Cristiano Tsope
- Junior Researcher
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Departamento de Comunicação e Arte | Universidade de Aveiro
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Campus Universitário de Santiago
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3810-193 Aveiro
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Portugal
- Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
- Tel: (+351) 234 370 389 (ext. 23700)
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Biography
Cristiano Tsope was born in June 6th 1984, in Maputo, and graduated in History by Eduardo Mondlane University in 2009, caries a Master degree in Human Rights, Economic Development and Good Governance from Technical University of Mozambique, his dissertation was about media and human right in Mozambique with a study case focused on Radio Mozambique’s human rights approach; he is now one of the LiberSound Project researcher member and Ethnomusicology Doctoral Student at Aveiro University (UA); works at Radio Mozambique’s Sound Archive as Documentalist; published the following articles in the newspapers: “O barato que saio caro”. Noticias (December 2012), “O Saneamento do Meio em Maputo” (2012), “O Papel da Mulher na Sociedade Moçambicana” (March 2013), “Gatunos à Solta nas Ruas da Capital” (September 2013) “Cenas do Trânsito em Maputo” (May 2015) e “O espantoso Lagarto Gigante na Sede da RM”.Microfone Radio Mozambique, in 2019 published in coauthorship with Luca BUSSOTTI a cientific article entitled “A abordagem dos Direitos Humanos na Comunicação Social em Moçambique: o caso da Rádio Moçambique – E.P. 2015.” Published in Estudos Contemporâneos em Jornalismo (The Human Rights approach in Social Communication in Mozambique: a study case from Radio Mozambique, 2015).
Doctoral ProjectTitleColonial ideologies, policies and sound representations of mozambicans: the sound archive of radio Moçambique, 1933-1974AdvisorCo-advisorMaria Paula MenesesAbstractRádio Moçambique (RM) was created as the Grêmio dos Radiofilos da Colónia de Moçambique (GRCM) in 1932. In the beginning, its activities had an amateur character. However, shortly afterwards, the radio began to play a central role in the Portuguese political and colonial domination project in Africa until 1974. The first decade of broadcasting was marked by the absence of musical practices of black native peoples. However, in the late 1950s and early 1960s sociopolitical dynamics led to the restructuring of the station's programming. Since then, a program in local languages dedicated to black natives was introduced. Despite the fact that several academic works about Radio Mozambique have already been written, there are no works that are entirely focused on its sound collection.This collection largely reflects the history and political decisions that guided not only the institution throughout its existence, but also the Portuguese colonial empire during the 20th century. This work, therefore, focuses on the study of colonial policies and ideologies through the collection of Radio Mozambique. It is based on the following questions: to what extent did colonial ideologies and policies contribute to the absence of local musical practices and struggles for symbolic meanings through music? To what extent has the radio, throughout its history, established ways of listening that promoted and fed colonial policies? The analysis is guided by a critical literature review on three major topics directly related to the proposed theme: archives in colonial context, sound archives and the Radio Mozambique. Through a case study of the Radio Club of Mozambique, in general, I seek to contribute to the construction of the decolonial archive by inscribing broadcasting and its associated phonographic collections in the critical debate as agents of regulation of colonial policies through music and sound.Keywords: Colonial Archive, Ethnomusicology, Decolonial, radio broadcasting, Mozambique History, Mozambican music.Research Group: Ethnomusicology and Popular Music Studies
