Tramontana Festival 4 - 27 April 2013, S. Pedro do Sul (PT) 1. Introduction In these current times there is a growing interest in the idea of "memory of a territory” and a focus on the intangible heritage (know-how, techniques and technologies, oral history, musical traditions, etc.), which is facilitated by recent technological developments (namely the portability and accessibility of sound and video capturing devices, the Internet and social media) and by an ever evident feeling that the hypermodern, multiethnic and globalized life often lacks a sense of connection with the past, with the founding roots of a nation, a culture and even a family, which are aspects that give sense to the here-and-now. The growing interest in rural areas has been essentially motivated by two kinds of impulses: the contact with nature and the contact with memory. This second aspect is often based on reconstructions of an idealized and somewhat superficial past made of gastronomy, handicrafts and music and that frequency fall short of what the deepest reality of the rural areas effectively was. Therefore, there is a need to research additional aspects that add density to the knowledge of a territory and, through that knowledge, generate new dynamics and acknowledgement factors towards diversified audiences. Following examples being applied in other European regions, Binaural – Associação Cultural de Nodar (S. Pedro do Sul, Portugal) has been positioning itself since 2004 towards the generation of innovation and authenticity relatively to the heritage of its territory of intervention (encompassing the Gralheira, Arada and Montemuro mountain ranges and the Paiva and Vouga river valleys, in the Aveiro and Viseu districts), seeking to establish a wide range of dynamics: artist residencies on contemporary artistic creation based on social and geographical research of rural areas; the relationship with national and international scientific communities in the areas of anthropology, architecture, ethnomusicology, contemporary arts, etc.; educational activities directed to children, youths and senior citizens on sound and video recording of the rural villages and regularly publishing books, catalogues, CDs and DVDs. These activities constitute a continuous search for new forms of identity and heritage and a way to promote the territory both nationally and internationally.
Throughout the month of April 2013, Binaural/Nodar will combine in one single event, the TRAMONTANA FESTIVAL, a wide range of creation, documentation and research activities related to the intangible heritage of the region and its inclusion in an European network of innovation in the field of multimedia archives for the promotion of mountain rural territories. Since May 2012, Binaural/Nodar is part of the Tramontana Network on memory archives of Southern Europe, a project funded by the 2007 – 2013 Culture Program of the European Union and that includes six other organizations of Italy and France. The TRAMONTANA FESTIVAL will take place between 4 and 27 April 2013 and will include the following groups of events: 4 – 7 April 2013: DIVINA SONUS RURIS artist residency for graduate students in contemporary art of the University of Aveiro, who will work on the religious intangible heritage of the region; 7 - 27 April 2013: DIVINA SONUS RURIS international artist residency with seven projects by internationally renowned media artists who will work on the religious intangible heritage of the region; 23 - 26 April 2013: Third Tramontana International Forum dedicated to the intangible heritage of the mountain areas of Southern Europe, which will include the participation of 25 cultural organizers, musicians and university researchers of Portugal, Spain, France and Italy.
2. DIVINA SONUS RURIS: Sound and media arts residency about the intangible religious heritage of the Gralheira mountain range 7 – 27 April 2013 (Parishes of Sul and S. Martinho das Moitas, S. Pedro do Sul Municipality) Public presentation of sound and media art works: Meeting Point: Main Square of the village of Sul Saturday, 27 April 2013, 3.00pm – 6.00pm “We were always friends. But as happens with between family members or between friends, our relationship was getting worn out. (...) We didn’t explain you our things. (...) We didn’t have you as students, friends, and talkers. (...) And we also went through dubious paths, where art and beauty, and – what is worse to us – the worship of God – weren’t always served well. Let’s remake the peace? ” (Pope Paul VI, Speech to Artists, 10-12).
The sacred is a central element of the rural communities of the Gralheira mountain range, São Pedro do Sul (PT). The relationship between rural daily life and sacred practices is so close and real that it is impossible to think about these communities apart from the religious themes. Despite the accelerated transformation of these rural areas, there remains a strong support by the inhabitants towards religion, not only the older but also the younger ones, which may surprise many people given the increasing secularism of contemporary societies. It is therefore useful to analyze the particular aspects of religion in these rural communities and the reasons why it continues to deserve such high levels of adherence. Religion is clearly a major element of social cohesion in rural mountain communities, where ancient ways of living and feeling remain vivid, which are passed on from parents to children, thus ensuring a very genuine balance, anthropologically interesting, between a contemporary way of life and the permanence of a set of ancient beliefs and practices that give a sense of continuity over time (historical, familiar, personal) and reinforce the sense of belonging to a place. In particular, religion intertwines their lives (the masses, the social work, catechesis, religious heritage, the festivals that mark the seasonal cycles, celebrations of life and death, etc..) that it becomes a crucial element for the study of the rural communities of the Gralheira mountain range.
As the religious subject is very contaminated by simplistic debates and irreducible positions, it seems to us that it’s necessary to convoke free-spirited and multi-faceted visions about it. On the other hand, being the opening to the “other”, to the “unknown” one of the primary focuses of Binaural/Nodar’s, activities in order to build bridges between the world of globalized contemporary art and contexts that are not normally dealt with through a first-hand experience, we believe it’s very relevant the inclusion of this subject in the artistic research developed in our region, which is materialized in the following aspects: 1.
Rural hagiography: Legends of local saints and miracles. 2. Parish Stories: Memory of the local historical relationship with religion. 3. Religion, gender and generational issues. 4. Built Religious Heritage: Churches, chapels, sanctuaries, shrines and cemeteries. 5. Object religious heritage: garments, crosses, litters, chalices, books, etc.. 6. Local religious musical heritage. 7. Sacred rites: Celebrations, Masses, weddings, baptisms and funerals. 8. Religious phonosphere in the landscape: Bell tolls, chants, processions, fireworks. 9. The sacred in the private sphere: Prayers and rosaries, religious iconography in the rural house. 10. Religion and the agricultural cycles.
The program of creative residencies in sound art and media art will precisely have as theme the rich religious heritage found in the rural villages of the Gralheira mountain range, within a framework of promoting an open and frank dialogue with local religious institutions and in line with the theological, liturgical and cultural changes initiated after World War II with the Second Vatican Council and more recently addressed by Popes John Paul II and Benedict XVI through regular dialogues with contemporary artists.
“The relationship between rural daily life and sacred practices is so close and real that it is impossible to think about these communities apart from the religious themes.�
3. DIVINA SONUS RURIS: creative projects Antje Vowinckel (Germany)
Adam Overton (United States)
“Colle, Cielo, Cantieri” | “Mountains, Sky, Constructions”
"Chance Chants”
A sound composition/improvisation of about 25 minutes for church, electric organ, church organ, amplified objects, sounds of church service (murmur of praying, conversation, steps coming into church, singing).
Adam Overton will research the various chants and various forms of divination used in Nodar, in order to develop some simple Chance Chants, which are group chants using chance procedures and inspired by John Cage’s work with the I Ching. The artist will develop some kind of system or chart that can generate a custom chant for anybody in need of one. These lucky chants could be based on information input into the program (i.e. age, date of birth, credit card number, etc), or various other personalized factors, and could then be used in private, or in group performances.
The artists will develop a piece (composition/improvisation) for her old electric Korg organ in combination with church organ, amplified objects, and sounds of the church. It would be based on experiences with her solo performance organ and objects, which transforms the idea of landscapes with hills and remote sounds, coming closer and going away. The idea of the piece for the Gralheira mountain range is to integrate inner and outer profane sounds of the church and the landscape (like steps coming into in the church, gardening machine sounds, mechanical fragments of melodies) in a contemplative church composition, where they are not longer disturbing. The mechanical sounds of the landscape will be replicated by amplified objects inside the church, which will render them more abstract. It is important, that all sounds come from the inside of the church. In this way the separation of outside and inside sounds is annulled and mechanical sounds will not be connected to certain images of machines. The arrangement should open the ears for some certain beauty of mechanical sounds. The piece could be seen as a spiritual space. It invites to accept the outer world of techniques and machines, merging the two zones of sound. Sounds will be integrated in a musical concept and a homogeneous quiet aesthetic so that the perception of the listener will stay in the church and contemplation will be possible. Antje Vowinckel (born 1964) is a Berlin based composer and performer. She studied literature and music (flute/piano) and played in a classical orchestra, chamber ensemble and jazz bands. She wrote her thesis about radio plays as radio art, and worked one year as a dramaturge. She has been commissioned to do radio plays and shows for a variety of public radio stations. Her focus is on the musicality of the spoken word; for example in her project "Terra Prosodia“, produced for the "WDR Studio Acoustic Art” and based on melodies in European dialects. A number of her works employ fragments of documentary speech, or language improvisation (automatic speaking) which are then transposed into a musical structure. She uses instrumental and electronic sounds as well as every-day-life sounds which are interspersed between music and narration.
The plan is to generate the chants using various syllabic and textual source materials used by the locals: pre-existing chants, lucky phrases, religious, sacred, or lucky texts, which are then broken down into syllables, and then categorized, re-arranged using chance procedures, and then sounded out. Adam Overton is an experimental artist living in Los Angeles who works between performance, writing, experimental music, massage, workshops, event production and various participatory forms, all in order to facilitate odd and intimate artist-led experiences. He connects regularly with a variety of artist-peers via several collaborative platforms, including Signify, Sanctify, Believe (with Tanya Rubbak and Claire Cronin, and involving the contributions of over 70 semi-secular artists), The Eternal Telethon, and UploadDownloadPerform.net. He works closely with Guru Rugu as co-director of the Experimental Meditation Center of Los Angeles and as a ghostwriter for Guru Rugu’s Experimental Meditation Hour on KCHUNG Radio.
“As the religious subject is very contaminated by simplistic debates and irreducible positions, it seems to us that it’s necessary to convoke free-spirited and multi-faceted visions about it.”
3. DIVINA SONUS RURIS: creative projects Liminal: Frances Crow & David Prior (United Kingdom)
Antony Lyons & Anne Burke (Ireland, United Kingdom)
Bells have had a central role in the formation and solidification of communities. They have an immense power to evoke, to impart a feeling of time passing, foster reminiscence and to consolidate an individual’s identification with a primordial auditory site. The idea of a "Parish" – a common device used to delineate territory while also defining a sacred community – was an articulation of acoustic space: the Parish was the zone in which a church bell could be heard. This notion of "Parish" as phonosphere is the point of departure for our proposal; a piece which would explore the relationship between various acoustic spaces: the personal and the shared, the secular and the sacred, the near and the distant, the historical and the contemporary.
“Sacred Ways” takes as its starting point the notion of ritual journeys or pilgrimages that are integral to religious practice all over the world. From larger scale mass pilgrimages to the local journeys to and from places of worship, shrines or places of personal/intimate (or even "superstitious") significance, sacred paths have religious and spiritual importance, connecting cultures to the landscape, and connecting places in a mesh of meaning and myth.
“Of this Parish”
During the residency the artists will devise four sound walks to be undertaken simultaneously by four synchronised sound recordists. The walks will start from a church, to the sound of its bell being tolled. The recordings will be played back simultaneously, possibly within the church itself. At the beginning of the walk, the recordists will be standing back-to-back, each facing in the direction of the four compass points. When played through four corresponding pairs of loudspeakers arranged around the perimeter of an installation space, the recordings will begin with this integrated 8-channel surround recording; each recording rendering the acoustic scene from an only marginally different perspective to the others. However, as the recordists begin along their respective walks, only sounds loud enough to permeate each local environment – such as the church bell – will permeate all four recordings. As each walker reaches the point at which they can no longer hear the bell, they send an SMS message to the remaining three but will continue walking and recording until the last person is out of earshot of the bell. Liminar is a partnership between architect Frances Crow and sound artist and composer David Prior. They began working together in 2003. Their work focuses on exploring the relationship between sound, listening and the environment. It encompasses site-specific interventions and sound walks, gallery installations, performances, research and consultancy as well as sound and music environments for exhibitions. In 2010 Liminal won the prestigious PRS for Music Foundation’s New Music Award for their piece Organ of Corti, an acoustic instrument which mediates the sound of the environment. Organ of Corti subsequently won the John Connell Innovation Award 2011 and received an Honorary Mention at Prix Ars Electronica 2012 in the Digital Musics and Sound Art category.
“Sacred Ways”
“Sacred Ways” will explore some of the sonic associations with religious practice in the Gralheira area. The fieldwork may include visits to places of worship, cemeteries, shrines, holy wells, trees, rocks or other sacred sites located in the landscape. Particular attention will be devoted to the actions and rituals that may form part of the journeys to these locations – for example, particular ways of crossing sites or chosen routes that have particular personal meaning. The project will result in a series of sound-essays and performative installations, which will emerge from accompanying groups and individuals to key sites, recording voices of local people, talking about the significance of particular sites, recording the soundscape of particular sites and ritual pathways over time, through setting up a number of autonomous microphones, and editing and layering of recordings with visual material. The concepts of journeying and place-making have been central to Anne Burke's work as a photographer and ethnographer, through the exploration of different aspects of the connections between language, visual culture and walking as an everyday practice of life. An emphasis on ethnographic / oral history field-methods has been a central part of her research, including in her current work exploring the embodied nature of perception with visually impaired collaborators. As part of a collaborative project with three other artists she recently completed a 400-mile rowed journey by sea, following the route taken by 7th century Irish monks from the west coast of Ireland to the Scottish isle of Iona. Burke is a lecturer in photography at the University of Middlesex and is a fluent in Portuguese. Antony Lyons’ work as a media and environmental artist concentrates on weaving together strands of archival investigation, landscape-based fieldwork and environmental engagement. In recent years he has applied the descriptive terms "deep mapping" and "geopoetics" to his practice. Lyons is an associate of the PLaCE Research Centre, Bristol and a member of the international network, Mapping Spectral Traces.
“2013’s program of creative residencies in sound and media art will have as theme the rich religious heritage found in the rural villages of the Gralheira mountain range, within a framework of promoting an open and frank dialogue with local religious institutions�
3. DIVINA SONUS RURIS: creative projects Manuela Barile (Italy/Portugal) “Cá”
“Cá” shows a painful “mater”, which advances solemnly with slow and silent steps through the streets of an abandoned village of the Gralheira mountain range. Stemming from a profound Christian inspiration, the work shows an image of Maria mourning the death of the village, a symbol of the ancient world represented by a sheaf of corn left in an abandoned house. The video is built around a series of “tableaux vivants” that alternate with images of "crying" slate walls as the woman passes by. The lament, the ritual crying connected to the crops, is an expedient to overcome the trauma of death, to give shape to pain and to arrange memories related to the disappearance; It is a fundamental step to find the strength to go on living. Therefore the woman in pain becomes the bearer of life. The palms of her copper-colored hands testify this, in which grass continues to grow. Copper in alchemy is a symbol of life-force and of water, and alludes in this sense to the water that still flows three times a week into the village to irrigate its abandoned fields. Therefore the water that falls from the walls has two meanings: the suffering and death but also the strength and rebirth. Manuela Barile is Binaural/Nodar’s artistic director. She is an Italian artist who lives and works in the region of São Pedro do Sul, Portugal. Since 2006, she develops place-based projects in the rural region of the mountain range of Gralheira (S. Pedro do Sul Municipality) working in close contact with the local communities. Her artistic works combine sound and visual anthropology, installation, performance and voice used as an instrument. Her artistic approach is a continue investigation on reality, about being in the world, about personal experience. It takes in account several aspects such as the natural conformation of the territories, the architecture and history of the places, tradition, memory, ritual and sacred symbolizations deposited as indelible signs in the ground.
Steve Peters (United States) “Lessons from the Ancestors”
Steve Peters developed a sound work combining the following elements: field recordings of environmental
sounds, namely church bells, collected in the civil parish of São Martinho das Moitas; electronic processing of some of those sounds; spoken text consisting of single words and place names that evoke the regional landscape; the names of local plants and animals (possibly endangered species), some of which sung in Latin. These various elements will be woven together to create an evocative portrait of the regional landscape and the collective human relationship to that place through language. Steve Peters (b. 1959) makes music and sound for a wide range of contexts and occasions using field recordings, found/natural objects, electronics, various musical instruments, and spoken text. Attentive to the subtle nuances of perception and place, his work is often site-specific and tends to be understated and contemplative. He performs occasionally as a member of the Seattle Phonographers Union, and also works as a freelance producer, writer, and curator. Since 1989 he has been the Director of Nonsequitur, a non-profit organization presenting experimental music and sound art, currently via the Wayward Music Series at the Chapel Performance Space in Seattle. His music has been released on such labels as Cold Blue, Palace of Lights, Sirr, and Dragon’s Eye.
Los Yokos (Espanha) “El Eremita en la Cueva” | ”The Hermit in the Cave” Los Yokos (Iñaki Ríos & Natividad Plasencia) are explorers of the most eclectic sound map, noise snipers, who pursue the resonances of the most classical instruments and of the mundane objects, filtering everything through the “blender” of electronic manipulation. In this particular occasion, they are at the service of “the Hermit”, a multidisciplinary project that deals with sin, punishment and redemption. In the beginning of everything there is the escape, the inability to confront reality and a search for a refuge in a non-space and a non-time where the echoes of past lives resonate. Los Yokos rebuild the memory of the hermit, abandoned to hunger and solitude until reaching a spiritual ecstasy in which memories, desires and reality blend. There, where noting sounds, the real resounds.
4. DIVINA SONUS RURIS Artist Residency for Students of the Masters Program in Contemporary Artistic Creation of the University of Aveiro 4 – 7 April 2013 Macieira (Sul Civil Parish, S. Pedro do Sul County) Public Presentation: Macieira (next to Salva Almas Restaurant) Saturday, April 6th at 4.00pm Between April 4th and 7th, 2013, the third edition of the annual artist residency for the graduate students of the Masters Program in Contemporary Artistic Creation of the University of Aveiro, a partnership with the Department of Communication and Arts of the said university.
the systems are inter-related, where each and every action expose a consequence allowing a whole conscientious approach to the grammar involved in the construction of the discourse of the contemporary artwork – in each of its facets, from audiovisual installations to interactive systems.
This third edition is dedicated to the theme of Binaural/Nodar’s Artist Residency Program for 2013: the religious heritage of the Gralheira mountain range. In particular, the students will work on the representation and appropriation elements that the rural communities around the São Macário mountain establish with the Sacred.
The articulated discourse of the program is guided towards the development of advanced skills: in methods and research practices; in the use of new technologies applied to the arts; in the transdisciplinary comprehension / communication / interpretation of the scientific areas involved in the work; in the personal and group relational skills that are needed to working in a multidisciplinary team.
In parallel with the artistic research carried out by the students, Binaural/Nodar will give a series of master classes and field workshops on sound recording techniques of environmental and human elements and on working with territories and communities in a context of artistic creativity. On the other hand, Professors Pedro Bessa (course coordinator), Mário Vairinhos and Graça Magalhães will provide support to the students and articulate their work with methodological and conceptual themes addressed in several subjects of the masters program. The Masters Program of Artistic Creation of the University of Aveiro is based on a paradigm of interaction. The combinations resulting from different types of interaction, simple or complex, offer and guide in a surprising and emergent phenomenon where all
Students participating in the artist residency: Antónia Nascimento Liliana Morais Joana Marques; Rafaela Lopes Rita Romba Hugo Paquete Sérgio Marques Joacélio Batista Juliana Mendes Additional Participation: Doctor Wellington Jr.
5. 3rd TRAMONTANA FORUM of culture and intangible heritage of the mountains of Southern Europe 22 – 26 April 2013 (Estação de Artes e Sabores, S. Pedro do Sul and Main Square of the vilage of Sul, S. Pedro do Sul) The existence of a European cultural identity is a concept permanently put to the test by migratory movements, the increasing globalization of ideas and customs, by the efforts of regional and national decision-makers to promote the unique character of their territories etc. It is fair to say that currently there is in Europe a tension between identity and homogeneity and, apparently, identities are today largely influenced by political and territorial promotion efforts while homogeneities are the obvious result of processes of mass communication and global economy. Despite these macro trends, there are geographical areas in Europe that naturally maintain ancestral links with a specific culture: the rural mountain regions. The mountain is by definition a space of arduous adaptation to landscape, of survival, necessity, community, culture and, all in all, civilization. The morphological configuration of the mountain served in the past as protection against threats and serves today as a stability factor vis-a-vis the cultural changes of the modern world. In this sense, the ancestral memory is still very present in these areas, so we can consider that the documentation of their cultural materials is an absolute necessity, be it by the risk of their disappearance or by the value of "difference" that they represent in an increasingly globalized world. The Tramontana Network, created in August 2011, has been associated with an articulated work between mountain areas of Southern European countries, particularly of Romance languages, in the study, comparison and dissemination of cultural materials and innovative methodologies of documentation and archiving of audiovisual content, with the ultimate goal of preserving the memory of the landscape and communities and using the documented materials as a tool for education, self-esteem and appreciation of these mountain regions. The acronym of the network, TRAMONTANA, refers both to the cold and raging northern wind that often
blow in many of these mountains and to the Latin expression "behind the mountains", which makes for a perfect metaphor for the hard life of these mountain communities and their common linguistic root. The Tramontana Network, funded since May 2012 by the 2007-13 Culture Programme of the European Union, combines the memory archives the following organizations that have been developing a painstaking documentation work of mountain communities in the fields of anthropology, ethnology, ethnomusicology, linguistic and soundscapes: Binaural/Nodar (Dão-Lafões, Portugal) Nosauts de Bigòrra (Midi- Pyrenées, France) Eth Ostau Comengés (Midi- Pyrenées, France) Numériculture Gascogne (Midi- Pyrenées, Françce) Bambun (Abruzzo, Italy) LEM Italia (Abruzzo, Italy) La Leggera (Tuscany, Italy) The 3rd Tramontana Forum will be held in the municipality of S. Pedro do Sul (the region of intervention of Binaural/Nodar) and will include more than twenty members of the partner organizations, who will present audiovisual excerpts of collections that they have been doing in their respective territories. On the other hand, a number of researchers and organizers from Portugal, Italy and the Basque Country were also invited to contribute with their professional experiences to discuss some useful paths for the value creation of mountain territories. Finally, the forum will culminate on April 26 with a celebration of mountain cultures of Southern Europe, which will include the participation of local groups (Orquestra Regional Sons da Beira Alta and Grupo Musical Os Unidos da Encosta do São Macário) and musicians and singers from the Italian and French regions that are partners of the Tramontana network.
5. 3rd TRAMONTANA FORUM of culture and intangible heritage of the mountains of Southern Europe Complete Public Programme: Thursday, 25 April 2013 10.30-11.30am – Presentation of the Tramontana Network at the São Pedro do Sul High School and the Misericórdia de São Pedro do Sul (Kindergarten and Senior Citizens Home) and brief musical interventions from the French Pyrenees, and the Italian regions of Abruzzo and Tuscany. 3.00-7.00pm – Visit by the Tramontana Network partners to the villages of Manhouce, Candal, Covas do Monte, Covas do Rio, Nodar and Sequeiros and contact with local population and organizations.
Ethnomusicological paths of the region of Manhouce and musicological research in articulation with the territories. Fátima Eusébio (Art Historian, Coordinator of the Department of Cultural Goods of the Viseu Diocese): Documentation and value creation of the heritage of the Viseu Diocese: Objectives and current strategies. Adriano Azevedo (Municipality of S. Pedro do Sul, Center Tourism Region): The heritage as a crucial variable in the territorial promotion equation: the case of São Pedro do Sul and the Center Region of Portugal. Isabel Silvestre (living legend of the polyphonic female singing of Manhouce, S. Pedro do Sul): How to resist by promoting the culture of a village: The personal experience as a councilwoman, organizer and singer.
Friday, 26 April 2013
5.30pm – Final Debate
2.00-6.00pm Estação de Artes e Sabores, São Pedro do Sul (former train station).
Friday, 26 April 2013
Seminar: Documentation and cultural heritage value creation of mountain regions.
9.00pm-12.00pm Main Square of the village of Sul (S. Pedro do Sul)
2.00pm - Opening session by Luís Costa (Binaural/Nodar) and Fabrice Bernissan (Nosauts de Bigòrra, leader of the Tramontana Network project).
Popular Party of the European mountain cultures, with:
2.30pm – Commented audiovisual presentations of anthropological, linguistic and ethnomusicological field work by Tramontana Network partners: Nosauts de Bigòrra (Midi- Pyrenées, France) Eth Ostau Comengés (Midi- Pyrenées, France) Numériculture Gascogne (Midi- Pyrenées, France) Bambun (Abruzzo, Italy) LEM Italia (Abruzzo, Italy) La Leggera (Tuscany, Italy) Binaural/Nodar (Dão-Lafões, Portugal) 3.30pm – Case studies of documentation and heritage value creation from mountain regions:
Gianfranco Spitilli: Singing and toccatas of the Vomano river valley, northern Abruzzo (Italy) Fabrice Bernissan, Renaud Lassalle and Silvan Carrère: Engaged polyphonic singing of the Central Pyrenees (France) Filippo Marranci and Marco Magistrali: Lumberjacks and farmers from the Sieve river valley Pigionali and mezzadri singing of eastern Tuscany Italy). Grupo de Cantares de Sequeiros (São Pedro do Sul): A group of women from a village of the Gralheira mountain range resumes their singing tradition after more than 20 years of interruption.
Xabi Erkizia (Coordinator of audiolab.org, Basque Country, Spain): The documentation and sound creation of the Basque mountains: The www.soinumapa.net project).
Orquestra Regional Sons da Beira Alta (Castro Daire, Portugal): One of the best representatives of the string orchestras of the Montemuro mountain range (with origins in the French invasions) that animate traditional balls.
Don Filippo Lanci (Priest, Director of the Religious Art Section of the Diocesan Liturgical Office of Teramo, Abruzzo, Italy): “Some specificities of the relationship between Christian man, sacred images and spaces of worship. Notes from the work with some Abruzzian communities"
Grupo Musical Os Unidos da Encosta de São Macário (S. Pedro do Sul and Castro Daire, Portugal): A group of concertinas and humoristic singers that have become a local success.
Ana Saraiva (Anthropologist, Municipal Museum of Ourém): Expository materialization of anthropological researches in Serra de Aire and Candeeiros mountain ranges. Rosário Pestana (Ethnomusicologist, Coordinator of the Department of Musicology of the University of Aveiro):
Binaural – Associação Cultural de Nodar Caixa Postal Nº 119 3660-324 S. Martinho das Moitas Portugal Tel. +351 232 723 160 Mob. + 351 918 951 857 Email: info@binauralmedia.org http://www.binauralmedia.org General Coordination: Luís Costa Artistic Direction: Manuela Barile Technical and Media Content Direction: Rui Costa Documentation and Production Team: Nely Ferreira, Daniela Lopes and José Gomes