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Maria Papapavlou

Department of Music Studies, University of Athens, Panepistemiopolis, Athens 157-84, Greece. 
papamaria@music.uoa.gr
Maria Papapavlou is Associate Professor of Ethnomusicology – Music of the Mediterranean at the Faculty of Music Studies, National and Kapodistrian University of Athnens. She was born in Switzerland in 1970 and studied piano and music theory at the National Conservatorium of Athens. She graduated from the Department of Philosophy and Social Studies of the University of Crete (1994) and she continued with postgraduate studies at the Department of Social Sciences and Anthropology of non-Western Societies at the University of Leiden - the Netherlands. She holds a Ph.D in Anthropology from the Institut fűr Ethnologie of Leipzig Universität in Germany (2000). Her thesis is about flamenco, Gitanos and their relations to the local society. She conducted fieldwork among Gitanos and non Gitanos flamenco artists in Andalusia. She also conducted fieldwork in the city of Rethymno (Crete-Greece) investigating the relations between emigrants and the local community, as well as the role of carnival music and dance in the construction of identities. Her research interests are in the fields of cultural anthropology, anthropology of music in the Mediterrenean, anthropology of senses and sentiments, phenomenology.

Books

2010
Λαλιώτη Βασιλική, Παπαπαύλου Μαρία (2010)  “…γιατί κυλά στο αίμα μας”. Από το Αρχαίο Δράμα στο Φλαμένκο: Επιστρέφοντας την Ανθρωπολογία στο πεδίο της εμπειρίας   Αθήνα Εκδόσεις Κριτική Επιστημονική Βιβλιοθήκη isbn:978-960-218-672-5  
Abstract: Îι ÎαÏιλική ÎαλιÏÏη και ÎαÏία ΠαÏαÏαÏλοÏ, με Ïην αÏÏ ÎºÎ¿Î¹Î½Î¿Ï ÏÏγγÏαÏή ÏÎ¿Ï Î²Î¹Î²Î»Î¯Î¿Ï, εÏανέÏÏονÏαι ÏÏο εθνογÏαÏÎ¹ÎºÏ ÏÎ»Î¹ÎºÏ ÏÏν εÏιÏÏÏιÏν εÏεÏνÏν ÏοÏÏ ÏÏην Îθήνα και ÏÏην ÎνδαλοÏÏία και Ïο ανÏιμεÏÏÏίζοÏν με κÏιÏική και αναÏÏοÏαÏÏική διάθεÏη. ΠÏÏθεÏή ÏοÏÏ ÎµÎ¯Î½Î±Î¹ να καÏανοήÏοÏν Ïον ÏÏÏÏο με Ïον οÏοίο οι ίδιοι οι ÏÏοÏλαμβάνοÏν Ïον κÏÏμο μέÏα αÏÏ Ïο λÏγο και ÏÎ¹Ï ÎµÏιÏελέÏÎµÎ¹Ï ÏÎ¿Ï Î±ÏÏÎ±Î¯Î¿Ï Î´ÏάμαÏÎ¿Ï ÎºÎ±Î¹ ÏÎ¿Ï Ïλαμένκο, ανÏίÏÏοιÏα. ΠÏοÏλαμβάνονÏÎ±Ï Ïην εμβλημαÏική ÏÏάÏη ÏÏν ÏÏνομιληÏÏν ÏοÏÏ Â«...γιαÏί κÏλά ÏÏο αίμα μαÏ» κÏÏιολεκÏικά, οι ÏÏγγÏαÏÎµÎ¯Ï Î¿Î´Î·Î³Î¿Ïν Ïον αναγνÏÏÏη Ïâ ένα Ïαξίδι ÏέÏα αÏÏ ÏÎ¹Ï ÎºÏÏίαÏÏÎµÏ Î±Î½Î¸ÏÏÏÎ¿Î»Î¿Î³Î¹ÎºÎ­Ï Î¼ÎµÏαÏοÏÎ­Ï ÏεÏί εθνικÏν και εθνοÏικÏν ÏαÏÏοÏήÏÏν. Τον οδηγοÏν ÏίÏÏ ÏÏο Ïεδίο ÏÎ·Ï ÎµÎ¼ÏειÏίαÏ, εκεί ÏÏÎ¿Ï Î¿Î¹ άνθÏÏÏοι βιÏνοÏν Ïον κÏÏμο και μιλοÏν γιâ αÏÏÏν ÏÏ Î¼Î¹Î± ÏÏνέÏεια, ÏÏÏÎ¯Ï ÏÎ¿Î¼Î­Ï ÎºÎ±Î¹ ÏήξειÏ, ÏÏÏÎ¯Ï ÏÏια ανάμεÏα ÏÏο ÏÏÏο και Ïο ÏÏÏνο, ÏÏον άνθÏÏÏο και Ïο ÏεÏιβάλλον ÏοÏ, ÏÏη ζÏή και Ïην ÏέÏνη. Πνέα θεÏÏηÏική ÏÏοÏέγγιÏη ÏÎ¿Ï ÏιοθεÏοÏν ÏÏη μελέÏη ÏÎ¿Ï ÎµÎ¸Î½Î¿Î³ÏαÏÎ¹ÎºÎ¿Ï ÏοÏÏ ÏÎ»Î¹ÎºÎ¿Ï Î²Î±ÏίζεÏαι ÏÏο διάλογο μεÏÎ±Î¾Ï ÏÎ¿Ï Î±ÏοÏÏαÏιοÏοιημένοÏ, «ανÏικειμενικοÏ», λÏÎ³Î¿Ï ÏÎ¿Ï ÎµÏιÏÏήμονα-αναλÏÏή και ÏÎ·Ï ÏÏÎ¿ÎºÎµÎ¹Î¼ÎµÎ½Î¹ÎºÎ®Ï Î±Î½ÏίληÏÎ·Ï ÏÎ¿Ï ÏÏοκÏÏÏει αÏÏ Ïην (ενÏÏμαÏη-ÏÏÏική-νοηÏική) εμÏλοκή ÏÎ¿Ï ÎµÏεÏνηÏή ÏÏο ίδιο Ïο Ïεδίο ÏÎ·Ï Î­ÏεÏναÏ. Îνα βιβλίο ÏÎ¿Ï ÏÏνδÏάζει Ïην εÏιÏÏημονική εγκÏÏÏÏηÏα με Ïη βιÏμαÏική διάÏÏαÏη. ΠεÏιέÏει γλÏÏÏάÏιο ÏÏÏν ÏÎ¿Ï Ïλαμένκο, ÏολÏÏιμο για Ïο ÏοιÏηÏή και Ïο μελεÏηÏή, καθÏÏ ÎºÎ±Î¹ ÏλοÏÏια βιβλιογÏαÏία, ÏÎ¿Ï ÏÏμÏληÏÏνεÏαι αÏÏ ÏαÏαÏομÏÎ­Ï Ïε ιÏÏοÏÎµÎ»Î¯Î´ÎµÏ ÎºÎ±Î¹ οÏÏικοακοÏÏÏÎ¹ÎºÏ ÏλικÏ.
Notes:
2000

Journal articles

2006
2005
2004
2003
Papapavlou, Maria (2003)  Flamenco y Jerez de las fronteras socioculturales Flamenco   Revista de Antropología Social 12: 143-147  
Abstract: The study of social and cultural differentiation in the social sciences has mainly focused on the dymamics of interaction between «Self» and the «Other». This paper is concerned with matters of identity construction based on a field research on flamenco in Jerez de la Frontera of Andalusia. This paper proposes to see flamenco as a lens for exploring the process of sociocultural differentiation. The constellation of, at once, belonging to a group (i.e. Gitanos, Andalusians, Foreigners) and feeling alienated from others is a dynamic process that continuosly changes the content of identity. Thus, the lines of differentiation between the different groups of people in Jerez de la Frontera are shifting and changeable. This paper claims that the sociocultural fronteras contextualize the content of identities. In this sense, we can not talk about fixed and final identities for they are constantly negotiated and in the case of flamenco actually performed. El estudio de la diferenciación social y cultural se ha enfocado en las ciencias sociales a través de la dinámica de la interacción entre el «Self» y el «Otro». Este ensayo gira en torno a la construcción de la identidad basado en una investigación de campo sobre el flamenco en Jerez de la Frontera (Andalucía). El trabajo se propone contemplar el flamenco como una lente para explorar los procesos de la diferenciación social. La constelación de la pertenencia a un grupo (por ejemplo, gitanos, andaluces, extranjeros) y la diferencia frente a los extraños es un proceso dinámico que cambia continuamente el contenido de la identidad. Por tanto, las líneas de diferenciación entre los diferentes grupos de gente en Jerez de la Frontera son móviles y cambiantes. Este ensayo plantea que las «fronteras» socioculturales contextualizan el contenido de las identidades. En este sentido, no se puede hablar de identidades fijas y definitivas sino negociadas y, en el caso del flamenco, actuadas.
Notes:
Papapavlou, Maria (2003)  The City as a Stage: Flamenco in Andalusian Culture   Journal of the Society for the Anthropology of Europe 3: 2. 14-24 June  
Abstract: Recent studies on performance theory have turned their attention to the process of constructing social identities. This article proposes to examine the case of Gitano and non-Gitano relationships under this light. The field research in Jerez de la Frontera of Andalusia, has shown that 'objective' differences between the two groups seem to be minimal, although the members of the two groups recognize and present themselves as different. Relevant literature on Gitanos and their relationship to flamenco argues for a biological affinity of Gitano 'race' with flamenco singing and dancing. In a similar vein the indigenous discourse among Gitanos and among non-Gitanos justifies one group or the other as cultural owners and natural heirs of flamenco. Thus flamenco becomes a contested measure of social identity. This research attempts to reveal the power of the emic discourse on flamenco debate and to understand it under a constructivistic point of view. Based on the modern turn of Gypsy studies the present article re-examines the Gitanos/non-Gitanos relationship by focusing on the ways people negotiate their differences from the other group. Moreover, it attempts to observe and understand how these negotiated identities are performed on the social stage either on everyday life occasions or festivities.
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2002
Παπαπαύλου, Μαρία (2002)  Για μια διεπιστημονική προσέγγιση των Συναισθημάτων, Αισθήσεων και Αισθητικών κριτηρίων   Εθνολογία 9: 215-240  
Abstract:
Notes: ÎαλιÏÏη, Î., ΠαÏαÏαÏλοÏ, Î. 2010. "...γιαÏί κÏλά ÏÏο αίμα μαÏ". ÎÏÏ Î±ÏÏαίο δÏάμα ÏÏο Ïλαμένκο. ÎÏιÏÏÏέÏονÏÎ±Ï Ïην ανθÏÏÏολογία ÏÏο Ïεδίο ÏÎ·Ï ÎµÎ¼ÏειÏίαÏ. Îθήνα: ÎκδÏÏÎµÎ¹Ï ÎÏιÏική

Book chapters

2004
Παπαπαύλου, Μαρία (2004)  Κουλτούρα, αισθητική και η παραστασιακή επιτέλεση της τσιγγάνικης ταυτότητας μέσα από το φλαμένκο της Ανδαλουσίας   In: Χορευτικά Ετερόκλητα Edited by:Αυδίκος, Ε. Λουτζάκη, Ε., Παπακώστας, Χ.. 39-50 Ελληνικά Γράμματα isbn:960-406-815-6  
Abstract: Τα άÏθÏα ÏÎ¿Ï ÏÏμοÏ, γÏαμμένα Ïε διαÏοÏεÏÎ¹ÎºÎ­Ï ÏÏÎ¿Î½Î¹ÎºÎ­Ï ÏÏÎ¹Î³Î¼Î­Ï ÎºÎ±Î¹ με διαÏοÏεÏικοÏÏ ÏÏÏÏοÏÏ, δεν διεκδικοÏν ενÏÏηÏα ÏÏ ÏÏÎ¿Ï Ïα θέμαÏα ÏÎ¿Ï ÏÏαγμαÏεÏονÏαι, οÏÏε ακολοÏθοÏν ÎºÎ¿Î¹Î½Î­Ï Î¼ÎµÎ¸ÏδοÏÏ. ÎέÏα αÏÏ Ïην εÏεξεÏγαÏία ÏÎ¿Ï ÏÎ»Î¹ÎºÎ¿Ï Î±ÏÏ Î´Î¹Î±ÏοÏεÏικά είδη ÏοÏοÏ, ανÏμοια γεγονÏÏα, διαÏοÏεÏÎ¹ÎºÎ­Ï Î³ÎµÏγÏαÏÎ¹ÎºÎ­Ï ÏεÏιοÏÎ­Ï ÎºÎ±Î¹ ιÏÏοÏικοÏÏ ÏÏÏνοÏÏ, αναδεικνÏοÏν Ïην ÏολÏÏλοκÏÏηÏα ÏÎ¿Ï Î±Î½ÏÎ¹ÎºÎµÎ¹Î¼Î­Î½Î¿Ï ÏοÏÏÏ ÎºÎ±Î¹ Ïην αμÏιÏημία ÏοÏ, ενÏοÏίζοÏν ομοιÏÏηÏÎµÏ ÎºÎ±Î¹ διαÏοÏέÏ, μεÏικά δε καÏαλήγοÏν Ïε ÏοÏίÏμαÏα και ÏÏοθέÏÎµÎ¹Ï ÏÎ¿Ï Î¾ÎµÏεÏνοÏν ÏÎ¹Ï ÏεÏιγÏαÏÎ­Ï ÎºÎ±Î¹ ÏÎ¹Ï ÏÏγκÏίÏειÏ. Îαθένα αÏÏ Ïα κείμενα αÏÏά μÏοÏεί να διαβαÏÏεί μÏνο ÏÎ¿Ï ÏÏο και Ïε ÏÏέÏη με κάÏοια άλλα: η ÏÏοÏÏοÏά ÏοÏÏ Î­Î³ÎºÎµÎ¹Ïαι ÏÏο ÏÏι ÏÏÏίζοÏν ÏÏÏÏÎ­Ï ÏÎ¿Ï ÏοÏεÏÏÎ¹ÎºÎ¿Ï ÏÎ±Î¹Î½Î¿Î¼Î­Î½Î¿Ï Î¼Îµ ÏÏÏÏο Ïην ÏολÏÏλεÏÏη καÏανÏηÏη και εÏμηνεία ÏÏν ÏοÏÏν και ÏÏν ÏοÏεÏÏÏν, κÏÏίÏÏ ÏμÏÏ, ÏÏην ανάδειξη οÏιÏμένÏν ÏολιÏιÏμικÏν ÏαÏακÏηÏιÏÏικÏν ÏμημάÏÏν καÏά κÏÏιο λÏγο ÏÎ·Ï ÎµÎ»Î»Î·Î½Î¹ÎºÎ®Ï ÎºÎ¿Î¹Î½ÏÎ½Î¯Î±Ï ÎºÎ±Î¹ ÏÎ·Ï ÎºÎ¿Î¹Î½ÏÎ½Î¯Î±Ï ÏÏν ÏÏιγγάνÏν ÏÎ·Ï ÎνδαλοÏÏίαÏ.
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