DOCSLIB.ORG

Domesticating the Ghost: Constellations of Mexico, 1968

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Domesticating the Ghost: Constellations of Mexico, 1968 DOMESTICATING THE GHOST: CONSTELLATIONS OF MEXICO, 1968 by James Suneil Sanzgiri B.F.A. Interdisciplinary Sculpture, Maryland Institute College of Art, 2011 submitted to The Department of Architecture in Partial Fulfilment of the requirements for the Degree of Masters of Science in Art, Culture and Technology at the Massachusetts Insitute of Technology June 2017 The author hereby grants to MIT permission to reproduce and to dis- tribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. © 2017 James S. Sanzgiri. All rights reserved. SIGNATURE OF AUTHOR Department of Architecture, May 12, 2017 CERTIFIED BY Renée Green, Professor of Art, Culture and Technology Thesis Supervisor ACCEPTED BY Sheila Kennedy, Professor of Architecture Chair of the Department Committee on Graduate Students 3 THESIS COMMITTEE RENÉE GREEN Professor of Art, Culture and Technology, MIT Thesis Supervisor GLORIA SUTTON Assistant Professor, Contemporary Art History and New Media, Northeastern University Reader WILLIAM URICCIO Professor of Comparative Media Studies, Principal Investigator of the MIT Open Documentary Lab, MIT Reader 4 TABLE OF CONTENTS Table of Contents 4 Abstract 5 Acknowledgements 6 INTRODUCTION 10 An Opening, An Apparition 12 A Minor Encounter 15 Thesis Question 16 Methodology 18 Why Write This Now 20 CHAPTER ONE 26 History and Resurrection 27 The Image in (the) Ruins 33 The Incarcerated Archive 37 Postscript on Narration 53 CHAPTER TWO 55 Memory and Control 56 The Apparatus 61 The Sight Machine 65 Chiastic Resistance 68 CHAPTER THREE 71 Hegemony and Its Paradoxes 72 Collective Memory 74 The Imaginary 77 The Abstract Institution of Everything 79 Radical Imagination 82 CONCLUSION 84 Left Melancholy 87 The Propaganda of History 90 BIBLIOGRAPHY 93 5 DOMESTICATING THE GHOST: CONSTELLATIONS OF MEXICO, 1968 by James Suneil Sanzgiri Submitted to the Department of Architecture on May 12, 2017 in Partial Fulfill- ment of the Requirements for the Degree of Master of Science in Art, Culture and Technology ABSTRACT Organized primarily as an essayistic method of investigation to accom- pany and supplement my thirty-minute short film AT THE TOP OF GRASS- HOPPER’S HILL, this thesis traces minor encounters or discrepant engagements1 between myself and and images of the 1968 state-sponsored student massacre in Mexico City. I adopt these engagements, most of which exist as encounters within state-sponsored institutions, to take 1968 and the Tlatelolco Massacre as a point of departure with which to navigate the density of such questions and problems as the production of collective memory, cultural heritage, disappearance, the ar- chive, history and authority, and above all how power and knowledge function within a hegemonic terrain. Through an analysis of the many manifestations of images surrounding the 1968 student massacre, including Hollywood-esqe adaptations and 16mm documentation of the event by the military themselves, I explore the role rep- resentation plays in political struggles as well as its potential co-optation by the state. Such co-optation I argue, perpetuates cycles of oppression that maintain the status quo; and within Mexico specifically, the nearly ninety-year rule of the PRI party. At its essence, this thesis pries open the inconsistencies of such repre- sentations within Mexico, 1968 and its aftermath. These questions are sparked by my long term considerations of theorists such as Walter Benjamin, Paul Virilio, and Michel Foucault. I have found my in- vestigations within Mexico indicative of their writings among a range of others that appear in this text. As such, this essayistic exploration stretches and drifts across many different disciplines, geographies, and figures. Thus, I develop a “constellatory framework” to expand an analysis of technologies of reproduction themselves towards their facility to impact national memory through circulation. Thesis Supervisor: Renée Green Title: Professor of Art, Culture and Technology 1 A term brought to my attention by Renée Green. Mackey, Nathaniel. Discrepant En- gagement: Dissonance, Cross-culturality, and Experimental Writing. Cambridge,: Cambridge University Press, 2009. 6 ACKNOWLEDGEMENTS I would like to thank all of those that have made this work possible, most importantly Professor Renée Green whom I’ve worked with in depth over these past two years, and whose work and countless suggestions continue to be im- pactful and inspirational. I would also like to thank the other two members of my committee, Assistant Professor Gloria Sutton and Professor William Uricchio for their time and help. Many thanks as well to Mario Caro for his help with this work in my final semester. I would like to thank all of my mentors at Soma Summer 2016 in Mexico, whom first introduced me to Tlatelolco and the Palacio de Lecumberri. I would also like to thank all of my peers in the Art, Culture, and Technol- ogy program over these two years with whom I’ve grown, been influenced and challenged by, and gone through a number of major political shifts with - all of which this work would not be possible without. Most of all, I would like to thank my close friend Maribeth Keane for her inspiration as a community activist and healer, and whose encouragement throughout this process reminds me of the purpose of engaging in such difficult material. Finally, much love to my family for supporting my decisions and develop- ment as an artist in whatever path it takes. 7 8 “The body is imaginary, not because it lacks reality, but because it is the most real reality, an image that is ever-changing, and doomed to disappear. To dominate the body is to suppress the images it emits.” Octavio Paz, Conjunctions and Disjunctions, 1969 9 10 Introduction INTRODUCTION ON OCTOBER 2ND, 1968 in Mexico City, an estimated three-hundred students and civilians were massacred by the military and paramilitary forces following months of protest leading up to the first ever Olympic games held in a Spanish speaking nation. The student movement’s demands, including in- creased democratic oversight of the political processes, a dismantling of the one-party state, more transparency in government, and a demilitarization of the country at large, for starters, all followed decades of massively increasing rural and urban poverty, environmental destruction, political corruption, and manip- ulation of workers and peasants. Such results came as a consequence from the failures of postwar modernization that swept the nation.2 On August 1st, riot police (known as the granaderos) were called in to suppress protest marches of some 50,000 students, escalating tensions between police, military, students, and protesters, furthering governmental justification for occupying and invad- ing campuses across the city. On September 23rd, an increasingly resistant stu- dent population at the Polytechnic campuses prepared to defend themselves against military occupation. Fifteen students died and forty-five were injured.3 It was with the October 2nd protests, however, that gathered some 10,000 students and civilians in the Plaza de las Tres Culturas (Fig. 1) of the Tlatelolco archaeological zone in the city. This site in particular suffers a considerable den- sity of time, history and trauma. It is not only the plaza designed by the mod- ernist Mexican architect and urbanist Mario Pani (whose housing projects were built only two years earlier at Tlatelolco) but also the last site of the 1521 Aztec massacre, which by some accounts was a genocide of over 20,000 at the hands of Hernán Cortés.4 Tlatelolco is now an archaeological site housing not only the ruins of the eponymous Aztec city, but also of the Spanish Catholic church of Santiago de Tlatelolco built using the exact same stones extracted only fifteen years after the defeat of the Aztec empire. Students sought refuge in the halls of the church during the massacre, only to be lined up and executed in the church itself.5 Tlateloloco stands as quite literally an exhumation of trauma, and is it- self indexical to questions of memory and forgetting as the state controlled media of Mexico worked to obliterate visible traces of the ’68 massacre during the Olympics and thereafter. Officials who cleansed the blood and bodies that lay waste on the public square swiftly attempted to scrub the memory of the massacre from the tiles of the Plaza de las Tres Culturas the very next morning.6 2. Poniatowska, Elena. “The Student Movement of 1968.” The Mexico Reader: History, Cul- ture, Politics. By Gilbert M. Joseph. Durham, NC: Duke U, 2005. 555-69. 3. ibid. 4. Leon-Portilla, Miguel. The Broken Spears: The Aztec Account of the Conquest of Mexico. Trans. Ángel María Gari bay Kintana. Lysander Kemp ed. Boston: Beacon, 2006. 5. Poniatowska, Elena. “The Student Movement of 1968.” The Mexico Reader: History, Cul- ture, Politics. By Gilbert M. Joseph. Durham, NC: Duke U, 2005. 555-69. J.S. Sanzgiri 11 The regime of President Díaz Ordaz issued a report claiming violent pro- testors opened fire on the police, who simply defended themselves in reac- tion.7 Only four were initially reported dead with twenty injured, coming to a total official acknowledgement by the PRI of only twelve dead.8 Díaz Or- daz was widely congratulated as having successfully halted the student move- ment to maintain “peace” (with help from the United States government), and the memory of the massacre was quickly sanitized, buried and suppressed.9 The familiar narratives of student uprisings, the year 1968, and the eventu- al state repression of Socialist and Democratic initiatives during the global Cold War nightmares served to underscore a narrative of violence and corruption that has become the standard for many conceptions of Mexican history and politics. The parallels across nations during 1968 are a well documented phenomenon, including the mass genocide in Latin America that bore the name “los desapa- racidos”.
Load more

Recommended publications
  • The 1968 Lynching in San Miguel Canoa, Puebla
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, & Student Research, Department of History History, Department of Spring 4-19-2013 Community, Power, and Memory in Díaz Ordaz's Mexico: The 1968 Lynching in San Miguel Canoa, Puebla Kevin M. Chrisman University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/historydiss Part of the Cultural History Commons, History of Religion Commons, Latin American History Commons, Oral History Commons, Political History Commons, Social and Behavioral Sciences Commons, and the Social History Commons Chrisman, Kevin M., "Community, Power, and Memory in Díaz Ordaz's Mexico: The 1968 Lynching in San Miguel Canoa, Puebla" (2013). Dissertations, Theses, & Student Research, Department of History. 59. https://digitalcommons.unl.edu/historydiss/59 This Article is brought to you for free and open access by the History, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, & Student Research, Department of History by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COMMUNITY, POWER, AND MEMORY IN DÍAZ ORDAZ’S MEXICO: THE 1968 LYNCHING IN SAN MIGUEL CANOA, PUEBLA By Kevin M. Chrisman A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: History Under the Supervision of Professor James A. Garza Lincoln, Nebraska May, 2013 COMMUNITY, POWER AND MEMORY IN DÍAZ ORDAZ’S MEXICO: THE 1968 LYNCHING IN SAN MIGUEL CANOA, PUEBLA Kevin M. Chrisman, M.A. University of Nebraska, 2013 Adviser: James A.
    [Show full text]
  • The Report Committee for Brenda Gonzalez
    The Report Committee for Brenda Gonzalez Certifies that this is the approved version of the following Report: The Role of Student Protests in 1968: the Soviet Invasion Of Czechoslovakia & Tlatelolco Massacre in Mexico APPROVED BY SUPERVISING COMMITTEE: Thomas J. Garza, Supervisor Marina Alexandrova The Role of Student Protests in 1968: the Soviet Invasion Of Czechoslovakia & Tlatelolco Massacre in Mexico By Brenda Gonzalez, BA Report Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2016 The Role of Student Protests in 1968: the Soviet Invasion Of Czechoslovakia & Tlatelolco Massacre in Mexico By Brenda Gonzalez, MA The University of Texas at Austin, 2016 SUPERVISOR: Thomas J. Garza This report delves into the events that occurred on August 21st 1968 in Czechoslovakia and October 2nd 1968 in Mexico. The invasion of Czechoslovakia by the Soviet Union and the massacre at Tlatelolco are two crucibles that remain a significant factor in the mindset of people from the Czech Republic, Slovakia and Mexico today. In my writing I draw parallelisms between these two events, that occurred mere months from each other, on different continents and had students asking one common thing from their respective governments, they wanted to be heard. The invasion of Czechoslovakia came as a surprise; the country’s new leader Alexander Dubcek was relaxing the government’s stronghold on the media and freedom of press was slowly becoming a reality. These advances did not sit well with Leonid Brezhnev and the Soviet Politburo so they made a rash decision to invade; the Soviets believed that losing their stronghold in Czechoslovakia would lead to their demise in other Eastern European countries.
    [Show full text]
  • Glossary of Nigerian and Japanese Terms
    Glossary of Nigerian and Japanese Terms NIGERIAN TERMS AND PHRASES Agbekoya Association of farmers (Yoruba). Ala fin Title of the Oba of Oyo. Emir Title of a Muslim ruler in Northern Nigeria. Iweonwe Literally, to rule oneself, and used for political independence (Igbo). Mulkin Kai Political independence (Hausa). Oba A paramount chief of the Yoruba. Obi A chief among the Igbos. Ominira Political independence (Yoruba). Ooni Title of the ruler of Ife. Saraukuna The nobility, members of the traditional ruling houses (Hausa). Sultan Islamic title meaning the Head of the Muslims. He is both the religious and political leader of the Muslims. Talakawa Commoners, all those who are not members of the ruling houses (Hausa). JAPANESE TERMS AND PHRASES Bakufu Literally 'tent government' and used to refer to the headquarters of the shogun during the feu­ dal period. It became the target of contempt for the Restoration leaders who abolished it in fa­ vour of the Emperor Meiji as the new focus of national political power, thus ending centuries of military rule in Japan. Bushido From the word bushi meaning warrior or the military aristocracy. Bushido refers to the general rules governing the behaviour of the samurai class. 171 172 Glossary Chokigo Imperial pronouncements. Daimyo A feudal lord. From the fifteenth century the term refers to those feudal lords with a territory producing I 0 000 koku or more of rice. Dajokan First formal post-restoration government or the Council of State. Diet The Legislative body under the 1898 Meiji Con­ stitution. Fudai 'House Daimyo' -those daimyo with hereditary vassalage to the Tokugawa Shogun.
    [Show full text]
  • Mexico's American/America's Mexican: Cross- Border Flows of Nationalism and Culture Between the United States and Mexico Brian D
    History Publications History 2013 Mexico's American/America's Mexican: Cross- border Flows of Nationalism and Culture between the United States and Mexico Brian D. Behnken Iowa State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/history_pubs Part of the Cultural History Commons, Inequality and Stratification Commons, Latin American History Commons, and the United States History Commons The ompc lete bibliographic information for this item can be found at https://lib.dr.iastate.edu/ history_pubs/99. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Book Chapter is brought to you for free and open access by the History at Iowa State University Digital Repository. It has been accepted for inclusion in History Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Mexico's American/America's Mexican: Cross-border Flows of Nationalism and Culture between the United States and Mexico Abstract In 2006, immigrant rights protests hit almost every major city in the United States. Propelled by a wave of anti-immigrant sentiment and proposed immigration legislation that developed out of the 2004 presidential election, Latino/a activists demanded an end to the biased, and often racist, immigration reform debate, a debate that characterized immigrants as violent criminals who wantonly broke American law. Individuals of all ethnicities and nationalities, but mainly Latinos, participated in massive demonstrations to oppose the legislation and debate. In the Southwest, in cities such as Los Angeles, Phoenix, Dallas, and El Paso, Mexican Americans showed by force of numbers that they opposed this debate.
    [Show full text]
  • Protest at the Pyramid: the 1968 Mexico City Olympics and the Politicization of the Olympic Games Kevin B
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Protest at the Pyramid: The 1968 Mexico City Olympics and the Politicization of the Olympic Games Kevin B. Witherspoon Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES PROTEST AT THE PYRAMID: THE 1968 MEXICO CITY OLYMPICS AND THE POLITICIZATION OF THE OLYMPIC GAMES By Kevin B. Witherspoon A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2003 The members of the Committee approve the dissertation of Kevin B. Witherspoon defended on Oct. 6, 2003. _________________________ James P. Jones Professor Directing Dissertation _____________________ Patrick O’Sullivan Outside Committee Member _________________________ Joe M. Richardson Committee Member _________________________ Valerie J. Conner Committee Member _________________________ Robinson Herrera Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS This project could not have been completed without the help of many individuals. Thanks, first, to Jim Jones, who oversaw this project, and whose interest and enthusiasm kept me to task. Also to the other members of the dissertation committee, V.J. Conner, Robinson Herrera, Patrick O’Sullivan, and Joe Richardson, for their time and patience, constructive criticism and suggestions for revision. Thanks as well to Bill Baker, a mentor and friend at the University of Maine, whose example as a sports historian I can only hope to imitate. Thanks to those who offered interviews, without which this project would have been a miserable failure: Juan Martinez, Manuel Billa, Pedro Aguilar Cabrera, Carlos Hernandez Schafler, Florenzio and Magda Acosta, Anatoly Isaenko, Ray Hegstrom, and Dr.
    [Show full text]
  • The Battles for Memory Around The
    ¡VIVXS LXS QUEREMOS! THE BATTLES FOR MEMORY AROUND THE DISAPPEARED IN MEXICO By María De Vecchi Gerli THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Institute of the Americas Faculty of Social & Historical Sciences University College London 2018 ORIGINALITY STATEMENT ‘I, María De Vecchi Gerli, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis.’ Signed: Date: 10 July 2018 2 DEDICATION To my parents, Milagros Gerli and Bruno De Vecchi, for being an endless source of inspiration, love and support To all those looking for their disappeared loved ones, with my utmost admiration 3 ACKNOWLEDGEMENTS To my parents Milagros and Bruno. Without their love and support, this thesis would not exist. You are an inspiration. To Mateo, Sarai and Uma, for all the love and happiness they bring. To all the relatives of the disappeared and to the members of human rights organisations who shared their stories with me. More generally, to all those looking for a disappeared loved one and to all those accompanying them in their search for teaching me the most important lessons on love, strength, commitment, and congruence. I want to thank my supervisors, Dr Paulo Drinot and Professor Kevin Middlebrook for their guidance, careful reading and support throughout this project. Thank you both for taking me to the limits and for making this thesis better. Dr Par Engstrom has also been a permanent source of inspiration and support.
    [Show full text]
  • Political Protest 1968: Paris and Berkeley
    : 1968 was a year of exceptional political and social Political Protest 1968 unrest and transformation. It saw waves of political protest across the globe—in Brazil, Paris and Berkeley Czechoslovakia, France, Mexico, Northern Ireland, Poland, Senegal, South Africa, Spain, and the U.S.—sparked variously by calls for civil rights, economic, social, and racial justice, and an end to authoritarianism, colonial exploitation, and the war in Vietnam. The current exhibit draws on holdings in the Beinecke Rare Book and Manuscript Library to provide glimpses into this tumultuous year from the vantage point of two key cities: The Whitney Humanities Center is particularly Paris and Berkeley. The exhibit offers a selection grateful to Kevin Repp and the staff of the Beinecke for of protest posters and flyers from the Philippe their help in assembling this exhibition. Zoummeroff Collection of May 1968 (Paris) and the Leon F. Litwack and Emery Douglas collections (Berkeley). The exhibit follows last spring’s course 1968 @ 50: Architecture, Art, and Cultures of Resistance around the Globe taught by Craig Buckley (History of Art), Eeva-Liisa Pelkonen (Architecture), and Kevin Repp (Beinecke). We offer it in conjunction with the Whitney’s Humanities/Humanity workshops 1968 and the Languages and Legacies of Liberation led by Rüdiger Campe (German), Michael Denning (American Studies), Moira Fradinger (Comparative Literature), and John MacKay (Slavic Languages and Literatures). Whitney Humanities Center On view Wednesday, September 19 53 Wall Street New Haven, Connecticut to Wednesday, December 12, 2018 203.432.0669 whc.yale.edu A 1968 Timeline JANUARY March 31 May 13 OCTOBER Largely Political President Lyndon Johnson delivers his Address to the Nation Announcing The actions taken by the students and instructors at the Sorbonne inspire January 5 Steps to Limit the War in Vietnam and Reporting His Decision Not to Seek sympathetic strikes throughout France.
    [Show full text]
  • "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
    Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas.
    [Show full text]
  • Musical Women and Identity-Building in Early Independent Mexico (1821-1854)
    Musical Women and Identity-Building in Early Independent Mexico (1821-1854) Yael Bitrán Goren Thesis submitted for the degree of PhD Music Department, Royal Holloway, University of London 2012 1 Declaration of Authorship I, Yael Bitrán Goren, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 13 April 2012 Abstract This thesis investigates music in Mexico City, with an emphasis on women's relationship to Romanticism, education, consumption, domestic music-making and public performance. During the first decades after independence in 1821, Mexicans began the process of constructing an identity, which musically speaking meant an expansion of the secular musical world. Such construction involved the development of internal activity alongside a conditional receptivity to external influence in the form of the visits of Italian opera companies such as those of Manuel García and Max Maretzek, and travelling virtuosi such as pianist virtuoso Henri Herz, who brought new repertoire and performance practices to Mexican theatres and homes. As consumers and as musicians, women were at the centre of such developments. In Mexico, both European music and that of local musicians was disseminated by means of ladies’ journals and imported and locally-printed sheet music by foreign and Mexican composers, in order to supply a growing home market for amateurs. Abundant surviving repertoire for the home, the widespread availability of musical instruction as revealed through advertisements, and witness accounts of soirées and concerts in the theatre reveal a budding musical world that has hitherto been overlooked and which occurred during a period generally deemed of little importance in Mexican musical history.
    [Show full text]
  • The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992
    THE SECULARIZATION OF THE REPERTOIRE OF THE MORMON TABERNACLE CHOIR, 1949-1992 Mark David Porcaro A dissertation submitted to the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music (Musicology) Chapel Hill 2006 Approved by Advisor: Thomas Warburton Reader: Severine Neff Reader: Philip Vandermeer Reader: Laurie Maffly-Kipp Reader: Jocelyn Neal © 2006 Mark David Porcaro ALL RIGHTS RESERVED ii ABSTRACT MARK PORCARO: The Secularization of the Repertoire of the Mormon Tabernacle Choir, 1949-1992 (Under the direction of Thomas Warburton) In 1997 in the New Yorker, Sidney Harris published a cartoon depicting the “Ethel Mormon Tabernacle Choir” singing “There’s NO business like SHOW business...” Besides the obvious play on the names of Ethel Merman and the Mormon Tabernacle Choir, the cartoon, in an odd way, is a true-to-life commentary on the image of the Salt Lake Mormon Tabernacle Choir (MTC) in the mid-1990s; at this time the Choir was seen as an entertainment ensemble, not just a church choir. This leads us to the central question of this dissertation, what changes took place in the latter part of the twentieth century to secularize the repertoire of the primary choir for the Church of Jesus Christ of Latter-day Saints (LDS)? In the 1860s, when the MTC began, its sole purpose was to perform for various church meetings, in particular for General Conference of the LDS church which was held in the Tabernacle at Temple Square in Salt Lake City. From the beginning of the twentieth century and escalating during the late 1950s to the early 1960s, the Choir’s role changed from an in-house choir for the LDS church to a choir that also fulfilled a cultural and entertainment function, not only for the LDS church but also for the American public at large.
    [Show full text]
  • 1968 Crisis Committee
    1968 Crisis Committee (Secretaries of State Emergency Summit) Topic: The Role of Student Movements in Global ​ Democracy circa 1968. 0 Table of Contents Letter From the Chairs 2 Committee Policies: 4 Committee Overview: 5 June 1st Summit: Dealing With The Worldwide Student Protests 6 Topic Background 6 Statement of the Problem: 6 Topic History: 6 Recent Developments: 8 Resolution Focus 8 Questions to Consider 8 Key Players 9 October 5th Summit: The Tlatelolco Massacre and the Olympics 12 Topic Background: 12 Problem Statement: 12 Topic History: 12 Recent Developments: 13 Questions to Consider: 13 Key Players: 14 Participating delegations 14 Bibliography 15 1 Letter From the Chairs Dear Delegates, Welcome to the 1968 Crisis Committee! I am Naho Abe, a junior at ASF and I will be the co-chair for this conference. I have been doing MUN since 7th grade, and I have experience being a delegate, chair, and secretary-general along with other positions such as the academic team. As a passionate history nerd, I love being in crisis committees where delegates get to go back in time and enact a series of historical events. 1968 was a very historically significant year, and I want you delegates to feel the commotion and the excitement in the atmosphere of that year. The main goal of ASFMUN is to make new friends, learn more about MUN, and of course, to enjoy! I cannot wait to meet every single one of you, and I cannot wait to see how you will act in a hectic and chaotic moment. If you have any questions or concerns, please feel free to email me or any other chairs! I am Alonso Muñoz, also a junior at ASF and also one of the co-chairs for this amazing committee.
    [Show full text]
  • Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In
    Title Artist Gangnam Style Psy Thunderstruck AC /DC Crazy In Love Beyonce BoomBoom Pow Black Eyed Peas Uptown Funk Bruno Mars Old Time Rock n Roll Bob Seger Forever Chris Brown All I do is win DJ Keo Im shipping up to Boston Dropkick Murphy Now that we found love Heavy D and the Boyz Bang Bang Jessie J, Ariana Grande and Nicki Manaj Let's get loud J Lo Celebration Kool and the gang Turn Down For What Lil Jon I'm Sexy & I Know It LMFAO Party rock anthem LMFAO Sugar Maroon 5 Animals Martin Garrix Stolen Dance Micky Chance Say Hey (I Love You) Michael Franti and Spearhead Lean On Major Lazer & DJ Snake This will be (an everlasting love) Natalie Cole OMI Cheerleader (Felix Jaehn Remix) Usher OMG Good Life One Republic Tonight is the night OUTASIGHT Don't Stop The Party Pitbull & TJR Time of Our Lives Pitbull and Ne-Yo Get The Party Started Pink Never Gonna give you up Rick Astley Watch Me Silento We Are Family Sister Sledge Bring Em Out T.I. I gotta feeling The Black Eyed Peas Glad you Came The Wanted Beautiful day U2 Viva la vida Coldplay Friends in low places Garth Brooks One more time Daft Punk We found Love Rihanna Where have you been Rihanna Let's go Calvin Harris ft Ne-yo Shut Up And Dance Walk The Moon Blame Calvin Harris Feat John Newman Rather Be Clean Bandit Feat Jess Glynne All About That Bass Megan Trainor Dear Future Husband Megan Trainor Happy Pharrel Williams Can't Feel My Face The Weeknd Work Rihanna My House Flo-Rida Adventure Of A Lifetime Coldplay Cake By The Ocean DNCE Real Love Clean Bandit & Jess Glynne Be Right There Diplo & Sleepy Tom Where Are You Now Justin Bieber & Jack Ü Walking On A Dream Empire Of The Sun Renegades X Ambassadors Hotline Bling Drake Summer Calvin Harris Feel So Close Calvin Harris Love Never Felt So Good Michael Jackson & Justin Timberlake Counting Stars One Republic Can’t Hold Us Macklemore & Ryan Lewis Ft.
    [Show full text]