HausMusik Brasil Project and the “Palco Affetivo”

Type: Short paper - Article nº 1723

Authors: Julio Cesar Melo Miranda¹; Jaime Bosch²; Salete Maria Chiamulera Böhler³; John Kennedy Pereira de Castro?; Rosane Pletsch?; Cinthia Ruivo?; Tatiane Wiese Mathias³; Sandra Lucia Simonato Bora?; Renée Rebelo Cicarelli?; Kaline Graziela Gulyas?; Teresa Cristina Trizzolini Piekarski?; Tulio Ayres³; Janice Possamai Fiedler¹?

Presenter: Sandra Lucia Simonato Bora

Institutions: ¹ Rede Claretiana de Ensino; ² Studium Theologicum; ³ Universidade Estadual do Paraná — Unespar/Embap; ? Universidade Estadual de Maringá; ? IECLB; ? Universidade Federal do Paraná; ? Duettom Escola de Música; ? UNESPAR/EMBAP; ? UNISE; ¹? PUC/PR

ISME Member ID: 16473   •   E-mail: jcesarmiranda@icloud.com

Abstract

This text presents the practice and concept of “Palco Affetivo” as a space for connection and musical engagement, fostering human relationships through and with music. The “Palco Affetivo” emerges as a transcendent dimension (Boyce-Tillman, 2016) within the activities of the HausMusik Brasil Project, a voluntary initiative that has promoted family-based concerts since 2007. Grounded in reflections on public and private space (Arendt, 1958), the project proposes the creation of a third space within homes, identified as Palco Affetivo, a linguistic neologism. The term affetivo, in the normative orthography of the project’s country of origin, is written with a single “f.” Within the HausMusik Brasil Project context, the temporary stage thus formed—a space of affective, familial, cognitive, and musical interactions—is transliterated as “Palco Affetivo,” representing a radical inclusivity (Boyce-Tillman, 2016). This experience is indicated by the presence of the second “f” in the neologism, symbolizing the expanded nature of affection established there.

To the affectivity inherent in human experience—of people gathered within a family nucleus, guests in a home witnessing a musical recital—is added the central element of Christian spirituality: faith. In this context, the relationships of colloquial, idiomatic, and musical dialogues demonstrate that the presence of the spiritual is not only activated by the educational, relational, and experiential action of musical art but is also deepened by the subject-actors who inspire it. The project is Christocentric and points to a mediation of boundaries that only faith can provide, as visio amoris (Augustine, 1997) and as “an act of the intellect moved by the will, under the impulse of grace” (Aquinas, 2001). Material elements present in the project’s activities reveal this “impulse of grace.” One of them is the timing of the recitals, always scheduled at thirty-three-minute intervals. The protocolary presence of this schedule indicates a dialogical action of Christian Trinitarian foundations (Augustine, 1994) in two perspectives of understanding time: Kairós and Kronos (Tillich, 2005; Rahner, 1976; Ratzinger, 1968), respectively represented in the first and second “three” of the time notation. In the “Palco Affetivo,” faith is “the energy that connects the somatic, the affective, the cognitive and the spiritual in the musical act” (Boyce-Tillman, 2016, p. 112), the driving force and energy of all events related to the HausMusik Brasil Project. Within this complex intertwining of spirituality and musicality, family and music, there is a potentiation of musical making that engages and connects people, enabling growth in both individual and collective spiritual musical experiences.

References

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Tillich, P. (2005). Theology of Culture. Oxford University Press.