BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20150131T140000 RDATE:20150329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20151025T020000 RDATE:20160327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20161030T020000 RDATE:20170326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20171029T020000 RDATE:20180325T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20181028T020000 RDATE:20190331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20191027T020000 RDATE:20200329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20201025T020000 RDATE:20210328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20211031T020000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20150329T030000 RDATE:20151025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20160327T030000 RDATE:20161030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20170326T030000 RDATE:20171029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20180325T030000 RDATE:20181028T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20190331T030000 RDATE:20191027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20200329T030000 RDATE:20201025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20210328T030000 RDATE:20211031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:6a294db054962e985a4a910a9f580596 CATEGORIES:Séminaire du CREM, CREM CREATED:20160509T152801 SUMMARY:Remembering the Jewish Past through Popular Song in Contemporary Tunisia, Ruth Davis (University Reader, Université de Cambridge) LOCATION:Lesc – salle 308F (3e étage) - 21\, allée de l’Université\, Nanterre\, \, 9 2000\, France DESCRIPTION:Through the medium of popular song, my lecture explores different ways in w hich Tunisians have come to terms with the rupture caused by the mass exodu s of Jews following independence. It focuses on the new kind of popular son g (ughniyya) that was associated with the rise of commercial recording in t he early twentieth century; traditional Islamic social taboos against publi c music making meant that, until World War Two, its practitioners were prim arily Jews. Characterised by simple strophic structures, earthy, colloquial language, and the use of melodic modes and instruments from the wider Medi terranean and Levant, the early ughniyya provided the foundation for the fu ture development of Tunisian popular song. In Jewish circles, the tunes wer e set to sacred Hebrew texts and sung in a variety of religious and celebra tory contexts. With the rise of the nationalist movement, however, the cosm opolitan ughniyya was denigrated as decadent and corrupt and, following the mass exodus of the Jews, it disappeared from mainstream musical life. Yet the songs continued to be sung by Tunisian diasporic communities, providing a continuing link with the vibrant musical culture of the protectorate era .\nSince the late 1980s, various Tunisian artists and intellectuals have at tempted to revive and rehabilitate the popular songs of the protectorate er a, considering them a vital component of Tunisia’s cultural heritage. While some acknowledge and celebrate their former Jewish associations, others ig nore or actively erase them, presenting the songs as timeless, anonymous ru ral folklore. The songs continue to be performed in both Arabic and Hebrew versions at the annual pilgrimage to the ‘Ghriba’ synagogue on the island o f Djerba, where Tunisian diasporic Jews reunite with Tunisian Jews and Musl ims in a nostalgic celebration of their shared Jewish-Arab past.\nRuth F. D avis is Reader in Ethnomusicology and Fellow and Director of Studies in Mus ic at Corpus Christi College, University of Cambridge. She has published an d broadcast extensively on music of the Mediterranean, especially North Afr ica and the Levant, focusing in recent years on music and nationalism, cult ural memory, intellectual history of ethnomusicology, and sacred and popula r music of the modern Middle East. Her book Ma’luf: Reflections on the Arab Andalusian Music of Tunisia (Scarecrow Press, 2004) is the first substanti al study in English on a national tradition of Arab-Andalusian music. More recently, her edition Robert Lachmann, The ‘Oriental Music’ Broadcasts, 193 6-1937: A Musical Ethnography of Mandatory Palestine, with a 2-CD set of di gitally restored recordings (A-R Editions, 2013), was awarded an Associatio n of Recorded Sound Collections 2014 Award for Excellence, and her edited b ook Musical Exodus: Al-Andalus and its Jewish Diasporas was published by Ro wman & Littlefield in 2015. She currently chairs the International Coun cil for Traditional Music Study Group ‘Mediterranean Music Studies’.\n X-ALT-DESC;FMTTYPE=text/html:

Through the medium of popular song, my lecture explores different ways i n which Tunisians have come to terms with the rupture caused by the mass ex odus of Jews following independence. It focuses on the new kind of popular song (ughniyya) that was associated with the rise of commercial reco rding in the early twentieth century; traditional Islamic social taboos aga inst public music making meant that, until World War Two, its practitioners were primarily Jews. Characterised by simple strophic structures, earthy, colloquial language, and the use of melodic modes and instruments from the wider Mediterranean and Levant, the early ughniyya provided the foun dation for the future development of Tunisian popular song. In Jewish circl es, the tunes were set to sacred Hebrew texts and sung in a variety of reli gious and celebratory contexts. With the rise of the nationalist movement, however, the cosmopolitan ughniyya was denigrated as decadent and co rrupt and, following the mass exodus of the Jews, it disappeared from mains tream musical life. Yet the songs continued to be sung by Tunisian diaspori c communities, providing a continuing link with the vibrant musical culture of the protectorate era.

Since the late 1980s, various Tunisian arti sts and intellectuals have attempted to revive and rehabilitate the popular songs of the protectorate era, considering them a vital component of Tunis ia’s cultural heritage. While some acknowledge and celebrate their former J ewish associations, others ignore or actively erase them, presenting the so ngs as timeless, anonymous rural folklore. The songs continue to be perform ed in both Arabic and Hebrew versions at the annual pilgrimage to the ‘Ghri ba’ synagogue on the island of Djerba, where Tunisian diasporic Jews reunit e with Tunisian Jews and Muslims in a nostalgic celebration of their shared Jewish-Arab past.

Ruth F. Davis is Reader in Ethnom usicology and Fellow and Director of Studies in Music at Corpus Christi Col lege, University of Cambridge. She has published and broadcast extensively on music of the Mediterranean, especially North Africa and the Levant, focu sing in recent years on music and nationalism, cultural memory, intellectua l history of ethnomusicology, and sacred and popular music of the modern Mi ddle East. Her book Ma’luf: Reflections on the Arab Andalusian Music of Tunisia (Scarecrow Press, 2004) is the first substantial study in Engli sh on a national tradition of Arab-Andalusian music. More recently, her edi tion Robert Lachmann, The ‘Oriental Music’ Broadcasts, 1936-1937: A Musi cal Ethnography of Mandatory Palestine, with a 2-CD set of digitally re stored recordings (A-R Editions, 2013), was awarded an Association of Recor ded Sound Collections 2014 Award for Excellence, and her edited book Mus ical Exodus: Al-Andalus and its Jewish Diasporas was published by Rowma n & Littlefield in 2015. She currently chairs the International Council for Traditional Music Study Group ‘Mediterranean Music Studies’.

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