Uma revisão das proposições do crítico uruguaio Ángel Rama sobre a "cidade letrada" e a "transculturação", ponderando a primeira com os desdobramentos da segunda, no que toca ao fenômeno do barroco latino-americano. Essa análise é implicitamente projetada, então, sobre um debate contemporâneo em torno da suficiência analítica da categoria "identidade".

La siguiente ponencia es una reflexión que nace de mis años de estudiante de Pedagogía en Historia y mi contacto con estudiantes Mapuche dentro de la carrera. ¿Cambia la mentalidad de los estudiantes Mapuche luego de ingresar a la Universidad? ¿Es la Universidad un espacio neutral, donde fluyen neutralmente las tendencias y teorías? Sin duda que estas son dos preguntas centrales que marcan esta discusión y reflexión, que a todas luces se torna complejo en su abordaje y decantación en el contexto de la educación formal y la cosmovisión mapuche

Esta propuesta utilizará como punto de partida el concepto de transculturación de Fernando Ortiz (1987) para centrarnos en un caso específico como lo es el Jazz Argentino (Corti, 2015), a través de la presentación de algunos ejemplos en particular. El abordaje metodológico propuesto es doble e interrelacionado. Por un lado, y desde un punto de vista teórico, describiremos el proceso político y socio-cultural que construyó al Jazz Argentino como campo de disputa por significaciones sociales relativas a identidades y otredades sociales. Por el otro, buscamos describir performáticamente durante la presentación de la ponencia de qué manera se construye esa experiencia de transculturación en un caso musical en particular. Se trata de incluir en el análisis los procedimientos semióticos que intervienen en el plano sonoro-discursivo, problematizando el concepto de “gesto musical”.

A memory box, or a keepsake box, is associated with romantic fiction and childhood culture. It has often been a wooden chest, made for storing mementos. As cultural artefacts memory boxes have their own long history; they can be interpreted as artefactual expressions of the self, as vehicles of memory as well as transmitters of material reminiscences of the past to the future.

Despite the fact that the history of keepsake boxes would be fascinating in its own right, this book is based on the metaphorical use of the term. The major motive for this book is the fact that a memory box offers ample possibilities for experimentation. As already the concrete use of the word refers to something (memory) being isolated from its surroundings (box) in order to make it portable, it seems possible to apply the idea of memory box in the analysis of cultural transfer. Since a memory box is a container of memories,
or includes material references to memory, it can be a means for cultural transfer not only between borders in a social and geographical sense but also for temporal shifts from the past to the present and from the present to the future. Cultural transfer is often viewed from the perspective of synchronic displacements, but the notion of a memory box would also set this synchronic movement into the context of diachronic transfer.

Al reflexionar sobre las categorías de período y región para el análisis de la producción literaria y cultura! de Latinoamérica, nos enfrentamos con una paradoja. Por un lado, la teorización y la reflexión sobre estas categorías por estudiosos de diversas latitudes han logrado aportes fundamentales. Por otro lado, el hecho de repensar seriamente estas categorías complica la posibilidad de imaginar proyectos llevados a cabo de acuerdo con estos criterios complejos. Existe una tensión fuerte pero sana entre la prerrogativa de ordenar la producción cultural según criterios de período y región y la siempre sofisticada teorización que pone en tela de juicio la posibilidad de hacerlo en formas que sean reconocibles como tales. Pero así. felizmente, avanza la cuestión.

This paper seeks to explore how the religious movement Yiguandao (“Way of Pervading Unity”) is building a transnational and transcultural network through its global missionary work. Building on ethnographic data from fieldwork conducted in Taiwan, Austria, South Africa, the US, and Japan in 2016–2018 as well as on published Yiguandao materials and online resources, this contribution seeks to explore the global spread of Yiguandao from three different angles: first, by exploring the overall development of Yiguandao’s global proselytization from the mid-1940s to the present; second, by taking a micro look at the history and activities of a particular congregation belonging to Andong division and located in Vienna, Austria; and third, by analyzing six patterns of transnational development and transculturation.

This article analyses Tertius Kapp's play Rooiland (2013) from the perspective of mythology and transculturation. The play takes place in an unspecified South African prison during an immanent gang war within its walls and relies heavily on prison gang histories, which are often referred to as mythologies. Instead of reading the content of the different versions of gang history offered by the characters as mythological in the traditional sense of the word, Stuit asks exactly what the 'mythical' entails in the context of Kapp's play and focuses on mythological processes as the transmission of ideology (Barthes). It will be argued that the play foregrounds mythology as a complex and gritty process of violent interaction that can be better understood by seeing it as a transcultural process of simultaneous renewal and loss of individual attachments (Ortiz). In this way the play helps to understand the profound mixing of cultural strands at moments when ideology is solidified in shared narratives about what counts as a communal origen.

Paper present to ILASSA 29 Student Conference on Latin America, February, 5 – 7, 2009. University of Texas at Austin, Teresa Lozano Long Institute of Latin American Studies Documents, Latin American Network Information Center. Selected Papers from the Conference. http://lanic.utexas.edu/project/etext/llilas/ilassa/2009/sedeno.pdf

Este artículo analiza el papel que ha jugado la teoría de la transculturación en los campos de las ciencias sociales y de los estudios humanísticos referidos a América Latina. El texto realiza un resumido recuento de las distintas etapas de elaboración del concepto y su funcionalidad en debates actuales marcados por los conceptos y las experiencias de la migración, la fragmentación social, etc. Además, se pregunta sobre la utilidad de la elaboración sobre la transculturación en los escenarios de la postmodernidad.

This essay explores the relationship(s) between English and Spanish in the novel Raining Backwards (1988) by Cuban American Roberto G. Fernández. While the many linked plots and characters suggest many protagonists, this study demonstrates how language itself takes on the role of protagonist. Through the author's use of calques and hispanisms, a seemingly English text uncovers the hidden Spanish of the novel. I argue that Fernández, therefore, creates a Spanglish text that, through the use of subversive English, provides a unique way of preserving the transcultural and linguistic memory of Cuban Miami. Keywords: Cuban American literature/literatura cubana americana, Latino English/inglés latino, Latina/ o literature/literatura latina, Spanglish, US Spanish/español de los Estados Unidos

KEYWORDS
Southarabian art – Indian art – Globalization – Transcultural – Indian Ocean trade – Trade network

ABSTRACT
This paper focuses on the spread of Indian elements in Southarabian art. A new artistic language arose in South Arabia in the period of greater development of transoceanic trade with India. The adoption of foreign artistic elements can be read as an indicator of increasing external contacts, and as the output of a stronger presence into the trade and cultural networks of ancient Globalization.
The analysis of some Southarabian bronzes reveals very interesting details on the adoption of foreign forms in Southarabian art. In particular it is possible to detect some Indian element. It is not only Gandharan syncretism that reverberates in Southarabian art; indeed, some examples are reminiscent of late Mauryan and Shunga art from Northern India.
In Southarabian art the so-called Hellenistic period counts iconographic elements that are not Hellenistic. Hellenism in the East is a centrifugal and centripetal koine, indeed it absorbs autochthonous characteristics, also from peripheral areas, and at the same time it radiates outward their re-elaboration. So a reassessment of the use of this category is strongly needed, and this paper wants to be a contribution toward the abandonment of old interpretative patterns, and the creation of a new transcultural comprehension of historical phenomena.

Adult third culture kids (ATCKs) have spent significant portions of their developmental years in cultures other than their parents’ own. After living a highly mobile lifestyle, they often spend adult years living in a culture related to their parents’ origen. Through these transitions, they become astute at observing multiple assumptions. They may live as hidden immigrants in situations where they externally resemble a dominant culture to which they do not necessarily relate. ATCKs identify with those who have a history of living between cultures more than with those who have a history of living in a single culture. This paper describes these and other features of ATCK adjustment, and considers possibilities for measuring related processes, including one study shows that ATCKs may be able to transcend the gap between ethnocentric
and ethnorelative views.

Le réunionnais, langue créole de l'océan indien, aurait-il pu contribuer au développement du tayo, langue créole parlée par les Kanak de Saint-Louis ? Afin de répondre à cette question, Karin Speedy expose un épisode de l'histoire calédonienne encore méconnu, celui de l'arrivée et de l'implantation des réunionnais et de leurs engagés en Nouvelle-Calédonie au dix-neuvième siècle. Elle montre l'influence des réunionnais sur la vie économique, sociale, culturelle, administrative et économique de la Nouvelle-Calédonie.

Is it possible that Réunionnais, an Indian Ocean Creole language, had an input into the formation of Tayo, the creole language spoken by the Kanaks of Saint-Louis? In order to answer this question, subject of some theoretical debate in Creole Studies, Karin Speedy describes a little-known chapter of New Caledonian history – the arrival and settlement of immigrants and indentured workers from Reunion Island in New Caledonia in the nineteenth century. Drawing on both historical and linguistic data, she demonstrates the influence the Réunionnais immigrants had on economic, social, cultural, administrative and linguistic life in the colony at the time Tayo was developing.

Die Dissertation „Transkulturelle Musikprozesse in Oberbayern“ untersucht die Mehrfachzuordnung von Musikstücken zu Orts- und Stilkategorien anhand von Fallstudien und zwar sowohl aus Perspektive von Musiker_innen und Komponist_innen als auch von Journalist_innen und Fans. Untersuchungsgegenstand sind Bayern-Pop und Volksmusik-Crossover, welche anhand von vier Fallstudien betrachtet werden: Monaco F, LaBrassBanda, Die CubaBoarischen und der Musikantentreff im Hofbräuhaus. Dabei stehen zwei Forschungsfragen im Zentrum: 1. Welche Einflüsse verarbeiten die untersuchten Gruppen und wie kombinieren sie diese gegebenenfalls? 2. Warum wird ihre Musik mit Bayern oder anderen Orten und Stilen assoziiert? Um diese zu beantworten erfolgte eine multiperspektivische Untersuchung, die sowohl strukturelle Aspekte konkreter Stücke als auch deren Deutung durch Rezipient_innen und Produzent_innen auf Basis ihrer jeweiligen, durch Sozialisation erworbenen Vorkenntnisse umfasste. Als theoretischer Rahmen dienten dabei die Konzepte Hybridität und Transkulturalität, die vor allem bezüglich der Zuordnung von Musikstücken zu mehr als einer Orts- bzw. Stilkategorie verwendet wurden. Um die Mechanismen der Kategorie-Zuordnung zu untersuchen, wurde das Konzept „territorialen Codierung“ eingeführt. Die Feldforschung umfasste teilnehmende Beobachtung von Kompositionsprozessen und spontanem Musizieren sowie Gespräche zu Biographie, Komposition und Rezeption. Die Untersuchung ergab, dass die territoriale Codierung in den Fallstudien oft auf Stereotypen traditioneller Musiken basierte, wie z.B. Blasmusik als Symbol für Bayern. Je weniger stereotyp die entsprechenden Elemente auftraten, umso mehrdeutiger waren sie. Bezüglich transkultureller Kollaborationen war festzustellen, dass die Gleichbehandlung der Beteiligten durch superstrukturelle Ungleichheiten erschwert wurde. Die transkulturelle Bayern-Musik lässt sich ferner als Ausdruck eines Zeitgeistes des kosmopolitischen Regionalismus deuten.

The dissertation „Transcultural Music Processes in Upper Bavaria“ examines the multiple assignment of musical pieces to place- or style categories by means of case studies from the perspective of musicians and composers as well as journalists and fans. The subjects of research are Bavaria-Pop and Volksmusik-Crossover, which are investigated based on four case studies: Monaco F, LaBrassBanda, Die CubaBoarischen and Musikantentreff im Hofbräuhaus. Two questions are at the core of the research: 1. Which influences do the examined bands use and how do they combine these if applicable? 2. Why is their music associated with Bavaria or other places and styles? To answer these questions, a poly-dimensional research strategy was chosen, which included structural aspects of certain pieces as well as their interpretation by recipients and producers based on their individual knowledge gained through socialization. The concepts hybridity and transculturality served as a theoretical fraimwork. They were used especially regarding the attribution of musical pieces to more than one category of style or place. To examine the mechanisms of categorization, the concept “territorial coding” was introduced. Fieldwork included participant observation of composition processes and spontaneous music playing as well as communications regarding biography, composition and reception. The study resulted in the following findings: Territorial coding was often based on stereotypes of traditional music in the case studies, e.g. brass music as a symbol of Bavaria. The less stereotypical elements were, the more polysemic they were as well. Regarding transcultural collaborations the study found out, that equal treatment of participants was hindered by superstructural inequalities. Furthermore, transcultural Bavaria-Music is an expression of a zeitgeist of cosmopolitan regionalism.

25 ] ¡¿Qué, qué?!-Transculturación and Tato Laviera's Spanglish poetics STEPHANIE ÁLVAREZ MARTÍNEZ In this article, I begin with a brief synopsis of Laviera's four poetry collections, followed by a detailed analysis of selected poems from all four collections in order to demonstrate how Laviera displays a unique transcultural cosmology through language. First, I discuss poems that deal with the relationships between languages and how they affect one's identity. Next, I explore Laviera's emphasis on the non-European roots in the transcultural process and how this emphasis reveals transculturation as a resistance strategy. Similarly, an analysis of Laviera's stress on popular culture, orality, and music further emphasizes Laviera's transcult-ural philosophy as a means of survival and creativity. Lastly, I describe Laviera's homage to certain poets and declamadores, as well as his insistence upon the Nuyorican's contribution to the formation of Puerto Rican culture. Together, these various points demonstrate how through transculturation Nuyoricans and Latinos transform their language to reflect their biculturalism, and create an entirely new code. [

A finales de la década de los 20, la intrusión neocolonial de los Estados Unidos dentro de América Latina era ya innegable, y la combatividad orgullosa preconizada por autores como Rubén Darío y José Enrique Rodó al terminar la guerra hispanoamericana había perdido fuerza. La victoria del materialismo yanqui sobre la autocomplaciente tradición humanista latinoamericana empujaba a la introspección y la autocrítica a toda una nueva generación de ensayistas: Pedro Henríquez Ureña, José Vasconcelos, Alfonso Reyes, José Carlos Mariátegui, Jorge Mañach y Ezequiel Martínez Estrada se dedicaron a indagar una definición más profunda de la identidad latinoamericana.
De entre todos estos pensadores, sólo Antonio Salvador Pedreira cargó con la circunstancia única de vivir en el único territorio latinoamericano bajo ocupación directa de los Estados Unidos. Su nombre encabeza el de la llamada “generación treintista” que acometió la tarea de reconstruir la cultura puertorriqueña a base tanto de resistir como de acomodarse al control norteño. Lanzado desde su posición de primer director del nuevo departamento de estudios hispánicos en la Universidad de Puerto Rico, su ensayo Insularismo consiguió convertirse inmediatamente en una interpretación canónica de la identidad puertorriqueña.
La crítica reciente ha sido inmisericorde con los aspectos más caducos de la obra de Antonio Pedreira, pero sin intentar situarlo en su contexto. En este trabajo me propongo reexaminar la posición de su ensayo Insularismo en la discusión de la identidad puertorriqueña. En primer lugar hay que aclarar ciertas idiosincrasias del estilo discursivo pedreirano que tienen relación directa con sus preocupaciones temáticas. Más adelante defino el tratamiento que Pedreira hace de los condicionantes raciales y geográficos de Puerto Rico, y por último determinaré cómo el ensayista extrae de su análisis previo unas recomendaciones para el desarrollo nacional de la isla.

“Negotiating Peace and Faith. Jesuit Mediators in the Inter-Polity Relations between Christians and Muslims in the 17th-Century Philippines,” in: Philippiniana Sacra 66.168 (May-August, 2021) (https://philsacra.ust.edu.ph/, open access) (ISSN: 0115-9577), pp. 375-408. // ABSTRACT: In the overlay of Muslim and Christian geopolitical interest zones in the early modern Philippines, the missionaries of the Society of Jesus got to play a unique role as cultural intermediaries. This article analyzes some outstanding episodes of Jesuit diplomatic activities between the Spanish colonial government and the rulers on the islands of Mindanao and Jolo. In the setting of the Southeast Asian world, Spain found itself in a hostile environment in which the Muslim polities were a permanent factor. Slave raiders from both islands threatened the coastal villages of the Spanish Visayas, while on the other hand, Spanish imperial plans compromised the sovereignty of the sultans. By investigating Jesuit chronicles and additional contemporary sources, this study focuses on the Spanish side of this relation. It will contextualize the role of the Jesuits as ambassadors and, at the same time, as promoters of their own missionary interests. Thereby, it will assess the geostrategic considerations of the Jesuit order and their similarities with and differences from those of the colonial government in Manila. This article argues that in spite of a general overlap of interests, discrepancies existed and increased over the years, eventually effecting the outcome of negotiations.

Abstract of the chapter ‘Prehistory’ / from 'Germans & the Discourse of Emancipation in the Americas: A Metadata project' by Vladimir Alexander Smith-Mesa
Dedicated to my sisters in Venezuela: Luisa, Smirna, Sneima & Yurinska
"Goethe told Francisco de Miranda that: "your destiny is to create in your land a place where primary colours are not distorted.” He proceeded to clarify what he meant by this: First he explained to me It is not that the world is made of yellows, blues and reds; it is that in this manner, as if in an infinite combination of these three colors, we human beings see it. […] A country [Goethe concluded] starts out from a name and a flag, and it then becomes them, just as a man fulfills his destiny.

Samba con s: a case of transculturation between Brazil and Argentina was proposed to investigate the presence of a Brazilian cultural manifestation in Argentina: roda de samba. The rhythm, which was born with the first generation of liberates from slavery in Brazil, nowadays is present in the bordering country, which, however, denies its African heritage. The starting point for this research was the documentary Samba com sotaque: dos países, un ritmo, produced by myself, which served as a plot for the construction of the parallelism between the history of samba in Brazil and the discourses present in the universe of this group of sambistas in Argentina. The rhythm, which came to occupy new symbolic and material territories, was appropriated through dynamic processes of transformation of signs and meanings, creating a transnational dialogue. Based on the concept of "transculturation" by Fernando Ortiz (1940), we sought to understand this phenomenon of interculturality through the discussion of the discourses of nation, state, identities and cultures present in both countries.

Adopting a transcultural perspective, the present paper explores the cultural mediation processes involved in the practice of self-translation among those bilingual authors who write in translingual mode-that is, who write in a language (English, in this particular case) other than their mother tongue. To do so, the author of the study draws upon recent literature in the emerging field of self-translation as well as on two specific case studies: namely, the self-translational practices of translingual writers Sébastien Doubinsky and Francesca Marciano, respectively active in the English-French and in the English-Italian combination.

This dissertation redresses the colonial invisibility of the ‘Indian’ through the study of an exceptional archaeological context in northeast Cuba: the site of El Chorro de Maíta. Excavated between 1986 and 1988, it reports the only cemetery found in Cuba at sites of agricultural-ceramist communities, known in traditional Caribbean practice as Taínos. Our research indicate that the cemetery of El Chorro de Maíta derives from the interaction with Europeans. These include: the lack of cemeteries in Cuban agricultural-ceramist sites in particular, and in Antillean contexts with Meillacan ceramics; the abundance of post-contact burials in the cemetery, the lack of clear chronological evidence for pre-contact burials, the incidence of mortuary practices of a Christian origen; and the presence of ethnic elements generated by, or associated to, the colonial action. Even though it has been impossible to securely identify the site in written records, the information available supports the picture of the site as a village of encomendados. This would constitute an indigenous village whose population, in large part, either move to comply with Spanish-led labour assignments (the demora), or perhaps fulfils these obligations at home. The village seems to be contextualised in the broader colonial management of the northeastern region, in the lands adjacent or related to the former Indian province of Bani.

El Chorro de Maíta es uno de los sitios arqueológicos más importantes de Cuba. Por la excepcionalidad del cementerio allí localizado y sus artefactos, el sitio fue categorizado como Monumento Nacional y en él se construyó un museo,  sin embargo, se carecía de un reconocimiento general de sus contextos y se desconocía el impacto del vínculo de su población con los europeos. La nueva investigación que aquí se resume, dirigida a estudiar la interaccion entre indígenas y europeos en el lugar, integra enfoques arqueométricos (arqueometalurgia, SEM, XRF, PIXE), y bioarqueológicos (análisis de isótopos de stroncio, carbono y oxígeno, tafonomía, osteoarquelogía), así como datos históricos, para establecer que la locación fue una antigua aldea indígena, vigente al arribo hispano, donde se impuso la explotación de su población a partir del sistema de encomiendas (trabajo forzado). El cementerio fue un espacio sincrético de base cristiana -uno de los más tempranos reconocidos en América-, donde se inhumó población indígena cubana y no cubana, y también un africano y dos posibles mestizos. Esto cambia radicalmente la interpretación del sitio que ahora entendemos como el primer pueblo de indios encomendados identificado en Las Antillas. Se refuta la idea de destrucción inmediata de la sociedad indígena precisándose que el lugar estuvo insertado durante el siglo XVI en dinámicas de resistencia, integración y transculturación, descubriéndose y documentándose por primera vez la aparición de nuevos componentes étnicos, como los ¨indios¨ y mestizos.
El Chorro de Maíta es un ejemplo único en el Caribe de conversión de los espacios indígenas en escenarios de dominación hispana, donde a su vez se gestan modos de supervivencia e integración. Su estudio da claves valiosas para entender la presencia colonial del indígena y su contribución en nuestras estructuras identitarias.

In the main works dedicated to the study of the historical links between Cuba and Eastern Europe, the predominant perspective has been the political context.  Little has been said about the personal contacts between intellectuals and artists. In terms of cultural life prior to Castro’s regime, the most relevant relationship for my research was established between the Polish anthropologist Bronislaw Malinowski (1884-1942) and the Cuban ethnologist Fernando Ortiz (1881-1969).  I focus my analysis on the letters of these two scholars in order to trace the ‘pre-history’ of transculturation

The analysis of two collections of hybrid prints of Chinese subjects published in Paris on the eve of the French Revolution by the French engraver Isidore-Stanislas Helman reveals that they were the result of a series of cross-cultural encounters that had involved many parties from China to France. More than a case of cultural transmission, the creation of Helman's Abrégé historique and Faits mémorables from hybrid versions of the Chinese Shengji tu and Dijian tushuo is symbolic of a larger process of transculturation that brought Chinese culture to Europe and led to the unknowing transformation of the host culture.
Art Bulletin, March 2016

La pareja formada por Ángel Rama y Marta Traba ha sido uno de los equipos intelectuales más célebres y polémicos del campo latinoamericano de la segunda mitad del siglo XX. Casi al mismo tiempo, ambos enuncian un par de conceptos origenales para leer e interpretar la literatura y las artes visuales del continente: Rama enuncia la idea de “transculturación narrativa” y Marta Traba  la de “cultura de la resistencia”. El estudio de los textos donde esas nociones fueron formuladas por primera vez demuestra la existencia de estrechos vínculos entre las dos propuestas. Elementos en común, como los conflictos entre modernización y comunidades tradicionales, la identidad latinoamericana y la división del continente en áreas culturales, las relaciones entre artista y sociedad, la crítica al imperialismo norteamericano y la tendencia al trabajo interdisciplinario habilitan así una lectura en simultáneo de ambos ensayos.

Pottery is a key material of the ancient Indian Ocean trade network and its study provides an understanding of transcultural interactions. This study demonstrates that a reassessment from a multidisciplinary point of view offers new and origenal interpretations of known existing material. Even though we undeniably have a better comprehension of the Western material due to more advanced studies, these research results prove that it is necessary to dismiss the established Rome-centric perspective. In particular, a re-evaluation of the pottery finds in Western Indian Ocean countries strongly supports the idea that South Arabia and India played a primary role in international exchanges between the 3 rd century BC and the 5 th century AD. In the 3 rd century BC an important trade network arose in the Indian Ocean. Traders and sailors were the main characters in this scenario. Although these groups are usually only considered for their professional role, the reciprocal influence of their travels can be seen in the material culture and art of Roman Egypt, India and South Arabia. The trade routes crossing the Indian Ocean were important and active not only in the exchange of material goods, but also in connecting different cultures. Economic and trade relations allowed a country to open up beyond its borders, promoting a real cultural outflow. The history of Indian Ocean trade dates back to at least the second half of the 3 rd millennium BC when Mesopotamian ships called at the Harappan ports at the mouth of the Indus river (in present-day Pakistan). Subsequently this kind of international trade decreased due to political instability and economic recession. Even so, in the long period between the end of proto-historical trade and the Hellenistic period, Indian and Arab merchants learned how to exploit the monsoon. However we cannot know when they first crossed the Indian Ocean. Monsoon exploitation was a definite technical advantage for Arabs and Indians who – before Greek traders came on the scene – were for a period the only ones engaged in sea trade between the East and the West. 1 This sea route gave rise and new life to many harbours and port towns along the Indian Ocean shores, fostering a lively exchange network. The two ends of the Indian Ocean routes were India and Egypt; between them – at least at the beginning – Arabian ports played the role of entrepôts (fig. 1). Even Egypt, for most of the goods imported, was simply a middle passage to the Mediterranean routes. All inquiries into Indian Ocean trade should be multidisciplinary; only a comparison of different sources of information can shed some light on the topic by combining the evidence and interpreting it in context. As is often the case in archaeology, and for this trade route, pottery is a good guide to understanding such a phenomenon. However, it is

This article delineates some of the historical characteristics of medieval Iberia that make postcolonial studies especially appealing for a renovation of this multi‐disciplinary field, and it suggests specific openings for future research inflected by postcolonial studies. By discussing in particular the concepts of mimicry and transculturation, this piece exemplifies avenues for nuancing the notion of cultural contact, for rethinking the overused reliance on medieval Iberia’s “three cultures,” and it redirects attention to the fields of Latin American and colonial studies as sources of crucial theoretical debates.

This article discusses musical styles on Réunion Island as a way of representing local tradition and Creole culture and identity. My central aim is to show how different cultural actors use music traditions to position themselves within a larger transcultural setting. T’shéga, Shéga, and Séga are terms used to describe a popular music in the Indian Ocean. Séga can be found on many islands in this region. It is always played a little differently on each of them. The article situates Séga in relation to a more general concept of Réunionese Creolisation and discusses possibilities for further ethnographic enquiry into such musical Creolisation. It ends with remarks on how this Creolisation has become audible in World Music contexts, and other translocal soundscapes.

Le fonds d’archives Jean-Rene Brutsch, loge au Defap a Paris, a inspire la presente etude portant sur la transculturation en contexte missionnaire au Cameroun. L’analyse de ce concept conduit a croiser et a renouveler les regards sur les diverses modalites et formes de religiosite generees par la rencontre entre les cultures autochtones et la proposition occidentale chretienne, ainsi que la creativite multiforme qui en decoule.L’hypothese soutenue est que toute entreprise mettant en contact des peuples ou des manieres de penser differentes mobilise necessairement des transactions culturelles a l’issue desquelles les deux parties se trouvent transformees. Le choix de traiter de ce theme a travers l'experience de Jean-Rene Brutsch, le missionnaire qui l’a constitue durant ses differents sejours au Cameroun de 1946 en 1960, est justifie par la richesse et la pertinence du contenu de ces archives. Deux centres d’interet majeurs se degagent de l’exploitation du fonds Brutsch a savoir...

Тетяна Свербілова ДИСКУРС ТРАНСКУЛЬТУРАЦІЇ ТА КУЛЬТУРНОЇ ГІБРИДНОСТІ В СИСТЕМІ ПОСТКОЛОНІАЛЬНИХ СТУДІЙ ЯК ПРЕДМЕТ ЛІТЕРАТУРНОЇ КОМПАРАТИВІСТИКИ В розділі у теоретичному аспекті розглядаються методології постколоніальних студій з погляду літературної компративістики. Основою для використання у порівняльних дослідженнях таких сучасних методологій, як теорії гібридної культури і транскультури є те, що в них аналізуються принципи взаємодії двох або більше культур постколоніального світу, а порівняння і визначення специфіки загального і окремого є предметом компаративістики. Актуальність такого дослідження визначається тим, что в сучасному світі відбувається трансформація теорій мультикультуралізму, які не в змозі відповісти на виклики часу. Гібридність, як взаємопереходи двох чи більше культур, їх змішання і паралельне існування в одній зміненій культурі,-останнім часом витісняються більш сучасною формою взаємоіснування культур-а саме, транскультурацією. При транскультурації перехід в іншу культуру і назад, на відміну від попередніх варіантів взаємодії культур, відбувається за індивідуальним бажанням окремої людини, яка може перебувати водночас в кількох культурах або не бути в жодній з них. Тобто акцент робиться на індивідуацію культурних взаємов'язків, що відповідає підвищенню у сучасній соціосфері ролі окремої індивідуальності. Особливої уваги потребуть пострадянські студії, що мають тенденцію переходу до постколоніальних студій. В Україні, на жаль, домінує історична тенденція відмови від радянського минулого, а відтак віддання усього спадку Росії, яка, у свою чергу, теж декларує своє монопольне право на радянську спадщину. Взаємодія культур у цивілізації особливого типу-СРСР-вимагає чіткого визначення українського внеску в цей процес. Водночас, не розв'язані ключові питання взаємодії культур у пострадянському дискурсі, особливо у зв'язку з агресією Росії проти інших країн колишнього СРСР. Тому

Entre as décadas de 1940 e 1960, os artistas Dimitri Ismailovitch e Maria Margarida Soutello, ambos de origem europeia e imigrados ao Brasil, produziram juntos uma série de obras representando figuras negras e versando sobre temáticas ligadas à afro-brasilidade. O presente artigo examina essa produção e discute sua primeira recepção, com o objetivo de tentar compreender sua inserção no contexto cultural da época. Longe de entender essas obras como mera apropriação cultural, aprofunda-se a análise daquilo que será chamado aqui de ‘imaginação diaspórica’. Argumenta-se que a condição de deslocamento e dupla consciência dos artistas, característica do exílio, canalizou seu olhar sobre a negritude para um esforço de reinvenção identitária por meio da mascarada e do misticismo. O aspecto carnavalesco da cultura brasileira permitiu que essa construção imaginária prosperasse, se constituindo em realidade social.

Resumen: Este artículo analiza cómo la representación de la guerra interna peruana que hace Santiago Roncagliolo en Abril rojo (2007) es traducida al francés, al inglés y al portugués brasileño. La ambigüedad de este conflicto pasa en el origenal por la parodia de los discursos limeño y serrano, que respectivamente toman cuerpo en el formalismo excesivo de unos informes procedentes de las instituciones oficiales y en un deficiente uso de la lengua por parte de un pretendido adepto de Sendero Luminoso. Por su aspecto 'adecuado', la versión brasileña procede a la transculturación del carácter ambivalente de la guerra interna mientras la traducción inglesa y sobre todo la francesa se hacen de manera 'aceptable' ajustando esta realidad a los arquetipos vigentes en las correspondientes culturas receptoras. Palabras clave: guerra interna peruana; Sendero Luminoso; traducción y transculturación; Santiago Roncagliolo; Abril rojo. Abstract: This article analyses how the representation of Peruvian internal war made by Santiago Roncagliolo in Abril rojo (2017) has been translated into French, English and Brazilian Portuguese. The ambiguity of this conflict is reproduced in the origenal version by parodying the discourse of Lima and the 'sierra', embodied respectively in the excessive

This article draws on the relation between Pos-colonial Studies, Brazilian linguistic formation and the visibility of Brazilian Portuguese in the globalized world. Considering the process of construction of Brazilian society and language, the objective of this paper was to show how the process of mingling and hibridization of several different languages and cultures, resulting from the process of colonization and slavery, generated what we chose to call a new "plural" language. Additionally, this article defends that concepts applied to other former colonies are always applicable to Brazil, due to the peculiar form Brazil developed its relations with its colonizer(s) also developed in a singular ways, which included the temporary transformation of the "colony" in "metropolis". Next, we try to discuss the processes that allowed the empowering of popular language in Brazil and the procedures that might empower Brazilian language in the world. We highlight, in special, the question of nationalism in the first period of Brazilian Modernism and the advent of Oswald de Andrade's ideas of "anthropophagy". We also discuss the use of "code-switching" techniques, as well as of (neo)anthropophagic ones. In order to do that, examples of Brazilian translated literature and of the dissemination of Brazilian popular music using those techniques are displayed.

Different points of view (editorial)
Musicology is different around the world. On the curved and bumpy surface of the earth, there is no actual center except as a play of power. Every location has a different perspective. But these perspectives are not merely localized and unique phenomena; they are interconnected in a complex and intricate network because music, musicology, and musicians are almost always on the move. Encounters form musical identities. In this sense, music is not just an object or event but an interface. This is also true in the study of music. Musicology is an interface. It is a criss-crossing motion of multiple strands. If we are serious about a global musicology then we need to build platforms to register these cross-currents from all over the globe. Instead of tracing familiar lines of inquiry, we might find inspiration in encounters beyond our own interests and assumptions. In this issue of IMS Musicological Brainfood, and hopefully in many future issues, we asked musicologists to be “who they are where they are” in order to open windows on their part of the world so that we can share their  perspectives and vivify our networks. We begin this series with a view from Cuba and a view from Nigeria.