Le stratificazioni immateriali in tre luoghi di culto delle comunità immigrate a Roma: a proposito della collana MusicheMigranti (Neoclassica)


A house of worship abroad, far from one's homeland is always more than religion for migrants, it plays useful roles such as place for social aggregation, mutual aid, welfare, supporting in dealing with burocracy or learning the language of the country of arrival. In chief, it is the suitable framework to preserve customs and musical practices of the countries of origin, and a metropolitan city like Rome, which has a demographic record concerning the residence of immigrants, it is a living testimony about the cultural richness that diasporic minorities have provided in Italy. The soundscape thus is enhancing despite the increasingly flintiness of the laws hindering the integration of migrants in recent years. These places of worship, in Rome, lie in civil or industrial buildings that are assigned to different communities, or they are "shared churches" welcoming different Christian religions. This article is about three volumes, Esengo, Alḥān and Galoba published by Neoclassica, in the series te MusicheMigranti and explores some "treasure chest of the motherland", experiences of religious music in three case studies: the Congolese Catholic church in the centre of Rome, the Coptic Orthodox church in a garage in the Tiburtina area and the Georgian church in the Monti district.

DOI Code: 10.1285/i22804250v12i2p117

Keywords: Migration; religious misic; diaspora; soundscape and postcolonialism

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