Redalyc.Shaping Time and Rhythm in African Music: Continuing Concerns
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Beyond Salsa Bass the Cuban Timba Revolution
BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering.......................................................................................................................................... -
Of Ace Graphney From
166 Stanley ' s Discoveries and the Future of Africa . Jan . tion of the papers drawn up by himself on various matters of public interest . The selection from these papers and the letters of the Prince forms by far the most interesting and important part of the present work , and we shall be glad if this portion of it can hereafter be extended . In other respects this bio graphy would gain by abridgment ; and it is also to be re gretted that the yery high price of these volumes places them altogether out of the reach of the people . A cheap edition of the book , which might be sold at cost price , since profit can be no object , reduced io about half its present size , but retaining all that came from the Prince ' s own pen , would be the most accept able gift Queen Victoria could make to her people , and per haps the most enduring monument of her Consort ' s fame . ART . VII . - - Letters of of Ace Henry graphney Stanley from from Equatorial Africa to the Daily Telegraph . London : 1877 . The exploration of Africa has been conducted of late on a - new system . The routes of the earlier travellers passed either through parts of the continent where the population is sparse , as in Caffre land or in the Sahara , or in those where it is organised into large kingdoms , such as lie between Ashanti and Wadai , and which are much too powerful to admit of any traveller forcing his way against the will of their rulers . The older explorers were therefore content to travel with small retinues , conciliating the natives of the larger kingdoms by patient persistence and feeling their way . -
The Line Between Traditional Dances and Bongo Fleva: a Case Study of Youth Participation in Dance Groups in Tanzania Daines Nicodem Sanga
27947 Daines Nicodem Sanga/ Elixir Soc. Sci. 75 (2014) 27947-27952 Available online at www.elixirpublishers.com (Elixir International Journal) Social Science Elixir Soc. Sci. 75 (2014) 27947-27952 The Line between Traditional Dances and Bongo Fleva: a Case Study of Youth Participation in Dance Groups in Tanzania Daines Nicodem Sanga ARTICLE INFO ABSTRACT Article history: This paper development of traditional dances in Tanzania by using the lens of youth Received: 3 May 2013; involved in performance activities. The paper uses firsthand information from four dance Received in revised form: groups; Livangala, Lumumba, UMATI and Bongo fleva artists to argue against less 15 October 2014; participation of youth in dance. The paper revealed that culture; economic and Accepted: 28 October 2014; administrative factors undermine the motivation of youth to participate in traditional dances and, thus, increased their enthusiasm in Bongo fleva. The paper offers a critical analysis of Keywords challenges that youth faced in traditional dances and how such challenges forced them to Youth, turn their interests to Bongo fleva. Following the shift of interests from traditional dances to Traditional dances, Bongo fleva, the paper suggests for social, economic and political transformation to increase Bongo fleva , the participation of youth in dance . Tanzania. © 2014 Elixir All rights reserved This paper uses first hand information gathered between the Introduction year 2010 and 2012 with Livangala, Tanangozi, UMATI and Much has been done pertaining to youth and new culture in Lumumba dance groups, of which the current two groups Tanzania. This is particularly Hip-hop and Bongo fleva. Efforts located in Iringa countryside whereas the later two situated in have been done to trace the history of Bongo fleva and its role in town centres. -
Queens College Student Choreography Showcase 2021
Queens College Student Choreography Showcase 2021 About the Choreographers Alisha Anderson is a professional dancer who works every day to fulfill the highest expression of herself as a human being and an artist. Alisha has studied various genres of dance for over 20 years and specializes in tap, Afrobeat and African dance. She began her dance career at her family owned dance school, Dance Arts Repertory Theater, which had a well known company called Yori that specialized in African dance; and inspired her to become a professional African dancer. Alisha has studied under Randi Lloyd, Lancelot Theobald, Shandella Molly, Jewel Love, Chet and many more. She is currently attending Queens College where she is graduating with a Minor in Dance and a MaJor in Education. Alisha has traveled to Ghana, Senegal and other countries in West Africa to further her studies in African dance. Alisha has performed professionally with Salsa Ache which is a salsa and Afro Caribbean dance company, and currently performs with two of the top African dance companies in New York City, Harambee and Bambara. In 2014 Alisha joined Harambee which is directed by Shandella Molly and located in Bronx, NY. With Harambee Alisha has performed for the African American Museum, Nick Cannon, Vice the TV show and many more. In 2015 she joined Bambara which is directed by Jewel Love, and with the company she has performed for the Tira Banks show, Dance Africa (BAM), numerous African festivals, weddings and much more. Alisha began her teaching career at Layla Dance and Drum school where she has taught for the past three years and enjoys working with the students. -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
I the Use of African Music in Jazz from 1926-1964: an Investigation of the Life
The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston by Jason John Squinobal Batchelor of Music, Berklee College of Music, 2003 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Ethnomusicology University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Jason John Squinobal It was defended on April 17, 2007 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Thesis Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2007 iii The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston Jason John Squinobal, M.A. University of Pittsburgh, 2007 ABSTRACT There have been many jazz musicians who have utilized traditional African music in their music. Randy Weston was not the first musician to do so, however he was chosen for this thesis because his experiences, influences, and music clearly demonstrate the importance traditional African culture has played in his life. Randy Weston was born during the Harlem Renaissance. His parents, who lived in Brooklyn at that time, were influenced by the political views that predominated African American culture. Weston’s father, in particular, felt a strong connection to his African heritage and instilled the concept of pan-Africanism and the writings of Marcus Garvey firmly into Randy Weston’s consciousness. -
The Role of Bell Patterns in West African and Afro-Caribbean Music
Braiding Rhythms: The Role of Bell Patterns in West African and Afro-Caribbean Music A Smithsonian Folkways Lesson Designed by: Jonathan Saxon* Antelope Valley College Summary: These lessons aim to demonstrate polyrhythmic elements found throughout West African and Afro-Caribbean music. Students will listen to music from Ghana, Nigeria, Cuba, and Puerto Rico to learn how this polyrhythmic tradition followed Africans to the Caribbean as a result of the transatlantic slave trade. Students will learn the rumba clave pattern, cascara pattern, and a 6/8 bell pattern. All rhythms will be accompanied by a two-step dance pattern. Suggested Grade Levels: 9–12, college/university courses Countries: Cuba, Puerto Rico, Ghana, Nigeria Regions: West Africa, the Caribbean Culture Groups: Yoruba of Nigeria, Ga of Ghana, Afro-Caribbean Genre: West African, Afro-Caribbean Instruments: Designed for classes with no access to instruments, but sticks, mambo bells, and shakers can be added Language: English Co-Curricular Areas: U.S. history, African-American history, history of Latin American and the Caribbean (also suited for non-music majors) Prerequisites: None. Objectives: Clap and sing clave rhythm Clap and sing cascara rhythm Clap and sing 6/8 bell pattern Dance two-bar phrase stepping on quarter note of each beat in 4/4 time Listen to music from Cuba, Puerto Rico, Ghana, and Nigeria Learn where Cuba, Puerto Rico, Ghana, and Nigeria are located on a map Understand that rhythmic ideas and phrases followed Africans from West Africa to the Caribbean as a result of the transatlantic slave trade * Special thanks to Dr. Marisol Berríos-Miranda and Dr. -
A Word of Welcome from the Conference Organizer
A word of welcome from the conference organizer Dear conference delegates, Welcome to the Nordic Africa Days 2014 in Uppsala! The Nordic Africa Days (NAD) is the biennial conference which for the past six years has been organized rotatively in each of the Nordic countries. Already since 1969 the Nordic Africa Institute has organised this regular gathering of Nordic scholars studying African issues, and the event has for the past 15 years been formalized under the name of the Nordic Africa Days. The theme of this year’s conference is Misbehaving States and Behaving Citizens? Questions of Governance in African States. We are proud to host two distinguished keynote speakers, Dr Mo Ibrahim and Associate Professor Morten Jerven, addressing the theme from different angles in their speeches entitled “Why Governance Matters” and “Africa by Numbers: Knowledge & Governance”. The conference is funded by long-standing and committed support from the Swedish, Finnish, Norwegian and Icelandic governments. This year, we are also particularly pleased to be able to facilitate participation of about 25 researchers based on the African continent through a generous contribution from Sida (The Swedish International Development Cooperation Agency). Providing a platform for Nordic and African researchers to meet and cooperate at NAD is becoming ever more important, in addition to creating a prime meeting place for researchers on Africa within the Nordic region. The main conference venue is Blåsenhus, one of the newest campuses within Uppsala University, situated opposite the Uppsala Castle and surrounded by the Uppsala Botanical Gardens. This particular area of Uppsala has a historical past that goes back 350 years in time and offers many interesting places to visit. -
Speech Sounds Vowels HOPE
This is the Cochlear™ promise to you. As the global leader in hearing solutions, Cochlear is dedicated to bringing the gift of sound to people all over the world. With our hearing solutions, Cochlear has reconnected over 250,000 cochlear implant and Baha® users to their families, friends and communities in more than 100 countries. Along with the industry’s largest investment in research and development, we continue to partner with leading international Speech Sounds:Vowels researchers and hearing professionals, ensuring that we are at the forefront in the science of hearing. A Guide for Parents and Professionals For the person with hearing loss receiving any one of the Cochlear hearing solutions, our commitment is that for the rest of your life in English and Spanish we will be here to support you Hear now. And always Ideas compiled by CASTLE staff, Department of Otolaryngology As your partner in hearing for life, Cochlear believes it is important that you understand University of North Carolina — Chapel Hill not only the benefits, but also the potential risks associated with any cochlear implant. You should talk to your hearing healthcare provider about who is a candidate for cochlear implantation. Before any cochlear implant surgery, it is important to talk to your doctor about CDC guidelines for pre-surgical vaccinations. Cochlear implants are contraindicated for patients with lesions of the auditory nerve, active ear infections or active disease of the middle ear. Cochlear implantation is a surgical procedure, and carries with it the risks typical for surgery. You may lose residual hearing in the implanted ear. -
Beyond Salsa for Ensemble a Guide to the Modern Cuban Rhythm Section
BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio ....................................................................................................................................... -
Supplementary Table 1
Supplementary material BMJ Global Health Supplementary Table 1: Focus Terms Health promotion topic “acquired immune deficiency syndrome” OR “AIDS” OR “asthma*” OR “breast feeding” OR “blood pressure” OR “bronchitis” OR “cancer” OR “cardiovascular disease” OR “child health” OR “cholera” OR “chronic kidney disease” OR “chronic lung disease” OR “COPD” OR “Diabet*” OR “HIV” OR “human immunodeficiency virus” OR “heart disease” OR “hypertension” OR “immune*” OR “infant health” OR “iodine” OR “leprosy” OR “malari*” OR “maternal health” OR “NCD” OR “non- communicable disease*” OR “nutrition” OR “polio” OR “pneumonia” OR “rehydration” OR “respiratory disease” OR “sex*” OR “schistosomiasis” OR “smallpox” OR “stroke” OR “syphilis” OR “TB” OR “tetanus” OR “trachoma” OR “tuberculosis” OR “vaccination” OR “vitamin” OR “zoono*” AND Arts and practices “artisan” OR “carving” OR “ceramic” OR “collage” OR “comedy” OR “comic” OR “cultur*” OR “danc*” OR “digital” OR “drama” OR “draw*” OR “film” OR “folk media” OR “game*” OR “literature” OR “music” OR “paint*” OR “photog*” OR “play” OR “poem” OR “poet*” OR “poster*” OR “pottery” OR “sing” OR “song” OR “story” OR “theatre” OR “writing” AND Location “Abyssinia “ OR “Africa” OR “Sub-Saharan Africa” OR “Angola” OR “Bechuanaland” OR “Benin” OR “Botswana” OR “British Central Africa” OR “Burkina Faso” OR “Burundi” OR “Cabo Verde” OR “Cameroon” OR “Cape Verde” OR “Central African Republic” OR “Chad” OR “Comoros” OR “Costa da Pimentia (Pepper Coast)” OR “Dahomey” OR “Democratic Republic of the Congo” OR “Djibouti” OR -
Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950
Moore 1 Cross‐Cultural Perspectives on the Creation of American Dance 1619 – 1950 By Alex Moore Project Advisor: Dyane Harvey Senior Global Studies Thesis with Honors Distinction December 2010 [We] need to understand that African slaves, through largely self‐generative activity, molded their new environment at least as much as they were molded by it. …African Americans are descendants of a people who were second to none in laying the foundations of the economic and cultural life of the nation. …Therefore, …honest American history is inextricably tied to African American history, and…neither can be complete without a full consideration of the other. ‐‐Sterling Stuckey Moore 2 Index 1) Finding the Familiar and Expressions of Resistance in Plantation Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 6 a) The Ring Shout b) The Cake Walk 2) Experimentation and Responding to Hostility in Early Partner Dances ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 14 a) Hugging Dances b) Slave Balls and Race Improvement c) The Blues and the Role of the Jook 3) Crossing the Racial Divide to Find Uniquely American Forms in Swing Dances ‐‐‐‐‐‐ 22 a) The Charleston b) The Lindy Hop Topics for Further Study ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 30 Acknowledgements ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 31 Works Cited ‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐‐ 32 Appendix A Appendix B Appendix C Appendix D Moore 3 Cross‐Cultural Perspectives on the Creation of American Dance When people leave the society into which they were born (whether by choice or by force), they bring as much of their culture as they are able with them. Culture serves as an extension of identity. Dance is one of the cultural elements easiest to bring along; it is one of the most mobile elements of culture, tucked away in the muscle memory of our bodies.