emerge through customizable in-flight playlists. On a broader level, TAP’s publicity materials – across their visual, sonic and discursive dimensions – are also analysed in the light of eventual transitions between the colonial and postcolonial. Ultimately, our goal involves understanding processes of music selection, taste formation and brand management as TAP builds on existing cultural affinities to both strengthen loyalty and inform its mostly Portuguese-speaking passenger community.

This article aims to examine the changing atmosphere of Lisbon’s fado live music scene during the COVID-19 crisis. In particular, it focuses on the effects of the lockdown measures and other public health restrictions on the casas de fado, a distinctive type of local institution where music, tourism and the quest for experiences of authenticity intersect. Drawing on in-person and remote interviews with venue owners, local association representatives, musicians and patrons, as well as on content analysis of local media sources and participant observation, this article argues that the pandemic has revealed the fragility of a local music ecosystem overly dependent on foreign tourism and institutional support for its survival. Moreover, it discusses how the changes brought about by the pandemic has impacted fado practice itself.

Este artículo propone una aproximación preliminar a la escucha de la ciudad turística. Tomando como caso de estudio la ciudad de Lisboa, este trabajo aborda la importancia del sonido en la restructuración cultural y sensorial de los espacios urbanos orientados al consumo turístico. Al mismo tiempo, pone en valor la escucha como medio para explorar los elementos más efímeros y cambiantes de la vida urbana. Proponemos el concepto de “turistificación sonora” como una herramienta para identificar y evaluar los cambios en los ambientes sonoros urbanos provocados por los procesos de turistificación, que resultan, en la mayoría de los casos, en la banalización, homogeneización y pérdida de la diversidad sonora de un territorio dado.

PALCOS es un proyecto de investigación que pretende mapear, catalogar y documentar los palcos de música repartidos por el territorio gallego. Buscamos palcos vivos, reapropiados, fósiles o recordados. También queremos recoger las historias, memorias y relatos que circulan a su alrededor. Para eso estamos desarrollando una plataforma web en la que la ciudadanía podrá contribuir con sus vivencias y experiencias en los palcos y en las fiestas populares. La información recogida estará geolocalizada y disponible en acceso abierto para su consulta. Redes sociales del proyecto: Web (palcos.gal); Instagram (@palc_o_s); Facebook (ProxectoPalcos). Proyecto del Instituto de Ciencias del Patrimonio (INCIPIT, CSIC) financiado por Axencia Galega de Innovación.

Clausura del XVI Congreso Internacional de Antropología, en el Rectorado de UDC en A Coruña, el 8 de septiembre de 2023. Conferencia de clausura: “Transiciones energéticas en contextos indígenas”, Astrid Ulloa (Universidad Nacional de Colombia).

Inauguración del XVI Congreso Internacional de Antropología, en el Teatro Colón de A Coruña, el 5 de septiembre de 2023. Conferencia inaugural: “Presentes bajo asedio: desafíos para la antropología y el pensamiento crítico”, Rossana Reguillo Cruz (Signa Lab, ITESO, Universidad Jesuita de Guadalajara). Música y conducción del acto: Xurxo Souto. (Por motivos de privacidad no se incluye la conferencia completa).

Vídeo Teaser “Mudar La Piel”. Residencias INCIPIT de Investigación y Creación Artística. XVI Congreso Internacional de Antropología, Centro Sociocultural Ágora, A Coruña, 7 de septiembre de 2023. Este proyecto es el resultado del programa de Residencias INCIPIT de investigación y creación artística, que nace de la colaboración entre INCIPIT-CSIC y la Fundación Cidade da Cultura de Galicia. “Mudar La Piel” es el título del proyecto que han realizado la profesora e investigadora de la UPV/EHU, Mari Luz Esteban, el musicólogo y gaitero, Llorián García, y el historiador y artista sonoro, Andrés Rodrigues, bajo la coordinación del investigador del INCIPIT-CSIC, Iñigo Sánchez-Fuarros. El proyecto combina investigación y experimentación artística para acercar al público conceptos, teorías y conocimientos académicos de los campos de la antropología y de las ciencias sociales.

SABI meets INCIPIT at Red Incipit from 9 to 11 November 2022. The Institute of Heritage Sciences presented its research at Cidade da Cultura de Galicia, in Santiago de Compostela. SABI is composed of seven members of international reputation and outstanding relevance within the Incipit fields of research. Members of Incipit Scientific Advisory Board (SABI): Marcos Martinón-Torres (SABI chairperson, Professor of Archaeological Science, University of Cambridge), Margarita Sánchez-Romero (SABI co-chairperson, Departamento de Prehistoria y Arqueología de la Universidad de Granada), Dominique Guillaud (Institut de Recherche pour le Développement, IRD-France), Paul Jeremy Lane (Professor of the Deep History & Archaeology of Africa. University of Cambridge), Dacia Viejo-Rose (Cambridge Heritage Research Centre. University of Cambridge), Jeremy Hugget (School of Humanities (Archaeology), University of Glasgow), Chiara de Cesari (European Studies and Cultural Studies, University of Amsterdam), Valdimar Hafstein (Faculty of Sociology, Anthropology and Folkloristics, University of Iceland).

En la Red Incipit 2023, que tuvo lugar el 21 de marzo, el Instituto de Ciencias del Patrimonio ha presentado sus investigaciones en la sala de eventos del edificio Fontán de Cidade da Cultura de Galicia, en Santiago de Compostela. En el evento han participado 75 personas. Actualmente el INCIPIT tiene una plantilla de 72 personas, a las que se unen otras 18 realizando estancias como investigadores/as visitantes. El evento se ha dividido en dos mesas redondas y en tres sesiones con diversas presentaciones sobre trabajos realizados por el personal investigador y técnico del INCIPIT.

This chapter aims to introduce some of the key themes that inform the different case studies developed in this volume. The first section provides a brief overview of the critical traditions studying global tourism within the scope of neoliberal capitalism. The centrality of tourism to the urban economies of cities is, indeed, the focus of the next section. The third section introduces the notion of “ambiance” and argues about its relevance as a lens through which to study the impact of tourism on the urban environment. This paradoxical nature of tourism activities and its relationship to the local cultures is explored in the following section, approaching the notion of authenticity and its atmospheric resonances as an example. The fifth and final section then introduces the rationale and chapters of the book.

[EN] This article explores Lisbon’s Fado Museum as an affective, material, symbolic, and performative site of memory in which different audiences such as tourists and the local fado community converge, without necessarily intersecting. We argue that the Fado Museum has evolved from a mere exhibiting space to become a multivalent “heritage infrastructure” that facilitates new spaces of agency in which novel forms of relating to —and dwelling in— heritage emerge. By recognizing the importance of the Fado Museum in the institutionalization and legimitization of fado as city heritage —and its significance to the social and symbolic production of Alfama as a fado neighborhood—, we ultimately aim to problematize the function of this kind of heritage infrastructures in the complex relationship between tourism, heritagization, and urban regeneration in the era of overtourism., [FR] Cet article explore le musée du fado de Lisbonne en tant que site affectif, matériel, symbolique et performatif de la mémoire dans lequel convergent, sans nécessairement se croiser, différents publics tels que les touristes et la communauté locale du fado. Nous soutenons que le musée du fado a évolué d’un simple espace d’exposition à une « infrastructure patrimoniale » polyvalente qui facilite de nouveaux espaces d’action dans lesquels émergent de nouvelles formes de relation avec le patrimoine et d’habitation de celui-ci. En reconnaissant l’importance du musée du fado dans l’institutionnalisation et la légitimation du fado en tant que patrimoine de la ville - et son importance pour la production sociale et symbolique de l’Alfama en tant que quartier du fado -, nous visons finalement à problématiser la fonction de ce type d’infrastructures patrimoniales dans la relation complexe entre le tourisme, la patrimonialisation et la régénération urbaine à l’ère du surtourisme., [PT] Este artigo aborda o Museu do Fado, situado em Lisboa, como um espaço mobilizador de imaginários turísticos e de memórias afetivas, simbólicas e performativas no qual convergem, sem necessariamente se cruzarem, diferentes públicos como os turistas, aficionados de fado e a comunidade fadista local. Argumentamos que o Museu do Fado evoluiu de um mero espaço expositivo para se tornar numa “infra-estrutura patrimonial” multivalente que facilita novos espaços de agentividade nos quais emergem formas inovadoras de se relacionar com – e habitar – o património. Ao reconhecer a importância do Museu do Fado na institucionalização e na legitimação do fado como património da cidade e reconhecendo também o seu significado na produção social e simbólica de Alfama como bairro do fado, pretendemos problematizar a função deste tipo de infra-estrutura patrimonial na complexa relação entre turismo, patrimonialização e revitalização urbana na era do overtourism.

Among the plethora of studies on urban atmospheres, literature on atmospheric production has been almost exclusively focused on the inner spacetimes of produced atmospheres and has not explored what may happen at their spatial and temporal borders, despite the wide acknowledgement of the volatility of atmospheres. This paper draws on a year-long ethnographic observation of the tourism-related practices of atmospheric production in Lisbon (Portugal) and the protests against its unintended consequences. We expand the literature on atmospheric design, staging, and performance by introducing the concept of collateral atmospheres to describe the “other” atmospheres that emerge in the spaces and times beyond produced atmospheres. We show that the elements of produced atmospheres transform over space or time into collateral atmospheres, generating negative affective states that have an impact on neighbourhood relationships, personal and familiar well-being, and local identity. In this sense we argue that the production of atmospheres has a territorial dimension which has been neglected by the literature and must be accounted for in future research. We point to future directions to achieve this goal.

The introduction to this double issue entitled “A Sonic Anthropocene: Sound Practices in a Changing Environment” explores some of the concepts and methodological issues that inform our understanding of what we call the “Sonic Anthropocene”. We argue that incorporating practices of listening and aural documentation that register the transformations in the acoustic landscape creates a space of potential for examining the increasing impact of human activity on the environment. This introduction is divided into six sections. First, we provide an overview of the notion of the Anthropocene. Secondly, we explore the relationship between sound, environment and perception as cultivated by different strands of scholarship. Thirdly, we discuss the capacity of ethnography to generate new insights into the conditions of life in the Anthropocene. With this in mind, we highlight various examples of collaboration between environmental sound artists, researchers, and activists. Lastly, we introduce the essays included in this first volume. Ultimately, this double issue seeks to contribute toward sounding the Anthropocene by placing sound at the centre of an interdisciplinary conversation about the economic, social, cultural, political and ecological processes that underlie the currently ongoing planetary transformations.

This article aims to examine the changing atmosphere of Lisbon’s fado live music scene during the COVID-19 crisis. In particular, it focuses on the effects of the lockdown measures and other public health restrictions on the casas de fado, a distinctive type of local institution where music, tourism and the quest for experiences of authenticity intersect. Drawing on in-person and remote interviews with venue owners, local association representatives, musicians and patrons, as well as on content analysis of local media sources and participant observation, this article argues that the pandemic has revealed the fragility of a local music ecosystem overly dependent on foreign tourism and institutional support for its survival. Moreover, it discusses how the changes brought about by the pandemic has impacted fado practice itself.

“Orgulho bairrista” é um projecto resultante do diálogo entre prática artística e pesquisa etnográfica que explora, através do retrato fotográfico, a conceito de orgulho ligado à experiência do bairrismo tal como se manifesta no contexto das marchas populares de Lisboa. O projecto nasce da colaboração entre Andy Dyo, fotógrafo russo baseado em Lisboa, e Iñigo Sánchez, investigador da Universidade Nova de Lisboa, com os marchantes do bairro da Mouraria durante a preparação da marcha do ano 2015. “Orgulho bairrista” pretende compreender de que forma os jovens que participam na marcha constroem, sentem e mobilizam o orgulho que sentem por marchar e representar ao seu bairro durante as celebrações das Festas de Lisboa. Este sentimento de “orgulho” tem aqui, no contexto das marchas populares, uma dupla valência. Por um lado, trata-se de um sentimento que se constrói de forma colectiva e partilhada através da própria participação e envolvimento na marcha e que se manifesta na coreografia, nos figurinos e no próprio carácter da marcha como índice de representaçãoooooo do bairro. Por outro lado, enquanto manifestação do amor próprio, o orgulho constitui a expressão máxima da individualidade e este projecto pretende sublinhar a singularidade de cada um dos marchantes que participaram no projecto. De facto, longe de anular estes sentimentos de nobreza e dignidade ao nível individual, o próprio contexto de acção da marcha permite e promove a sua expressão. Nesta exposição decidimos dar-lhe visibilidade através de uma série de retratos onde os marchantes se apresentam orgulhosos, tal qual eles são. Neste sentido, o projecto pretende promover uma imagem da Mouraria e dos seus jovens que se afaste de um certo olhar “exotizante” de que o bairro tem sido alvo nos últimos tempos., Catálogo exposición

O objetivo deste simpósio é mostrar alguns resultados preliminares do projeto de investigação Sounds of Tourism e também apresentar as linhas atuais de pesquisa. Lançado em Outubro de 2018 e financiado pela Fundação para a Ciência e Tecnologia (FCT), Sounds of Tourism explora o impacto do turismo nos ambientes sonoros do centro histórico da cidade de Lisboa, com uma atenção especial na forma como os fluxos turísticos estão a mudar a forma como sentimos e habitamos a cidade. Três anos após o seu início, e com uma pandemia global no meio que afetou particularmente as dinâmicas turísticas da cidade, é tempo de fazer um balanço. Este seminário reúne membros da equipa de investigação para uma série de apresentações em formato de mesa redonda que visam criar um espaço coletivo de reflexão crítica com base no trabalho realizado no âmbito deste projeto.

Among the plethora of studies on urban atmospheres, literature on atmospheric production has been almost exclusively focused on the inner spacetimes of produced atmospheres and has not explored what may happen at their spatial and temporal borders, despite the wide acknowledgement of the volatility of atmospheres. This paper draws on a year‐long ethnographic observation of the tourism‐related practices of atmospheric production in Lisbon (Portugal) and the protests against its unintended consequences. We expand the literature on atmospheric design, staging, and performance by introducing the concept of collateral atmospheres to describe the “other” atmospheres that emerge in the spaces and times beyond produced atmospheres. We show that the elements of produced atmospheres transform over space or time into collateral atmospheres, generating negative affective states that have an impact on neighbourhood relationships, personal and familiar well‐being, and local identity. In this sense we argue that the production of atmospheres has a territorial dimension which has been neglected by the literature and must be accounted for in future research. We point to future directions to achieve this goal.

[PT] Este trabalho centra-se no estudo da relação que se estabelece entre o Jardim do Campo Grande e a sua paisagem sonora partindo de uma perspetiva atual e de uma perspetiva histórica. De uma perspetiva atual, pretendeu-se perceber quais os sons que compõem o ambiente sonoro do jardim recorrendo a uma etnografia sonora, que compreendeu uma escuta atenta do espaço durante passeios de escuta e um levantamento de sons. Visto que o jardim se localiza no centro de vias de trânsito automóvel intenso e próximo do Aeroporto de Lisboa, os sons provenientes do trânsito, o som dos aviões a sobrevoar o jardim a poucos metros de altura e o chilrear dos pássaros foram as sonoridades mais evidentes no ambiente sonoro do jardim. Foi também foco de estudo apurar de que modo os visitantes deste jardim se relacionam com o seu espaço e com os sons que aí coexistem tendo-se, para isso, realizado breves questionários a 61 dos seus usuários. Este questionário procurou, assim, saber com que frequência estes visitantes aí se dirigem, quanto tempo ficam, de que modo usam o jardim e, por fim, qual o seu som preferido e porquê. Concluiu-se que o jardim é um lugar de passagem para muitos dos usuários. É também um espaço para descansar ou passear, praticar desporto, passear o cão, atividades sociais ou somente como atalho para se deslocar a locais próximos. O som preferido mais escolhido foi o chilrear das aves (por 30 inquiridos), seguido do som da brisa a passar por entre as folhas das árvores (6) e o silêncio (4). Ao justificar a sua escolha, a maioria das razões apontadas pelos questionados incidiu na evocação de sensações de tranquilidade e memórias da natureza associadas a esses sons. De um ponto de vista histórico pretendeu traçar-se uma história sonora do Jardim do Campo Grande, desde o momento em que este seria apenas um descampado rural, no século XVI, até à atualidade como jardim urbano, compreendendo todas as alterações espaciais que lhe foram realizadas, os usos e funções que este, [EN] This project focuses on the study of the relationship established between Jardim do Campo Grande and its soundscape, which will be analyzed from a current and a historical perspective. From a current perspective, it was intended to perceive the sounds that constitute the sound environment of the garden, starting from a sound ethnography that comprised an attentive listening of the space, with the support of listening walks and listing of all its sounds. Given that the garden it is located in the center of intense traffic routes and close to Lisbon’s Airport, the most present sounds on the garden’s sonic environment were the sounds of traffic, the noise of airplanes flying at low altitudes over the park and the chirping of birds. Another focus of this study was to determine how the visitors of this park relate to their space and with the sounds that coexist in that area. This was achieved by taking short questionnaires to 61 users that sought to know how often these visitors go to the park and how long they stay, how they use the garden, what was their favorite sound and why. It was concluded that the garden served as a pathway for many of the users. It is also used for activities like resting or walking, practicing sports, walking the dog, social activities or just as a shortcut to get to nearby places. The most preferred sound was the chirping of the birds (30 of the inquiries), followed by the sound of the breeze passing through the leaves of the trees (6) and silence (4). Justifying their choice, most of the reasons named by the garden’s users were related to evoking the feelings of tranquility and memories of nature that were associated with those sounds. From an historical point of view, it was intended to trace the history of the sound of Jardim do Campo Grande, from the moment that it was only a rural open space, in the XVI century, to the present day as an urban garden, comprising all the spatial changes that were carried out and the uses and functions

[EN] From the 1990s until the pre-COVID-19 outbreak, commercial nightlife has become central to the urban branding, and tourism marketing strategies of many European cities. However, the night-time leisure industry has stalled in Europe as a consequence of the COVID-19 pandemic and the unprecedented lock-down and physical distancing measures imposed by several national governments. This short paper aims to picture the uncertain scenario that the nightlife industry of Europe, and Portugal, might have to face in post-pandemic times., [PT] Desde a década de 1990 até ao primeiro surto de COVID-19, a vida noturna tornou-se central no branding urbano e nas estratégias de promoção do turismo de inúmeras cidades europeias. No entanto, a indústria do lazer nocturno estagnou na Europa como consequência da pandemia de COVID-19 e das medidas de confinamento e distanciamento físico sem precedentes impostas por vários governos nacionais. Este breve artigo pretende explorar o cenário incerto que a indústria da vida noturna na Europa, e em Portugal, enfrenta nos próximos tempos pós-pandemia.