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Tags: Etnomusicologia e Estudos em Música Popular   Pós-Doc  

Alicia Pajón Fernández

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Integrated Doctor | Post-Doctoral Researcher
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
Portugal
Email: This email address is being protected from spambots. You need JavaScript enabled to view it.
Tel: (+351) 234 370 389 (ext. 23700)

Biography

Alicia Pajón Fernández holds a PhD in Art History and Musicology from the University of Oviedo. She is a member of the Research Group on Contemporary Music of Spain and Latin America, Diapente XXI, and as a result of her research, she has authered several book chapters and journal articles. Additionally, she has participated in several conferences in Spain, Portugal, Germany, Greece, and the United Kingdom and has undertaken research stays at Princeton University (2022) and the University of Aveiro (2024–2025). She is a lecturer at the International University of Valencia (VIU) and an external collaborator at the International University of La Rioja (UNIR), as well as a music critic for the newspaper La Nueva España. Since 2023, she has been a member of the Board of Directors of the Society for Ethnomusicology (SIBE) as treasurer..
 
 
 
 
 

Post-doctoral project

 

Title
The Movida de Vigo as a dissensual example. Music in Galicia between 1978 and 1988
 
 
Advisor

 

Abstract

This research aims to examine the countercultural music scene in Galicia during the period between 1978 and 1988, known as theMovida de Vigo. This cultural movement emerged in the Galician city of Vigo amidst a backdrop of industrial decline, increasing drug-related issues, and widespread youth disillusionment. Influenced by punk and new wave aesthetics, theMovida de Vigowas often perceived as a regional replication of the more prominentMovida Madrileñain Madrid. However, this oversimplification fails to capture the unique characteristics and broader influences that shaped the Galician music scene.
While theMovida de Vigowas undoubtedly impacted by trends from the rest of Spain, it also drew inspiration from other sources, notably neighboring Portugal and Latin America. This transnational exchange of ideas and genres is evident in the works of bands such as Siniestro Total, whose 1984 albumMenos mal que nos queda Portugalpays homage to Portuguese connections, and Os Resentidos, who recorded their albumVigo Capital Lisboa(1984) in Lisbon. Beyond these international influences, the research also seeks to explore the local connections within Galicia, examining the interplay between theMovidascene and artists from other musical traditions, such as singer-songwriter Bibiano Morón, and its later impact on genres likerock bravú.
The research further considers how these artistic developments were shaped by the pressures of a growing centralized music industry and the emergence of capitalist market dynamics, as discussed by Attali (1977). By shifting the focus from viewing Galician music as a mere echo of Madrid’s scene, this study aims to reinterpret the cultural manifestations of the period as part of a broader negotiation within the context of Spain’s transition to democracy.
Adopting Rancière’s (2019) perspective, the study highlights how Galician artists looked beyond local and national frameworks to forge connections with other horizons, serving as a counterbalance to dominant narratives of consensus. This perspective frames the music of theMovida de Vigoas a critical and destabilizing force that challenged the mainstream narrative of Spain’s democratic transition. By centering the Atlantic perspective, this research repositions Galician popular music within a broader and more complex cultural dialogue, emphasizing its unique contributions to the period’s subcultural movements.