https://hdl.handle.net/10481/37396 2026-04-13T22:21:39Z 2026-04-13T22:21:39Z Camacho Fernández, Sergio https://hdl.handle.net/10481/112797 2026-04-13T12:49:49Z

La zarzuela no es cosa de Franco: consideraciones sociales e identitarias en la difusión de la zarzuela en el siglo XXI Camacho Fernández, Sergio A pesar de que la zarzuela, como género vivo, perdiera su vigencia a principios del siglo XX para cristalizarse en un repertorio cerrado, aún hoy debe enfrentarse a prejuicios que limitan su difusión y ponen en riesgo su viabilidad. Su identificación con el nacionalismo popular de consumo, aunada con el uso propagandístico de la zarzuela como paradigma de lo español durante el primer franquismo, hace que exista un arraigado preconcepto que sitúa a la zarzuela no solo como género idiomático, sino como arquetipo identitario nacional. La monopolización de la promoción de la cultura por parte de las instituciones regionales y locales ha provocado abiertamente el auge del localismo cultural, que influye negativamente en la difusión de un género comúnmente etiquetado como “español”. El objetivo de este estudio es el análisis de los retos de la zarzuela en el entorno socioeconómico actual, que permita su reposicionamiento dentro del imaginario social del siglo XXI como un género global y local, y eviten su marginalización, más allá de consideraciones identitarias.; Zarzuela, as a living genre, lost its validity during the first third of the 20th century, to crystallise in a closed repertoire. However, even today, it has to face a set of social prejudices that limits its dissemination and jeopardises its viability. Its identification as a form of popular consumer nationalism, together with the propagandist use of zarzuela by the early Francoism, prompts a preconception of zarzuela, not just as a Spanish idiomatic music genre, but as the national identity archetype. The monopolisation of cultural promotion by the regional and local governments has openly triggered the upsurge of cultural localism, which limits the dissemination of a genre as zarzuela, broadly labelled as “Spanish”. The purpose of this study is the analysis of the challenges of zarzuela in the current socioeconomic environment, which may allow its shifting within the social consciousness to a global-local genre, avoiding the risk of its marginalisation, beyond identity considerations.

Camacho Fernández, Sergio https://hdl.handle.net/10481/112791 2026-04-13T11:15:49Z

Discerning Spain, a suite for Chinese Orchestra Camacho Fernández, Sergio Première of ‘Discerning Spain: a Suite for Chinese Orchestra’, by the CCS Chinese Orchestra, conducted by Sergio Camacho. Original score by S Camacho based on themes by De Falla, Rodrigo and Albéniz, in Loud or Never, Malaysia, 2017. (ISWC T-303.337.802-4)

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/10481/112322 2026-03-20T07:52:19Z

Máni, a Fifth Name for the One Moon Camacho Fernández, Sergio "Tell me, Allwise! For all men's concerns I presume thee, dwarf, to know: How the Moon, which men can see, is called in each and every world' The elves 'The Time Teller' 'The Goer' for the giants, 'The Gleamer' for the dwarfs, 'The Wheel' tis' called in the House of Hell 'Máni' is the Moon for mankind and, among the Gods, is known as 'Flame'" Alvíssmál, 13-14. 'Máni, a Fifth Name for the one Moon', a music film written and directed by Sergio Camacho, commissioned by the Föreningen Musikspektra T for the Ny Musik i Örebro Festival, premiéred at the Roxy Cinema, Örebro, Sweden, in 2015.

Camacho Fernández, Sergio https://hdl.handle.net/10481/111812 2026-03-02T14:34:20Z

(I Guess) I Do Camacho Fernández, Sergio Contemporary Music Theatre piece, by Sergio Camacho. Presented at the Short & Sweet Festival 2011 (Kuala Lumpur Performing Arts Centre, Malaysia) and, in concert form, at the Ambon Jazz Plus Festival (Indonesia).