{"id":53443,"date":"2024-03-27T10:00:03","date_gmt":"2024-03-27T09:00:03","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=53443"},"modified":"2024-03-27T09:28:25","modified_gmt":"2024-03-27T08:28:25","slug":"performing-an-inuit-environmentalism","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/basis\/smg\/2024\/03\/performing-an-inuit-environmentalism","title":{"rendered":"Mettere in atto un ambientalismo inuit?"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\">Nel gioco del canto di gola inuit - chiamato katajjaq nella regione del Nunavut o katajjaniq nella regione del Nunavik - due persone - tradizionalmente donne - stanno molto vicine l'una all'altra. A volte si tengono anche per le spalle o per le braccia. Il \"leader\" inizia a cantare un motivo sonoro ritmico, che viene imitato dalla seconda persona (canone) o a cui si risponde con un secondo motivo (call-and-response). La prima persona che perde il ritmo, la prima a cui manca il fiato o la prima che inizia a ridere perde il gioco.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">La tecnica del canto di gola utilizzata nel katajjaq o katajjaniq risulta da una combinazione di suoni vocali e non vocali durante l'inspirazione e l'espirazione. Le vibrazioni corporee che ne derivano sono utilizzate anche per cullare i bambini quando vengono portati in braccio.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">Gli sforzi missionari cristiani e le strategie di assimilazione coloniale hanno portato alla quasi completa scomparsa del canto di gola e del Katajjaq o Katajjaniq degli Inuit attraverso la soppressione delle espressioni culturali. Gli sforzi per rivitalizzare la tradizione hanno portato alla dichiarazione del Katajjaniq come parte del Patrimonio immateriale del Quebec nel 2014. Ciononostante, negli ultimi decenni si sono verificati cambiamenti nel contesto di esecuzione, nella funzione quotidiana e nel repertorio.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">Invece di essere tradizionalmente eseguito da due cantori nel contesto di un gioco o come rituale sciamanico per influenzare positivamente la caccia, il katajjaq o katajjaniq \u00e8 attualmente praticato da una o quattro persone come attivit\u00e0 di svago, per esprimere la propria identit\u00e0 Inuit o per diffondere cause attiviste come la promozione dell'industria della foca Inuit. Inoltre, i cantanti di gola inuit mescolano sempre pi\u00f9 spesso elementi, tecniche e canzoni tradizionali del katajjaq e del katajjaniq con altre forme di musica.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">Tuttavia, un aspetto centrale del Katajjaq o Katajjaniq \u00e8 ancora l'imitazione della natura, degli animali e dei suoni quotidiani, come si evince dai nomi delle canzoni tradizionali. Ad esempio, la canzone Qimmirulapik (Povero piccolo cucciolo) descrive il rapporto tra un cacciatore Inuk e uno dei suoi cani da slitta. L'influenza del rapporto personale \"con la terra\" e quindi con i luoghi locali \u00e8 evidente anche nei rispettivi repertori canori. La canzone <i>Il Tricheco<\/i> da cantare nel Katajjaq del Nunavut, ma non nel Katajjaniq del Nunavik.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">La tesi, redatta nell'ambito dell'antropologia culturale della musica presso l'Universit\u00e0 di Berna, esamina quindi la seguente domanda: quale influenza hanno il rapporto personale \"con la terra\", nonch\u00e9 le ontologie e le epistemologie Inuit - in particolare per quanto riguarda il rapporto tra gli esseri umani, la natura e il pi\u00f9-che-umano - sul repertorio, il contesto esecutivo e la funzione quotidiana del Katajjaq o Katajjaniq? In questo contesto, ci si chiede anche se e in che misura questi aspetti stiano cambiando a causa degli effetti del cambiamento climatico nell'Artico, a causa del trasferimento nelle citt\u00e0 urbane meridionali di Montr\u00e9al e Ottawa o a causa del crescente uso dei social media.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><span class=\"s1\">La priorit\u00e0 delle organizzazioni Inuit canadesi e dei cantanti di gola Inuit \u00e8 la conservazione, la trasmissione e la sensibilizzazione del Katajjaq e del Katajjaniq come canto di gola tradizionale Inuit. Poich\u00e9 la collaborazione nella ricerca con i cantori di gola Inuit \u00e8 un aspetto centrale del lavoro, uno degli obiettivi del progetto \u00e8 la creazione di un sito web gestito congiuntamente. Vi si possono raccogliere video, registrazioni sonore, interviste, informazioni e contributi di ricerca.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">Il link rimanda alla pubblicazione \"La Musique qui vient du froid. Arts, chants et danses des Inuit\" sul sito web <i>Les Presses de l'Universit\u00e9 de Montr\u00e9al,<\/i> dove si possono trovare campioni audio e video di Katajjaq accessibili al pubblico.<span class=\"Apple-converted-space\">\u00a0<\/span><\/span><\/p>\n<p class=\"p2\"><a href=\"http:\/\/pum.umontreal.ca\/catalogue\/la_musique_qui_vient_du_froid\/contenusupplementaire\" target=\"_blank\" rel=\"noopener\"><span class=\"s1\">pum.umontreal.ca\/catalogo\/la_musique_qui_vient_du_froid\/contenusupplementaire<\/span><\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>La tesi esamina in che misura le ontologie e le epistemologie inuit si riflettono nel repertorio, nel contesto della performance e nella funzione quotidiana del Katajjaq o Katajjaniq. <\/p>","protected":false},"author":1,"featured_media":53483,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[31,1562],"tags":[],"class_list":["post-53443","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basis","category-smg"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Performing an Inuit Environmentalism? - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/it\/basis\/smg\/2024\/03\/performing-an-inuit-environmentalism\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Performing an Inuit Environmentalism? - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Die Dissertation untersucht, inwiefern sich Inuit Ontologien und Epistemologien im Repertoire, dem Auff\u00fchrungskontext und der Alltagsfunktion von Katajjaq resp. 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