Le « moutya otantik » en tant que patrimoine : Mémoires, représentations et construction de l’authenticité d’une pratique musicale de tradition orale en contexte postcolonial
Vol. 47 (2020), Articles: Open Topics
Vol. 47 (2020)

Le « moutya otantik » en tant que patrimoine : Mémoires, représentations et construction de l’authenticité d’une pratique musicale de tradition orale en contexte postcolonial

Articles: Open Topics
Published 2020-11-22
  • Marie-Christine Parent
Marie-Christine Parent
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How to Cite

Parent, M.-C. (2020). Le « moutya otantik » en tant que patrimoine : Mémoires, représentations et construction de l’authenticité d’une pratique musicale de tradition orale en contexte postcolonial. MUSICultures, 47, 189–212. Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/31420
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Abstract

This article explores the concept of moutya otantik and its development, which must be placed within the context of the 1977 socialist revolution and the construction of the Seychelles as a nation. Moutya otantik is an ideal type in Seychellois discourse, but is not practiced as such. It harkens back to the past, particularly to the colonial era and the period of slavery. An analysis of memories and representations of moutya emphasizes changes in the practice throughout the Seychellois Cultural Renaissance, a movement spearheaded by the new state which brought moutya into both the public sphere and the country’s official history. Moutya otantik is at once considered both a result of its institutionalisation and a symbol of national heritage.

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