https://hdl.handle.net/10481/37390 2026-04-11T14:34:19Z 2026-04-11T14:34:19Z Camacho Fernández, Sergio https://hdl.handle.net/10481/112330 2026-03-20T08:57:28Z

Listening to Noise in Malmö and Semenyih Camacho Fernández, Sergio Sergio Camacho curated and organised in Malaysia a concert presenting a wide variety of composers and sound artists. The first part of the concert introduced the artistic practices by Gilang Damar Setiadi (ID), Patrick Hartono (ID) and Paul Hegarty (UK). The second part had an audio-visual programme presented in collaboration with Föreningen Musikspektra T. and the festival “Crosscurrents & Nodes”. Pieces performed were: Sergio Camacho (ES): Máni /RowINB (2020); Simon Berggården (SE): Bridges (2019); Soňa Vetchá (CZ): Wavelengths (2019); Anders Flodin (SE): Epitafio (2019); Juhani Topias Vesikkala (FI): } woes...to die with thee again { for quadrophonic electronics (2013); Patrik Kako (SK): Prečo je nebo belasé (2019); Bence Pintér (HU): ...what if a Monday afternoon... (2019); Fabrizio Rossi (IT): Approaching and contact for flute and electronics (2019); Sanket Mahapatra (IN): Stars in a Purple sky (2019); Daniel Chudovský (CZ): Scattered solitude (2019).

Tan, Elynn https://hdl.handle.net/10481/112329 2026-03-20T08:45:22Z

When a Hundred Flowers Blossom: (Re) assembling the Chinese Orchestra in Contemporary Malaysia as a Cultural Ecosystem Tan, Elynn The Chinese orchestra in Malaysia is a significant cultural emblem that represents the Malaysian Chinese identity, yet it remains understudied and widely misunderstood, generally construed through antiquated historical and descriptive perspectives that decontextualizes its existing struggles and adaptiveness to contemporaneity. Cultural ecology concepts from Titon (2020) and ecological metaphors from Deleuze and Guattari (1987) are adopted to frame the Malaysian Chinese orchestra as a complex and interdependent cultural ecosystem that is resilient and adaptable to environmental changes. Mainly, this study refreshes the perspectives of current and new audiences of the Chinese orchestra in Malaysia through a reassembling of its dynamics, constructs, and operations in the 2020s. Research methodology consists of experimentation and expert interviews, supported by the author’s own autoethnographic observations as a cultural insider. The gaoyin ruan modification experiment aims to enhance its musical versatility, and Experiment Ensembles are conducted to study organization, performativity, space, resilience, and musical hybridity. Collected data are coded and visualized for a balanced quantitative and qualitative analysis. A theoretical network is used to map opportunities and challenges through rhizomatic writing, along topics of spaces, performativity, identity, multiculturalism, musical hybridity, digitalization, and cultural sustainability. Findings reveal the Chinese orchestra’s roles and values in the search for a Malaysian Chinese identity in a multicultural country, while examining its resilience and adaptive management plans towards disruptions and socio-cultural shifts. There are conscious and subconscious efforts towards sustainability for both the cultural ecosystem and the natural environment. Cross-cultural and cross-disciplinary collaborations are budding to advance the value of huayuein creative practices and musical hybridity, fostering interculturalism. Finally, the proposed Cultural Sustainability Web is a model to outline sustainable future trajectories for traditional cultures and provide strategies for social cohesion, that can generate a long-term impact on the Malaysian Chinese orchestra cultural ecosystem.

Camacho Fernández, Sergio https://hdl.handle.net/10481/112328 2026-03-20T08:35:43Z

El Teatro del Oprimido: Parastoo Theater y las narrativas de la distancia Camacho Fernández, Sergio Este artículo examina el Teatro del Oprimido como una herramienta para abordar narrativas de desplazamiento, identidad y resiliencia cultural, centrándose en el trabajo de Parastoo Theater, la primera compañía profesional con sede en Malasia formada por refugiados. Fundada por el artista y activista afgano exiliado Saleh Sepas, y autodefinida como “un grupo de refugiados que quieren luchar contra los desafíos y los conflictos a través del poder del teatro”, Parastoo Theater utiliza las metodologías de Augusto Boal para empoderar voces marginadas, utilizando el arte como una herramienta transformadora eficaz que rompe barreras, aumenta la comprensión intercultural y exige una reforma de las políticas que afectan a los derechos de los refugiados. A partir de la literatura académica existente sobre teatro participativo y del estudio de caso de la producción de Behind Closed Doors en Kuala Lumpur, este artículo analiza cómo Parastoo Theater involucra a personas desplazadas a través de producciones escénicas colaborativas, creando un espacio seguro para contar su historia, desafiando con ello las narrativas dominantes de exclusión y favoreciendo el apoyo comunitario. Al situar el trabajo de Parastoo Theater dentro de las metodologías boalianas, esta investigación destaca el papel del teatro como medio para el compromiso y la resistencia social y política. Unidad de Investigación Arts/Langages : Transitions & Relations (ALTER - UR 7504) Asociación Internacional de Teatro Siglo XXI (AITS21)

Camacho Fernández, Sergio https://hdl.handle.net/10481/112327 2026-03-20T08:27:08Z

La zarzuela como plataforma de negociación sociocultural transoceánica Camacho Fernández, Sergio Cuando el modelo de la zarzuela romántica se instauró en España, la mayor parte de los territorios americanos se hallaban sumidos en sus respectivos procesos de construcción nacional tras sus independencias. A pesar de ello, o precisamente por eso, la zarzuela ocupó un espacio determinante tanto en los referidos procesos de definición identitaria de las naciones americanas, a través de los modelos de zarzuela nacionalista que surgieron en ellas, como en sus dinámicas socioculturales y de entretenimiento. De esta manera la zarzuela se convirtió en un canal de discusión, aceptación y negociación de los vínculos culturales, emocionales y, de nuevo, identitarios entre la América hispanohablante y la España metropolitana. Durante el siglo XX, la zarzuela desempeñó a su vez un papel crucial para la emigración española en América, como catalizador de la vida cultural, emocional y social de sus colectivos, convirtiendo el mercado americano en uno de los centros económicos esenciales para la viabilidad del género. Más allá del ámbito iberoamericano, en Estados Unidos, la zarzuela se posicionó como género articulador de la nueva identidad cultural latina, reforzando las conexiones, reales o imaginarias, de las comunidades transnacionales con sus raíces culturales europeas. Este estudio pretende analizar los diferentes procesos de implantación y desarrollo de los modelos de la zarzuela en América, sus respectivos roles como articuladores de las identidades locales y panhispánica, mirando, con especial atención, a las dinámicas socioculturales asociadas al género y proporcionando un panorama de la presencia de la zarzuela en América en el siglo XXI.; When the Romantic Zarzuela model was established in Spain, most of the American territories were involved in their own nation building processes after their independencies. Despite this, or precisely because of it, Spanish zarzuela occupied a seminal role both in the referred identity processes in the new American republics, through the nationalist zarzuela models that emerged in them, and in their respective sociocultural and entertainment dynamics. This way, zarzuela became a channel for discussion, acceptance and negotiation of the cultural, emotional and identity ties between Spanish-speaking America and metropolitan Spain. During the twentieth century, zarzuela played a crucial role as well for Spanish emigration in America, as a catalyst for the cultural, emotional and social life of its collectives, turning the American market into one of the essential economic centres for the viability of the genre. Beyond the Ibero-American sphere, in the United States, zarzuela was positioned as an articulating genre of the new Latin cultural identity, reinforcing the connections, real or imaginary, of the transnational communities with their European cultural roots. This way, and across two centuries, zarzuela has functioned as a transoceanic bridge for musical, cultural, commercial and social dialogue; a platform for local and global understanding, traditional and avant-garde, exotic and, at the same time, nostalgic. Zarzuela clearly illustrates the centrifugal and centripetal tensions of the Ibero-American identity; without America, the development and evolution of operatic genres in Spain cannot be understood. This study aims to analyze the differential processes of implementation and development of zarzuela models in America, their roles as articulators of local and pan-Hispanic identities, looking, with special attention, into the sociocultural dynamics associated with the genre, providing a panorama of the implantation of zarzuela in America in the XXI. Tras larga ausencia: La zarzuela como plataforma de negociación sociocultural transoceánica.

Tan, Elynn Camacho Fernández, Sergio https://hdl.handle.net/10481/112326 2026-03-20T08:22:11Z

The Chinese Orchestra Cultural Ecosystem in Malaysia: Hybridisation, Resilience and Prevalence Tan, Elynn; Camacho Fernández, Sergio While the Chinese orchestra is a relatively modern formation, its Chinese folk music predecessors and their relationship with their host environment has a long, traceable history. Traditionally, Chinese music has nurtured a close identification with natural phenomena, from the use of natural resources in the construction of instruments, classified as the bayin, to the portrayal of imageries of the soundscapes of nature with extended performance techniques. Along with globalisation trends, Chinese folk music traditions have since undergone a series of hybridisation and transformation processes that transposed its focus from the natural/individual into the social/communal, mimicking the Western symphony orchestral model, a process that fostered the constant modification, repurposing, and commodification of its instruments and practices. Applying Titon’s concept of ecomusicology as the theoretical framework, the present study explores the resilience and adaptive management of the Chinese orchestra since the inception of its model 100 years ago, particularly in the context of the Chinese diaspora in Malaysia. How does Chinese music in a diasporic location retain and adapt its historical aesthetics, after undergoing politically induced transformations, pressures of modernisation and desires of assimilation into the local community? This study proposes a participant observation to reassess the current state of the Chinese orchestra in Malaysia, while providing an update on the limited existing literature on the topic through the perspective of cultural ecosystems. With tensions of modernising according to social trends and additional challenges posed by social configurations, repositioning the study of Malaysian Chinese Orchestras as ecosystem would help to devise new strategies to sustain the model in the future, while keeping its identity as a ‘tradition’ that is experiencing constant evolution.