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The Role of Political Art in the 2011 Egyptian Revolution
Resistance Graffiti: The Role of Political Art in the 2011 Egyptian Revolution Hayley Tubbs Submitted to the Department of Political Science Haverford College In partial fulfillment of requirements for the degree of Bachelor of Arts Professor Susanna Wing, Ph.D., Advisor 1 Acknowledgments I would like to extend my heartfelt gratitude to Susanna Wing for being a constant source of encouragement, support, and positivity. Thank you for pushing me to write about a topic that simultaneously scared and excited me. I could not have done this thesis without you. Your advice, patience, and guidance during the past four years have been immeasurable, and I cannot adequately express how much I appreciate that. Thank you, Taieb Belghazi, for first introducing me to the importance of art in the Arab Spring. This project only came about because you encouraged and inspired me to write about political art in Morocco two years ago. Your courses had great influence over what I am most passionate about today. Shukran bzaf. Thank you to my family, especially my mom, for always supporting me and my academic endeavors. I am forever grateful for your laughter, love, and commitment to keeping me humble. 2 Table of Contents Acknowledgements……………………………………………………....…………. 1 Introduction…………………………………………………………………….……..3 The Egyptian Revolution……………………………………………………....6 Limited Spaces for Political Discourse………………………………………...9 Political Art………………………………………………………………..…..10 Political Art in Action……………………………………………………..…..13 Graffiti………………………………………………………………………....14 Conclusion…………………………………………………………………......19 -
2015 Regional Music Scholars Conference Abstracts Friday, March 27 Paper Session 1 1:00-3:05
2015 REGIONAL MUSIC SCHOLARS CONFERENCE A Joint Meeting of the Rocky Mountain Society for Music Theory (RMSMT), Society for Ethnomusicology, Southwest Chapter (SEMSW), and Rocky Mountain Chapter of the American Musicological Society (AMS-RMC) School of Music, Theatre, and Dance, Colorado State University March 27 and 28, 2015 ABSTRACTS FRIDAY, MARCH 27 PAPER SESSION 1 1:00-3:05— NEW APPROACHES TO FORM (RMSMT) Peter M. Mueller (University of Arizona) Connecting the Blocks: Formal Continuity in Stravinsky’s Sérénade en La Phrase structure and cadences did not expire with the suppression of common practice tonality. Joseph Straus points out the increased importance of thematic contrast to delineate sections of the sonata form in the beginning of the nineteenth century. Igor Stravinsky exploited other musical elements (texture, range, counterpoint, dynamics, etc.) to delineate sections in his neoclassical works. While theorists have introduced large-scale formal approaches to Stravinsky’s works (block juxtaposition, stratification, etc.), this paper presents an examination of smaller units to determine how they combine to form coherence within and between blocks. The four movements of the Sérénade present unique variations of phrase construction and continuity between sections. The absence of clear tonic/dominant relationships calls for alternative formal approaches to this piece. Techniques of encirclement, enharmonic ties, and rebarring reveal methods of closure. Staggering of phrases, cadences, and contrapuntal lines aid coherence to formal segments. By reversing the order of phrases in outer sections, Stravinsky provides symmetrical “bookends” to frame an entire movement. Many of these techniques help to identify traditional formal units, such as phrases, periods, and small ternary forms. -
A Critical Analysis of 34Th Street Murals, Gainesville, Florida
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Critical Analysis of the 34th Street Wall, Gainesville, Florida Lilly Katherine Lane Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE A CRITICAL ANALYSIS OF THE 34TH STREET WALL, GAINESVILLE, FLORIDA By LILLY KATHERINE LANE A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2005 Copyright © 2005 All Rights Reserved The members of the Committee approve the dissertation of Lilly Katherine Lane defended on July 11, 2005 ________________________________ Tom L. Anderson Professor Directing Dissertation ________________________________ Gary W. Peterson Outside Committee Member _______________________________ Dave Gussak Committee Member ________________________________ Penelope Orr Committee Member Approved: ____________________________________ Marcia Rosal Chairperson, Department of Art Education ___________________________________ Sally McRorie Dean, Department of Art Education The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ..…………........................................................................................................ v List of Figures .................................................................. -
Positie Jeltsin Verder Verzwakt Tot Quebec-Uitspraken LONDEN Een Quebec Was
CURACAO B Gijsbertha: Malversatie bij Rivaco Fochi? CURACAO B Drugdealers en witwassers aangehouden ARUBA B Centrale Bank: Inkomsten uit toerisme stijgen I SNIP: I EF|spqrt / Otrobende I m^Van Hanegem eenjaarnaar SaudiArable FINANCIEEL Amigoe B VS sterk gegroeid Posse nummers 75 c. zaterdag met Napa Af11,- ZATERDAG 28 OKTOBER 1995- JAARGANG 112 NR 253 Moskou stelt wereld gerust over gezondheidpresident Canadese dj doetzich voor als premier Elizabeth II verleid Positie Jeltsin verder verzwakt tot Quebec-uitspraken LONDEN Een Quebec was. Ook is het MOSKOU De Russische president Jeltsin komt Ondanks de geruststel- voor zover bekend voor andere - emd — het groeperingen, zoals Canadese disc-jockey absoluut ongebruikelijk sta no.vemDer onder strikt medisch toezicht te lende verklaringen van Tsjer- eerst last van zijn hart. Pijn- de Agrarische partij, een kans- heeft de Britse konin- dat dekoningin in het Bll' "*el*s*n nad donderdag een lichte hartaanval en nomyrdin duidelijk zich >8 J n twijfelde een pre- lijk werd toen dat rijke presidentskandidaat gin Elisabeth misleid. openbaar uitlaat over poli- z*ekennv»s opgenomen. De toevoer van bloed sidentieel woordvoerder er geen krachtige opvolger kunnen presenteren, bijvoor- laa* e^net hart is nog volgens de behande- De presentator gaf zich tieke kwesties. Verder |e instabiel, vrijdag ook aan het bezoek gereed stondomindien nodig beeld de communistische op plaatsen J" .artserl, Het hoofd van de persdienst van het in een de radio uit- waarnemers Kr„ I van Jeltsin aan Noorwegen, de taken van hem over te voorman Gennady Zuganov. gezonden telefoonge- vraagtekens bij de veilig- Zei echter dat het medische toezicht niet Das bet *__ dat voor 20 november op nemen. -
The Melody Maker Says Turn to Pace 4
THEMELODY MAKERSAYS *awryT. 1967 9d weekly ONT KNOCK THEPOP! 'Destructive practices' harmingpop WAR hes been declaredon pop-The sounds of '66 relightneversurvivetohe- el:~the sounds of '67. Afteralong struggle by Britain's seising peingile to create a popcur twit VASAlax made millions of Plegotes her thetstablisninent. the saw*Ettalilllakarree are busy kick - ANCMthe teeth, ro.ealkid "pirate' commer- esal1,11,10 aredue to be egflpteszed by the Ginernment. DEMISE There is now only one nation- *Wit telesietto neagramrre for pop Waitikw*--stot TV's Too Of The Pipe, wh th feannits ord. success - NO (Wirt artWtS tad precludes new- comers. mud magazines are tfi=rrkilIMPoefillligpromusic *ad its eseements.Columnists who madeMeatregulationswriting skeet pep are wow gleefullypre- &eget its demise- Owee again the hoar. old gibes *bet -twighaired morons'.arebe- tog dieted off by leader writers, HEALTHY COME Quihe apart from these who have yawnfaton teenagemusic. these mire"maTVairMone.rating Indattea- Mom who mid magazines TO THE and wavrapapees. Mart are mans TOM JONES: only Gold Disc of 1966 Warewhineeveryday lifteelibeeda depend en a Insaltter. *Meng eater- . Ayler 5 ANTIBES The artists-amorss- ...and it's all hi andstreggrras- walkers in the record- TV show ing rodliastes.and men- oaf inatmnairat teachers. FESTIVAL Emden midmaostac- popping for Tom shelved nom& f looks as AM these people .1-'0M JONESis almost a recordin1966 and Dodd showassche- thoughlovers sheaddbetakeninto 1certaintotopthe thefirsteverInthe duled. of avant-garde eeeeidayesiee by the Nilforthe Palladium historyofDeccare- On Sunday (8), he opens Jazzwill be dis- WITH sesi-pep %aimwhich TV shot,. on February cords for a British a weekdoubling at the appointed If they IL It will be his fourth are waiting to hallhasweesthe Omer- artist selling in the UK. -
The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
Art Music by Caribbean Composers: Curaçao
BIBLIOGRAPHY Art Music by Caribbean Composers: Curaçao Christine Gangelhoff The College of The Bahamas1 Cathleen LeGrand Royal Thimphu College, Bhutan INTRODUCTION Curaçao served as an important commercial Curaçao was formerly the administrative capital centre and slave depot – a trans-shipment point of the Netherlands Antilles, the final remnant of between West Africa and the slave markets of the Dutch colonial empire in the Caribbean the New World (Dutch empire, 2008). In the (Sharpe, 2008, para. 8). In 2010, with the 20th century, after the discovery of oil in official dissolution of the Netherlands Antilles, Venezuela, oil refineries were opened in Curaçao Curaçao became a self-governing nation within and the petroleum industry became a major the Kingdom of the Netherlands (Curaçao, component of the island’s economy (Razak, 2012). 2005). Curaçao is rocky and arid; the climate and terrain Folk musical traditions of Curaçao include of the island inhibit extensive cultivation, tambu (also known as “the Curaçao blues”) and preventing the development of the agricultural tumba (Razak, 2005). Art music has long had a plantations that dominated many of the other presence in Curaçao. Orchestras, concert West Indian islands (Allofs, van Niekerk, societies, and art musical instruction have been Salverda & Dh'aen, 2008). The official in place since the early 19th century (Gansemans, languages are Dutch, English and Papiamentu, “a 2008). Composed dance music, for localized Spanish-based creole with Portuguese, Dutch, versions of dances such as waltz, polkas and and English elements” (Netherlands Antilles, mazurkas, is particularly popular in Curaçao 2008, para. 2). (Gansemans, 2008). “The most important of Beginning in the 17th century, the islands of the these is the Antillean waltz (also known as the Netherlands Antilles were controlled by the Curaçaoan waltz), distinguished from its Dutch West India Company, the monopoly European relatives chiefly by its differently responsible for governing Dutch colonies in the accented rhythmic patterns” (Bilby, 2013, para. -
1 B.O.M.Newsletter #331Web 今年の IBMA・WOB ツアー 今月の新入荷
B.O.M.Newsletter #331web なるシエラ・ハルのツアーをサポートしてください。 お願いします!! 2008 年 5 月 9 日 ▼ 25 年目を迎えているムーンシャイナー誌です!! ▼今月のニュースレターはウエブサイトのみです。紙刷 月刊ムーンシャイナー定期購読は１年間（1 2 冊） り版ご希望の方はお申し出下さい。 ¥6,000- 半年間（６冊）¥3,300-。購読開始希望月を お知らせいただければ、振り込み票とともに早速お送 ▼恒例の「宝塚春フェス」は、いつもの三田アスレチッ りします。…定期購読を、是非ともよろしく!! ク(0795-69-0024)で、5 月 31 日（土）3 時から 6 月 1 日 最新 5 月号（MS-2507 ¥525-）は来日のクリス・ヒ （日）のお昼頃まで、新緑の山中、野外で開催します（雨 ルマンとハーブ・ぺダースンを表紙特集に、カリフォ 天の場合は屋内）。コンサートは午後 6 時から、現地書き ルニア・ブルーグラス考、ペティブーカ『TOKYO 込み式でプログラムを作成します。梅雨入り前の一日、 Bluegrass Honeys』、マイク伊藤『音楽から見えるア キャンプをしながら森林浴や「焚き火ジャム」で英気を メリカ』、ゲティスバーグ・ブルーグラス・フェス、 養いませんか？参加費用 ¥2,500- ディープサウス・ピッキンパーティ、日本ブルーグラ なお、宿泊（バンガローや民宿）をご希望の方は直接、 ス年表⑰「1964-65 年」、中西孝仁の IBMA2007 リポー 三田アスレチックにお問い合わせください。 トほか、日米ブルーグラス情報満載。 ちなみに、夏フェスは７月 31 日から８月３日!! ▼今月、またまたすごい天才マンドリン少女が全米デ 今年の IBMA・WOB ツアー ビュー。すでに米国では数年前から大きな話題となり、 今年もナッシュビルのダウンタウンど真ん中、高層 ラウンダーが 13 歳で契約、３年の時間をかけ、満を持し ホ テルを中心に開かれる IBMA ワールド・オブ・ブルー てのデビューです。そのシエラ・ハル、今年７月に来日 グラス（WOB）へのツアーがあります。基本は 9 月 29 が決まりました。 日出発 10 月 6 日帰国で準備中、また WOB 期間全参加 IBMA（国際ブルーグラス音楽協会）の肝いりで、ケン やその前後のご相談もお受けしています。お気軽にお タッキーとウエスト・バージニア、そしてテネシーから 問い合わせください。なお、８月 29 日が応 募締め切 高校生のブルーグラス３バンド、総勢 16 名のブルーグラ りです。 ス・キッズのリーダー格として埼玉県の川口総合文化セ ンターの国際交流フェスに参加することになりました。 今月の新入荷注目作品 また交流フェス期間のホームステイの後、米国から現在 ROU-0601 SIERRA HULL『Secret』 の正式メンバーを呼び寄せ、シエラ・ハル＆ハイウェイ CD¥2,573-（本体 ¥2,450-） 111 として７月 29 日から 10 日間、全国をツアーします。 満を持して発表した 16 歳の天才マンドリン少女、シ 彼女ら自身も、IBMA も、そして日本の受け入れ側も、 エラ・ハルの全米デビュー作。７月来日だぞ!! まっ 全国ツアーにボランティアとして協力し、現在もっとも すぐなブルーグラスと信じ難いテク、物凄い作品、… 旬なアーティストを見ていただこうという趣旨です。全 驚きますよ。ブルーグラス新入荷参照。 国のブルーグラス／オールドタイム／カントリー・ファ RHY-325 MASHVILLE BRIGADE ンの皆さん、間違いなく近い将来、とんでもない大物に -
AFM Course Curriculum
AMERICAN FIDDLE METHOD COURSE Curriculum Index GETTING READY Lesson 1 Introduction to AFM Lesson 2 Gear you need Lesson 3 Parts of a fiddle Lesson 4 Parts of a bow Lesson 5 Checking your fiddle’s setup Lesson 6 Checking your bow’s setup Lesson 7 Care of your instrument Lesson 8 Fitting a shoulder rest Lesson 9 Rosining the bow Lesson 10 Tuning using the pegs Lesson 11 Tuning using the fine tuners Lesson 12 Applying tapes to the fingerboard Lesson 13 Names of the notes STRATEGIES FOR SUCCESS Lesson 1 Three lists Lesson 2 Anatomy of a fiddle tune Lesson 3 Learning by ear Lesson 4 Small Overlapping Phases –SOPS Lesson 5 Muscle memory Lesson 6 Using a metronome LEVEL I Violin Position Lesson 1 Natural body position Lesson 2 Positioning the fiddle Lesson 3 Position of the left arm and hand st Lesson 4 Thumb and “Mirror 1 Finger” Beginning Bowing Lesson 5 Holding the bow Lesson 6 Principles of bowing Lesson 7 Bowing continuums Lesson 8 Diagnosing your tone Lesson 9 Bowing string changes Lesson 10 Beginning rhythms Beginning Fingering Lesson 11 A string – 1st finger Lesson 12 A string – 2nd finger Lesson 13 A string – 3rd finger Lesson 14 A string – three fingers Lesson 15 A string – practice Lesson 16 D string – three fingers Lesson 17 D string – practice Lesson 18 G string – three fingers Lesson 19 G string – practice Lesson 20 E string – three fingers Lesson 21 E string – practice Scales Lesson 22 How to play in tune Lesson 23 D Scale Lesson 24 G Scale Lesson 25 A Scale Lesson 26 Twinkle –key of D Lesson 27 Twinkle –key of A Lesson 28 Twinkle –key of -
Prism Quartet Dedication
PRISM QUARTET DEDICATION WITH GUEST ARTIST GREG OSBY PRISM Quartet Dedication 1 Roshanne Etezady Inkling 1:09 2 Zack Browning Howler Back 1:09 3 Tim Ries Lu 2:36 4 Gregory Wanamaker speed metal organum blues 1:14 5 Renée Favand-See isolation 1:07 6 Libby Larsen Wait a Minute... 1:09 7 Nick Didkovksy Talea (hoping to somehow “know”) 1:06 8 Nick Didkovksy Stink Up! (PolyPrism 1) 1:06 9 Nick Didkovksy Stink Up! (PolyPrism 2) 1:01 10 Greg Osby Prism #1 (Refraction) 6:49 Greg Osby, alto sax solo 11 Donnacha Dennehy Mild, Medium-Lasting, Artificial Happiness 1:49 12 Ken Ueno July 23, from sunrise to sunset, the summer of the S.E.P.S.A. bus rides destra e sinistra around Ischia just to get tomorrow’s scatolame 1:20 13 Adam B. Silverman Just a Minute, Chopin 2:21 14 William Bolcom Scherzino 1:16 Matthew Levy Three Miniatures 15 Diary 2:05 16 Meditation 1:49 17 Song without Words 2:33 PRISM Quartet/Music From China 3 18 Jennifer Higdon Bop 1:09 19 Dennis DeSantis Hive Mind 1:06 20 Robert Capanna Moment of Refraction 1:04 21 Keith Moore OneTwenty 1:31 22 Jason Eckardt A Fractured Silence 1:18 Frank J. Oteri Fair and Balanced? 23 Remaining Neutral 1:00 24 Seeming Partial 3:09 25 Uncommon Ground 1:00 26 Incremental Change 1:49 27 Perry Goldstein Out of Bounds 1:24 28 Tim Berne Brokelyn 0:57 29 Chen Yi Happy Birthday to PRISM 1:24 30 James Primosch Straight Up 1:24 31 Greg Osby Prism #1 (Refraction) (alternate take) 6:49 Greg Osby, alto sax solo TOTAL PLAYING TIME 57:53 All works composed and premiered in 2004 except Three Miniatures, composed/premiered in 2006. -
Adventadvent Was Also One of Those Rare People Who Women Seeking to Improve Their Lives
December 6, 2019 In This Issue MESSEESSENGERNGER M Serving the Diocese of Covington, Kentucky since 1926 2 Letter from Bishop Foys Retirement Fund for Religious collection 2 Retired Benedictine sisters Still ministering 3 Annual Curia service awards 3 You’re invited Screening: ‘Miss Virginia’ 6 The Immaculate Conception (above and right) Bishop Roger Foys celebrated Mass, Nov. 24, with the Congregation of 7 Blessed John Martin Moye Divine Providence on 65th anniversary of 8 Sister Mary Evelyn Reinke, S.N.D. the beatification Christmas card ministry of founder, Blessed John 9 Catholic Charities volunteers Martin Moye. Provide Thanksgiving dinners 9 ACUE Fund chair Blessed John Martin Moye Visits Holy Family School and‘good thief’offer right 13 NCYC closing Mass perspectiveonChrist the King Keener photos Laura Keener Jesus to prove himself — come down from that cross — prove yourself, Editor they said. Save yourself and us, the thief said in the Gospel account. On the solemnity of Christ the King, Nov. 24, Bishop Roger Foys cel- “They didn’t understand who Jesus was or why he came,” Bishop Moving? Wrong address? ebrated Mass at Holy Family Home, Melbourne, with the Congregation Foys said. Call the circulation desk, of the Sisters of Divine Providence. The solemnity — which marks the The third perspective comes from the good thief. He recognizes (859) 392-1570 end of the liturgical year — was also the commemoration of the 65th Jesus as not only an innocent man but also the Savior and asks, “Jesus, anniversary of the beatification of Blessed John Martin Moye, founder remember me when you come into your kingdom.” (Luke 23:42) of the Sisters of Divine Providence. -
Southern Peninsula Ukuleles Songbook No. 1
Southern Peninsula Ukuleles Songbook No. 1 P a g e | 1 P a g e | 2 Contents CHORD CHARTS ......................................................................................................................................................... 4 CHORD CHARTS ......................................................................................................................................................... 5 CHORD CHARTS ......................................................................................................................................................... 6 BLUE SKIES................................................................................................................................................................. 7 BUFFALO GALS ......................................................................................................................................................... 8 BYE BYE LOVE ............................................................................................................................................................ 9 DEEP ELLUM BLUES ................................................................................................................................................. 10 DON’T STOP ............................................................................................................................................................ 11 DRUNKEN SAILOR ...................................................................................................................................................