Quand les autres se remettent en question: négociations identitaires et travail de terrain

Aux printemps 1997 et 1998 j’ai accompagné le tournage de deux documentaires du cinéaste João Pedro Rodrigues – « Esta é a minha casa » et « Viagem à Expo » - avec une famille d’émigrants portugais. En faisant une ethnographie multi-située, j’ai voulu comprendre les processus de construction des univers culturels et identitaires des différents membres de la famille. Dans le cadre relationnel spécifique aux tournages, la présence de l’anthropologue a conduit à des actes de production/transformation de culture. Avant la restitution des savoirs (celle qui se fait à la fin de la recherche) nous étions déjà en présence d’un transfert de connaissances. La situation produite par le travail ethnographique est une situation de restitution continue, dans la mesure où les personnes avec lesquelles nous travaillons se transforment en fonction du rapport qu’elles établissent avec nos façons de représenter le monde et nos façons d’y vivre.

The Björling 'Opera' : A children's Nursery Academy and an Italian Conservatory in Miniature

The aim in this chapter is to develop a deeper understanding about the informal Björling 'School' in Sweden. Contextually the example is related to the micro history of opera education contributing to the macro perspective illuminating a provincial example of the concept of domestic opera schooling. The specific focus was on Karl David Björling (1873-1926), the teaching parent of the Swedish tenor Jussi Björling (1911-1960) and his brothers Gösta and Olle.   The Björling family model of opera schooling belongs to the classical canon of domestic home education which was common during the epoch. The phenomenon is also within the field of opera singing an important reference to the historical context of the Nordic opera history of vocal education.   The uniqueness concerning the Björling School seems to be the rigorous and exceptionally early training. David Björling’s pedagogy was rooted in earlier German theories of musical upbringing. It's clear from his results that he was familiar with the neo-humanistic ideal on which reformed music education was based. Of a specific interest is the term Gesang als Unterricht as a concept for developing childrens musical and memorising capacities.   Conceptually the roots of the Björling model are in the eighteenth-century Romantic view of prodigies and their abilities. The extensive touring is connected to the promotion of wonder-children, and David Björling’s educational style to the conservative Master-pupil tradition.   David Björling's vocal ideal was a part of the contemporary debate about “The decadence of the singing art”, and seems to have its roots in an older Italian tradition. There are recurring similarities between his educational methods and the didactic principles of the Lamperti School: Enjoying a revival around the late 1800s and early 1900s, it has been called the natural or the national school. Nevertheless, through authentic experiences and gramophone recordings the Italian tenor Enrico Caruso became David Björling’s pedagogical role model.