C Aj a D E Mú Sic A
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Daniel Del Solar Papers CEMA 145
http://oac.cdlib.org/findaid/ark:/13030/c81j9bj2 Online items available Preliminary Guide to the Daniel del Solar Papers CEMA 145 Finding aid prepared by Callie Bowdish UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections March 2013 Preliminary Guide to the Daniel CEMA 145 1 del Solar Papers CEMA 145 Title: Daniel del Solar papers Identifier/Call Number: CEMA 145 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 55.0 linear feet(55 paige boxes, that have been accessioned into other boxes. The papers include audio, video, photos, documents, digital files, self published books and Mexican antiquities.) Date (inclusive): 1950-2012 Abstract: Daniel del Solar (June 13, 1940 - January 13, 2012) was a prominent Latino media activist, photographer, videographer, documentarian, and poet. He worked with KQED-TV in San Francisco, the Corporation for Public Broadcasting and WYBE-TV in Philadelphia. His papers document his life story using the media available during his lifetime. There are years of digital photos, video, self-printed books and audio files. They chronicle his life while documenting the use of emerging technologies used in social movements concerned with Latin America and the United States. Venezuela, Nicaragua, Chile and Mexico are covered. His family life included artists such as Surrealist and Dynaton artists Lee Mullican, and Wolfgang Paalen who were his stepfathers. Fresco artist Lucienne Bloch and Stephen Pope Dimitroff, family friends, and his mother Luchita Hurtado have threads connecting his family to Frida Kahlo and Diego Rivera. -
Universidad Andina Simón Bolívar Sede Ecuador Área De Comunicación 2003
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio UASB-DIGITAL Universidad Andina Simón Bolívar Sede Ecuador Área de Comunicación Programa de Maestría en Comunicación Nueva Canción: la crónica de las luchas del movimiento social ecuatoriano Hernán Patricio Peralta Idrovo 2003 1 Al presentar esta tesis como uno de los requisitos previos para la obtención de grado de magíster de la Universidad Andina Simón Bolívar, autorizo al centro de información o a la biblioteca de la universidad para que haga de esta tesis un documento disponible para la lectura según las normas de la universidad Estoy de acuerdo que se realice cualquier copia de esta tesis dentro de las regulaciones de la universidad, siempre y cuando esta reproducción no suponga una ganancia económica potencial. Sin perjuicio de ejercer mi derecho de autor, autorizo a la Universidad Andina Simón Bolívar la publicación de esta tesis, o parte de ella, por una sola vez dentro de los treinta meses después de su aprobación. .................................................. Hernán Patricio Peralta Idrovo Septiembre 2003 2 Universidad Andina Simón Bolívar Sede Ecuador Área de Comunicación Programa de Maestría en Comunicación Nueva Canción: la crónica de las luchas del movimiento social ecuatoriano Hernán Patricio Peralta Idrovo Tutor: Dr. José Laso 2003 Quito 3 Resumen del contenido y propósitos del trabajo de investigación El propósito de esta investigación es adentrarse en la historia de un pasado reciente de los países latinoamericanos y particularmente del Ecuador, a través de la canción social. Quizás el canto es el mejor reflejo de una época marcada por la lucha y la confrontación social. -
Salvados De Las Aguas
Salvados de las aguas La vida ha sido comparada con un río en el que flotamos, a su mer- ced, entre mucho igual, o parecido… En semejante circunstancia uno va apresando los instantes que puede, porque la corriente es rápida, vertiginosa, lo mismo hundiéndote bajo crestas que sacándote a respirar, dándote atisbos de los alrededores en el tor- bellino de burbujas. En esos lances a veces un dios mete su mano y te saca del agua por unos instantes, te hace preguntas y conserva tus dichos en artefactos mágicos; y un buen día, muchos años después, aquel registro te permite volver a lo que viste (o creíste ver), a lo que eras (o pensabas que eras), a lo que parecía ser el mundo mien- tras el Dios fonógrafo del tiempo te sostenía, mostrándote. Eso es este libro: la obra y la voz de Orlando Castellanos, lanza- dor de señales al aire que conmovían en remotos parajes del mundo, como cuando aquella noche lloré en alta mar, frente a las cos- tas de la legendaria Dakar, oyendo una tonada de Carlos Puebla 7 y sus tradicionales tocadores de marímbulas y latas de betún. Artes de un viejo amigo inolvidable, excelencia de oficio que aho- ra nos permite recordar cómo veíamos las cosas en eras tan varia- das como de 1976 a 1991. Ocho muchachos trovadores salvados de las aguas y contándole cosas al Dios fonógrafo del tiempo: Orlando Castellanos. SILVIO RODRÍGUEZ La Habana, 11 de julio, 2012 8 Cuatro elementos fundamentan a la Nueva Trova Cubana: el fuego en la ardiente rabia de Silvio Rodríguez; el aire en las transparentes atmósferas de Noel Nicola; el agua en la apasionante humedad de Pablo Milanés, y la tierra, en la firmeza tiernamente humana de Vicente Feliú. -
Estudio Cultural De La Canción Comprometida En Bárbara Dane Y Luis Eduardo Aute
UNIVERSIDAD DE LAS PALMAS DE GRAN CANARIA DEPARTAMENTO DE FILOLOGÍA MODERNA TESIS DOCTORAL “LODO POR LA PATRIA”: ESTUDIO CULTURAL DE LA CANCIÓN COMPROMETIDA EN BÁRBARA DANE Y LUIS EDUARDO AUTE DAVID SHEA Las Palmas de Gran Canaria, junio de 2001 Título de la tesis: “LODO POR LA PATRIA”: ESTUDIO CULTURAL DE LA CANCIÓN COMPROMETIDA EN BÁRBARA DANE Y LUIS EDUARDO AUTE Thesis title: “MUD FOR THE MOTHERLAND”: CULTURAL STUDY OF SOCIALLY-COMMITTED FOLK SONG IN THE WORK OF BARBARA DANE AND LUIS EDUARDO AUTE ABSTRACT The examination and analysis of so-called folk protest song in two cultural settings, Spain and the United States, in the second half of the twentieth century provide a broad scope for comparative research. The very terminology employed to describe this phenomenon varies from year to year and between cultures. This study concentrates on two artists whose work spans several decades and is marked by a clear intention of raising social consciousness about issues such as war, global injustice and censorship, among other topics. The approach of US singer and activitist Barbara Dane and Spanish poet, painter, cartoonist and cantautor Luis Eduardo Aute could hardly be more distinct. Dane concentrates her efforts on collective notions of art. Born in 1927 and raised in Detroit, her roots can be traced to the 1930s cultural front era. Aute, a devote fan of Bob Dylan and the Beat Generation, explores the human condition on a far more personal, individual level. Despite their different tacts, however, both are linked with two crucial struggles in recent US and Spanish history: the Vietnam War in the case of Dane and the Franco dictatorship and subsequent Transition era with regards to Aute. -
La Mar De Mmúsicas
EXCMO. AYUNTAMIENTO DE CARTAGENA CONCEJALÍA DE CULTURA La Mar de Músicas La Mar de MúsicasM Especial Marruecos Del 4 al 25 de Julio de 2009 Cartagena, España CENTRO CULTURAL “RAMÓN ALONSO LUZZY” - C/ Jacinto Benavente, 7 - 30203 Cartagena, España Teléfono: 34-968-12 88 13 / Fax: 34-968-12 89 05 http://www.lamardemusicas.com e-mail: [email protected] [email protected] [email protected] EXCMO. AYUNTAMIENTO DE CARTAGENA CONCEJALÍA DE CULTURA La Mar de Músicas EQUIPO ORGANIZADOR: Alcaldesa de Cartagena: Pilar Barreiro Concejala de Cultura : María Rosario Montero Dirección: Francisco Martín Adjunto Dirección y Comunicación: José Luis Cegarra Dirección Técnica: Juan Antonio Cegarra Secretaría: Pedro Hernández Coordinación La Mar de Letras: Lola Fernández y José Luis Cegarra. Coordinación La Mar de Cine: Joaquín Cánovas Coordinación La Mar de Arte: José Luis Cegarra. Producción: Sonora Producciones S.L. CONTACTO PRENSA: Eugenio González [email protected] 968128813 ó 619248968 OFICINA DEL FESTIVAL: Centro Cultural Ramón Alonso Luzzy C/ Jacinto Benavente, 7 30203 Cartagena CENTRO CULTURAL “RAMÓN ALONSO LUZZY” - C/ Jacinto Benavente, 7 - 30203 Cartagena, España Teléfono: 34-968-12 88 13 / Fax: 34-968-12 89 05 http://www.lamardemusicas.com e-mail: [email protected] [email protected] [email protected] EXCMO. AYUNTAMIENTO DE CARTAGENA CONCEJALÍA DE CULTURA La Mar de Músicas Cartagena acoge durante el mes de julio uno de los festivales con mayor proyección nacional e internacional de España. Uno de los tres festivales de músicas del mundo más importantes de Europa, La Mar de Músicas. Y es que durante unos 20 días, Cartagena se convierte en ese puerto de culturas abierto a un sinfín de música, artes plásticas, fotografía, cine y literatura, que han hecho de La Mar de Músicas una cita imprescindible. -
Gabino Palomares: a History of Canto Nuevo in Mexico
Gabino Palomares: A History of Canto Nuevo in Mexico CLAUDIO PALOMARES-SALAS TRANSLATED BY SILVIO J. DOS SANTOS The civil wars, military coups, dictatorships, and revolutions that marked the histories of Cuba, Argentina, Chile, Brazil, and Uruguay during the second half of the twentieth century propelled the socially-engaged singers of the Nueva Canción to stardom, granting them a privileged place in the emotional tales of the nation.1 In Mexico, the story was different. Without a clearly articulated narrative of oppression and violence, the voices of resistance did not find a place in the national affective imagination. While figures such as Silvio Rodríguez and Mercedes Sosa managed to convince a sector of the Mexican public to stand in solidarity with the oppressed peoples of Latin America, figures such as Amparo Ochoa, Óscar Chávez, and Gabino Palomares did not succeed—apparently—in convincing the Mexican public that there were also reasons to protest in Mexico.2 The story of modern Mexican troubadours is absent from the annals of history. It exists as scattered references in newspapers, as anecdotes, and as a collection of songs sung in a disorganized manner by a group relegated to the margins of the cultural landscape. It is, nevertheless, a story of resistance whose heroes—singers, songwriters, and performers—spent the decades between 1960 and 1990 denouncing poverty and corruption, condemning governmental violence, marching side by side with students, activists, women, workers, and peasants, and supporting civil rights and grassroots movements both nationally and internationally. The story of these musicians has remained unknown for too long. -
Unila – Universidade Federal De Integração Latino- Americana, Foz Do Iguaçu, 28 a 30 De Setembro De 2011 Organizadores Da P
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositório Institucional da UNILA Unila – Universidade Federal de Integração Latino- Americana, Foz do iguaçu, 28 a 30 de setembro de 2011 Organizadores da publicação: Alai Garcia Diniz e Fleide Daniel de Albuquerque Organização, execução e patrocínio: UNILA e Itaipu-Paraguay Parceria: NELOOL/UFSC & Universidad de VIGO Nelool – Núcleo de Estudos de Literatura, Oralidade e Outras Linguagens - www.nelool.ufsc.br Junho de 2012 Canção no exílio: trajetória, sons e política no Cone Sul. Alexandre Felipe Fiuza UNIOESTE/ Campus de Cascavel [email protected] Com o Golpe Civil-Militar em 1964, o Brasil passou a viver uma experiência não tão comum, a do exílio. Imediatamente ao início desta ditadura uma primeira leva de exilados afastou do país brasileiros de destacada atuação, como profissionais liberais, políticos, intelectuais e professores. Já conhecidos em suas atividades no Brasil e mesmo no exterior, foram contratados por Universidades e diferentes órgãos não governamentais de diferentes países. No exterior, realizaram atividades de denúncia contra a ditadura e criaram redes de informação para abastecer de notícias sobre as ações da ditadura brasileira, particularmente, sobre a repressão política e a censura. Por sua vez, outra onda de exílio se deu a partir de 1968, quando da decretação do Ato Institucional nº 5 (AI-5). A Censura já era exercida antes mesmo do Golpe, mas, a partir de 1964 e em maior grau a partir de 1968, o veto aos temas políticos e morais acentuou-se significativamente. Portanto, estavam banidos do cenário político não apenas os movimentos políticos, mas também qualquer atividade jornalística ou manifestação artística contrária aos interesses do regime militar. -
Use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982) Wenceslao Gil Florida International University, [email protected]
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 2011 The A( b)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982) Wenceslao Gil Florida International University, [email protected] DOI: 10.25148/etd.FI11120207 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Recommended Citation Gil, Wenceslao, "The A( b)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982)" (2011). FIU Electronic Theses and Dissertations. 477. https://digitalcommons.fiu.edu/etd/477 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida THE (AB)USE OF POLITICS AND EROTICISM IN THE CULTURE OF THE SPANISH TRANSITION TO DEMOCRACY (1975-1982) A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in SPANISH by Wenceslao Gil 2011 To: Dean Kenneth Furton choose the name of dean of your college/school College of Arts and Sciences choose the name of your college/school This dissertation, written by Wenceslao Gil, and entitled The (Ab)use of Politics and Eroticism in the Culture of the Spanish Transition to Democracy (1975-1982), having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. -
CANCIÓN DE LOS PUEBLOS Procesos De Circulación De La Nueva Canción Latinoamericana: Bogotá, Años70. Mariana Puerto López T
CANCIÓN DE LOS PUEBLOS Procesos de circulación de la Nueva Canción Latinoamericana: Bogotá, años70. Mariana Puerto López Tesis de grado presentada como requisito para optar por el título de Historiadora Directora: Juana Mª. Marín Leoz Pontificia Universidad Javeriana Facultad de Ciencias Sociales Carrera de Historia Colombia, Bogotá, febrero de 2018 Contenido INTRODUCCIÓN .............................................................................................................................. 2 1. PRIMER CAPÍTULO – LA NUEVA CANCIÓN LATINOAMERICANA ............................ 21 1.1. Nueva Trova Cubana ......................................................................................................... 23 1.2. Nueva Canción Chilena ..................................................................................................... 31 1.3. Nueva Canción Nicaragüense ........................................................................................... 41 1.4. ¿Nueva Canción Colombiana? .......................................................................................... 47 2. SEGUNDO CAPÍTULO – EL PROBLEMA DE LA CIRCULACIÓN ................................... 50 2.1. «Que no censuren las canciones de protesta» ........................................................................ 52 2.2. Los canales de difusión .......................................................................................................... 77 3. TERCER CAPÍTULO – LOS CANALES DE DIFUSIÓN. BOGOTÁ (AÑOS 70). ................... 79 3.1 Las presentaciones -
Chapter II Introspection and Definition
Creation of Identity in the Chilean Nueva Cancion and the Cuban Nueva Trova by Loreto P. Ansaldo SUBMITTED TO THE DEPARTMENT OF HUMANITIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF BACHELOR OF SCIENCE IN HUMANITIES AND ENGINEERING AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY FEBRUARY 2001 © 2000 Loreto P. Ansaldo. All rights reserv2d The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. Signature of Author: Department of Humanities and Engineering January 19, 2001 Certified by: Elizabeth J. Garrels Professor of Foreign Languages and Literatures Thesis Advisor Certified by: ,./~~~~~~~~Doris Sommer Professor of Romance Languages and Literatures, Harvard University Thesis Reader Certified by: CertfiP\\ ro NtcoldsWey-G6mez Associat Professor of Hispanic Studies Thesis Reader Accepted by:.. Isabelle De Courtivron Section Head and Professor of Foreign Languages and Literatures r- Biographical Note Loreto Paz Ansaldo was born in Santiago, Chile, in 1979. Since the age of nine, she has lived in Boston, MA, where she attended Boston Latin School and now completes her S.B. at the Massachusetts Institute of Technology. Ms. Ansaldo will join Teach For America as a member of its 2001 corps to begin her career as an educator. A mi mancd Acknowledgments Gracias -de coraz6n a mama, Rob, mami, and Isabel for understanding everything I do; without them I might have collapsed a long time ago. Thank you also to the rest of my family who from far away have helped me feel loved and supported. Un abrazo gigante a Ian for staying up with me many nights at Athena and for his patience and infinite encouragement. -
Representações De Che Guevara Na Canção Latino-Americana Mariana Martins Villaça*
RepresentaçÕES DE CHE Guevara NA CaNção latiNo-ameRiCaNa Mariana Martins Villaça* Esse texto é um desdobramento de nossa pesquisa de mestrado, orientada pela pro- fessora Maria Helena Capelato, realizada com o apoio da Fapesp e publicada com o título Polifonia Tropical: experimentalismo e engajamento na música popular (Brasil e Cuba 1967-1972). As reflexões aqui enunciadas foram apresentadas parcialmente na comuni- cação intitulada “El nombre del hombre es pueblo: as representações de Che Guevara na canção latino-americana” e nos anais do V Congreso de la Rama Latinoamericana del International Association for the Study of Popular Music (IASPM-LA), realizado no Rio de Janeiro, em junho de 2004. O mito de Ernesto Che Guevara está fortemente arraigado no imaginário social dos povos latino-americanos e é especialmente recuperado em momentos históricos de luta política, como apelo ideológico à mobilização popular e à ação revolucionária. Após sua morte na Bolívia, em 8 de outubro de 1967, Che converteu-se em inspiração e objeto de homenagens de um sem-número de poemas e canções, assinados por literatos e compo- sitores, renomados ou não. Considerando a pluralidade de imagens e a riqueza das representações que compõem a celebração dessa figura histórica, buscamos verificar, num conjunto de canções que constituiu nossa amostragem, aquelas mais recorrentes. Tais representações e seus signifi- cados políticos repercutem o impacto que a morte de Che Guevara surtiu nos movimentos de esquerda na América Latina e no meio artístico e musical, de um modo geral. A eficaz propaganda política do regime cubano pós-revolução é, em larga medida, atribuída à força simbólica inerente aos mitos, representações do passado, utopias e todo o arcabouço de imagens e símbolos que corroboram para a difusão da ideologia oficial, através da sedução e da exaltação de sensibilidades e paixões nas massas. -
Destination Venezuela
4 On the Road KEVIN RAUB Coordinating Author This skinny sandbar in the Archipiélago Los Roques is called Cayo de Agua (p88). I arrived early, so I had it to myself, this pristine strip of sand bound by shockingly turquoise waters. You cannot photoshop this sort of paradise! Only Mother Nature could have pulled off something this spectacular. TOM MASTERS After torrential rain all night we awoke to find the river had risen by about 5m, making crossing it and climbing up to the Mirador Laime a slippery and challeng- ing experience! We were thor- oughly soaked by the time we got there, but Angel Falls (Salto Ángel; p247) looked absolutely spectacular at full power. BRIAN KLUEPFEL Never smile at a crocodile? I wasn’t after a 12- footer actually roared at me. My nervous smile betrays my lack of confidence in the croc’s ability to read. One really appreciates how tough the llaneros (inhabitants of Los Llanos) are, scratching a living out of this land while living in a place where the wild beasts (p186) still kind of run the show. For full author biographies see p301. 11 Destination Venezuela Venezuela is an intriguing beast indeed, depending on whom you ask – a ménage à trois of viewpoints that might be a brash, woefully troubled petrostate run by a leftist bully to a Chacao intellectual; to an oil baron, an exotic Andean-Caribbean playground for the wealthy and privileged, with crystalline coastline and mountainous majesty rivaling all of its neighboring nations; or a socialist wonderland of the future to a Chavista (supporter of President Hugo Chávez).