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Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
04 EXTRAPRENSA 14.1 178446.Indd
LA JARDINERA, EMBLEMÁTICA COMPARSA CARNAVALESCA DEL BARRIO “JESÚS MARÍA” DE LA HABANA EN CUBA [ ARTIGO ] Eduardo Franscico Freyre Roach Universidade Regional de Blumenau Adolfo Ramos Lamar Universidade Regional de Blumenau Jesse da Cruz Universidade Federal do Paraná Eduardo Franscico Freyre Roach La Jardinera, emblemática comparsa carnavalesca del barrio “Jesús María” de la Habana en Cuba Adolfo Ramos Lamar 65 Jesse da Cruz [ RESUMEN RESUMO ABSTRACT ] Las comparsas en los carnavales de Cuba son como las escuelas de samba en los car- navales del Brasil. A través del repertorio de ritmos, cantos y danzas que derrochan, se expresa el sentido de liberación corporal, emocional, y verbal de los artistas y el pueblo. La gente comparte su alegría, sus penas, así como su sentido de identidad y pertenencia comunitaria, nacional, gremial, racial, de género, familiar, y religiosa. Estas agrupaciones son portavoces de la disconformidad popular por los tabúes, y los estereotipos que atentan con las tradiciones y la prosperidad de la comunidad que representa. Este artículo trata de la comparsa “La Jardinera” del barrio de “Jesús María” en la Habana Vieja, emblemáticas comparsas de Cuba. Hablaremos del barrio y sus celebridades de la conga y la rumba. Palabras clave: Comparsa la Jardinera de Cuba. Barrio de Jesus Maria. Cuba. Conga. Rumba. As comparsas nos carnavais de Cuba são como as escolas de samba nos carnavais do Brasil. Por meio do repertório de ritmos, canções e danças que esbanjam, se expressa o sentido de liberação corporal, emocional e verbal dos artistas e do povo. As pessoas compartilham sua alegria, suas tristezas, bem como seu senso de identidade e perten- cimento de comunidade, nacionalidade, união, raça, gênero, família e religião. -
Rumba Rebecca Bodenheimer
Rumba Rebecca Bodenheimer LAST MODIFIED: 25 FEBRUARY 2016 DOI: 10.1093/OBO/97801997578240170 Introduction Along with the traditional dance genre son, the Africanderived music and dance genre called rumba is widely considered to be the foundation of contemporary Cuban popular music. During the late 19th century it was the primary secular party music for poor black and racially mixed Cubans in western Cuba, and during the 20th century its musical features were incorporated into numerous popular genres, such as son, mambo, and salsa. Nonetheless, the literature on rumba does not include many indepth studies, in Spanish or English. None of the pioneering scholars of AfroCuban culture gave much attention to rumba, as Fernando Ortiz and Lydia Cabrera focused primarily on AfroCuban sacred music. The little that has been written by these scholars, namely Ortiz and Alejo Carpentier, tends to overemphasize the “erotic” nature of the dance, thus reinforcing stereotypes about black culture. Nonetheless, as a member of Grupo Minorista—a group of poets, artists and composers founded in the 1920s who sought to valorize AfroCuban vernacular culture—Carpentier did view rumba as an important popular tradition. Among Cuban scholars writing after the Cuban Revolution, the primary indepth studies of rumba have consisted of bachelor’s theses based on ethnographic research with rumba groups and one biography of important rumba musicians (see Musicians and Groups). There have also been articles on various aspects of rumba, and many Cuban scholars include discussions of the genre within sources on broader topics; the most significant examples of the latter are León 1984 (cited under History, Musical Features, and Musicians: History) and Urfé 1984 (cited under General Overviews and Reference Works). -
Gershwin, Copland, Lecuoña, Chávez, and Revueltas
Latin Dance-Rhythm Influences in Early Twentieth Century American Music: Gershwin, Copland, Lecuoña, Chávez, and Revueltas Mariesse Oualline Samuels Herrera Elementary School INTRODUCTION In June 2003, the U. S. Census Bureau released new statistics. The Latino group in the United States had grown officially to be the country’s largest minority at 38.8 million, exceeding African Americans by approximately 2.2 million. The student profile of the school where I teach (Herrera Elementary, Houston Independent School District) is 96% Hispanic, 3% Anglo, and 1% African-American. Since many of the Hispanic students are often immigrants from Mexico or Central America, or children of immigrants, finding the common ground between American music and the music of their indigenous countries is often a first step towards establishing a positive learning relationship. With this unit, I aim to introduce students to a few works by Gershwin and Copland that establish connections with Latin American music and to compare these to the works of Latin American composers. All of them have blended the European symphonic styles with indigenous folk music, creating a new strand of world music. The topic of Latin dance influences at first brought to mind Mexico and mariachi ensembles, probably because in South Texas, we hear Mexican folk music in neighborhood restaurants, at weddings and birthday parties, at political events, and even at the airports. Whether it is a trio of guitars, a group of folkloric dancers, or a full mariachi band, the Mexican folk music tradition is part of the Tex-Mex cultural blend. The same holds true in New Mexico, Arizona, and California. -
Spanish Vocabulary
Spanish Music Vocabulary © Casa de la Música 2017 Spanish Vocabulary A Palo (seco) Accompanied by style stick. Aficionado Connoisseur, fan. Agitanado Assimilated by gypsies. Alpargata Spanish peasant shoes, used to dance the Jota. Alzapua Thumb technique for the guitar. Apoyando Guitar playing technique. Aspazo To mute (guitar). Bailaor/Bailaora Dancer. Baile The dance. Bata de Cola Typical flamenco dress. Bolero Spanish bolero is in 3/4. Cuban dance in 2/4 rhythm similar to comparasa. Bongo Afro-Cuban instrument consisting of 2 small drums held between the knees. Braceo Arm movements during the dance. Cabales Persons initiated into flamenco. Cafe Contante Cafe with musical performances (1860-1910). Calo Language of the gypsies. Cantanuelas Castanets. Cantaor/Cantaora Singer Cante Intermedio Song between jondo and chico. Cante Jondo (Hondo) Profound, meaningful song. Cante Grande = Jondo Serious, "deep" song. Cante Para Bailar Song to a dance. Cante Campero Songs with rural themes and origins. Cante Alante Song without dance. Cante Song. Cante Atras Songs with/to a dance. Cante Chico Light song. Cante Festero Festive song. Cante Para Escuchar Song sung for listening only Cante jondo A special style of singing coming from Andalusia in Southern Spain, showing the in- Ceijilla Capo (guitar). Claves Cuban percussion instrument consisting of 2 round sticks of solid hard wood, one © Casa de la Música 2017 Comparsa Mass participation ensemble, sung and danced in the streets by Afro-Cuban groups during carnival times. Costumes, lyrics and choreography center around a popular theme. 2/4 Compas Beat, rhythm. Concurso Competition. Cow Bell Ordinary cow bell with clapper removed. -
Las Soleares: Unasehnsuchtala Andaluza (Origen Romántico Y Difusión Europea De La Canción De Soledad)
LAS SOLEARES: UNASEHNSUCHTALA ANDALUZA (ORIGEN ROMÁNTICO Y DIFUSIÓN EUROPEA DE LA CANCIÓN DE SOLEDAD) ENRIQUE BALTANÁS Universidad de Sevilla y Fundación Machado INTRODUCCIÓN: LARRA Y LA VENTANA DE UNA BELLA EN ANDALUCÍA Antes de entrar en materia, sobre la soledades o soleares, andaluzas o flamencas, quisiera comentar un artículo de Larra. No siempre es la novela, o el teatro, o la lírica, el cauce expre sivo para el argumento propicio a la ambientación andaluza. También puede serlo el artículo, costumbrista y ano velado, como en el caso de Mariano José Larra (1809-1837). Fue Carmen de Burgos quien exhumó, entre los papeles del desgraciado suicida, un artículo redactado en francés (nótese el dato), que Colombine tradujo y publicó en su biografía de Fígaro (Madrid, 1919), y que Carlos Seco Serrano incorporó a su edición de las Obras completas. Se titula el artículo La ventana de una bella en Andalucía y lleva como subtítulo La mujer y su guitarra1. En su corta extensión, el texto nos ofrece en cifra y abreviatura un argumento que reaparecerá ampliado, reducido, modificado en mayor o menor medida -según los casos-, en tantas piezas de la materia de Andalucía. Comienza Larra por ponernos en situación, con una breve descripción del escenario y del ambiente: «¿Veis esa casita, cuya fachada os deslumhra, blanqueada con cal... ?» Y nos hablará -esperablemente- de la azotea y del patio, y del azahar, «la flor del oloroso naranjo», y en ese medio, el tipo inconfundible del andaluz literario y romántico, caracterizado por su indolencia y su vistosidad, dejándose llevar dulcemente de «los rayos del sol de Andalucía»: Allí, el apacible andaluz, perezoso, dormitando, lánguidamente sentado sobre una silla rústica de madera, fuma con fruición su cigarrillo, del cual extrae y lanza al aire frecuentes bocanadas de humo. -
2018 Long Island Guitar Festival Program Book
LIU Post 26th LONG ISLAND GuitarAPRIL 10th Festival - APRIL 15th, 2018 Director: HARRIS BECKER lliu.edu/gfest THE LONG ISLAND Guitar Festival HAS BEEN FUNDED IN PART BY: The Albert Augustine Foundation The D’Addario Foundation for the Performing Arts Savarez Murphy’s Music & Violin Shop THIS EVENT IS SUPPORTED BY A GRANT FROM LONG ISLAND UNIVERSITY’S JOHN P. MCGRATH FUND DEPARTMENT OF MUSIC LIU Post 26th LONG ISLAND GuitarSCHEDULE Festival OF EVENTS TUESDAY, April 10 EVENT LOCATION 8 pm CONCERT: Harris Becker & Friends GH WEDNESDAY, April 11 8 pm CONCERT: Alexandra Yannis Guitar Duo GH THURSDAY, April 12 8 pm CONCERT: Cavatina Duo GH FRIDAY, April 13 5 pm COMPETITION: Long Island Guitar Festival High School FA Classical Guitar Semi-Finals (closed to the public) 8 pm CONCERT: Rene Izquierdo GH SATURDAY, April 14 9:30 am WORKSHOP: Simon Powis, Left - Hand Technique Toolkit HR 10:45 am MASTER CLASS: Rene Izquierdo HR 12:30 pm EMERGING ARTIST SERIES CONCERT: Ria Modak (First Prize, HC Festival 2017 High School Classical Guitar Competition) 1:30 pm COMPETITION: Long Island Guitar Festival High School HR Classical Guitar Competition Finals. Three Finalists (open to the public) 3 pm CONCERT: Simon Powis HC 4:15 pm REHEARSAL: LIGF Orchestra HF 8 pm CONCERT: Newman & Oltman Guitar Duo HC LEGEND CH: Interfaith Center, Chapel; FA: Fine Arts Center; GH: Great Hall; HC: Hillwood Cinema; HF: Hillwood Commons Fishbowl; HR: Hillwood Recital Hall; MRB: Music Rehearsal Building; TA: Tilles Center Atrium; TC: Tilles Center for the Performing Arts; WHC: -
“Living Like Queens”: Gender Conflict and Female Counter-Hegemony in Contemporary Cádiz Carnival
THE POLITICS OF CARNIVAL “Living like Queens”: Gender Conflict and Female Counter-Hegemony in Contemporary Cádiz Carnival Katerina Sergidou Panteion University, Athens, Greece and University of the Basque Country, San Sebastián, Spain KEYWORDS ABSTRACT Carnival This article focuses on the feminist mobilization that has characterized Cádiz Carnival since Cádiz 2011, leading to the elimination of the Ninfas y Diosas (Nymphs and Goddesses) custom, a Spain variant of the Reina de las Fiestas (Queen of Traditional Fiestas) ceremony introduced under Francisco Franco’s dictatorship (1939–75). By calling into question the representation of women gender in Carnival celebrations, female festive organizations have challenged the old, male-dominated equality festival traditions and transformed Cádiz Carnival. Their activism has carried over into everyday dictatorship life, as female Carnival groups have created their own community and translated the artistic manifestations of their desire for equality into public policy. Using oral testimonies and archival democracy material gathered during ethnographic fieldwork in the city, I trace the history of the reina and feminism ninfas customs and analyze a variety of material related to their birth, evolution, and recent counter-hegemony discontinuation. The ultimate purpose of this article is to map the tensions embedded in both the festival and contemporary Spanish society and to show how the Carnival stage can become a space where embodied feminist counter-hegemony is performed, thus contributing to the slow democratization of Spanish society. Journal of Festive Studies, Vol. 2, No. 1, Fall 2020, 153—178. https://doi.org/10.33823/jfs.2020.2.1.34 153 “Living like Queens”: Gender Conflict and Female Counter-Hegemony in Contemporary Cádiz Carnival Katerina Sergidou 1. -
1000 SITIOS QUE VER En ESPAÑA Al Menos Una Vez En La Vida
Juan Eslava Galán 1000 SITIOS QUE VER en ESPAÑA al menos una vez en la vida Introducción n España no hay menos de cincuenta o cien mil lugares interesantes. Si en- Ecuestáramos a su población probablemente saldrían muchos más. Hace me- dio siglo que recorro los caminos de esta piel de buey (con los pingajillos sueltos de sus islas) y si en ese tiempo he (por supuesto, la mejor), pero que cuan- aprendido algo es que sus tierras encie- do llega al lugar que le impusieron se des- rran un mundo increíblemente variado enfurruña rápidamente, en seguida capta (y variable) en todas sus manifestaciones sus ventajas, se acomoda a él y lo agrega visibles y tangibles y hasta en lo que no a la lista de sus lugares favoritos, o sea: se ve, en el carácter individualista de sus lo descubre con su acrisolada experiencia gentes. de viajero y a la vuelta de la excursión lo Una lista de mil lugares que vale la alabará ante los amigos como un descubri- pena visitar es necesariamente incomple- miento personal. ta, soy consciente de ello. Por eso he in- Este libro es, por lo tanto, una mace- tentado que mi censo fuera lo más equi- donia de lugares interesantes en la que he librado posible, que incluyera los lugares procurado incluir los variados gustos de esenciales de España para un afi cionado al los españoles. Soy consciente de que para arte, al paisaje, a los museos, a la gastrono- algunos lectores faltarán lugares (que qui- mía, a los lugares insólitos o misteriosos, a zá yo mismo habría incluido, de conocer- la historia, al exotismo, a las fi estas, a la los), pero también de que no sobran, de arqueología e incluso al lector, tan abun- que todos los que este libro incluye nos dante, que abomina de los viajes y cuando dejarán un recuerdo agradable o por lo quiere ver mundo se limita a conectar con menos inolvidable (pienso en ciertas fi es- el National Geographic Channel o adquiere tas que podríamos califi car de excesivas). -
Feminist Worldmaking and Musical Practice in Chile By
Resonance and Resistance: Feminist Worldmaking and Musical Practice in Chile by Christina Marie Azahar Folgar A dissertation in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jocelyne Guilbault, Chair Professor T. Carlis Roberts Professor Charles L. Briggs Professor Daniel Party Spring 2021 Resonance and Resistance: Feminist Worldmaking and Musical Practice in Chile © 2021 by Christina Marie Azahar Folgar Abstract Resonance and Resistance: Feminist Worldmaking and Musical Practice in Chile by Christina Marie Azahar Folgar Doctor of Philosophy in Music University of California, Berkeley Professor Jocelyne Guilbault, Chair This dissertation engages the concept of resonance in order to explore how Chilean feminist activists, musicians, industry leaders, and audiences have used popular musical practices to create space for themselves and their communities. Centrally, this study asks, how are feminist organizers in Chile engaging music to mobilize artists, audiences, and industries to end patterns of patriarchal oppression? To what extent do feminist musical practices allow participants to navigate, re-sound, and re-envision the physical, social, industrial, and virtual spaces of which they are a part? By examining a diversity of feminist musical practices from the mid-twentieth century to the present, I explain how musical and interpersonal resonances shape feminist coalition-building while also reconfiguring the gender politics of social and geophysical space. Each chapter in this dissertation makes audible distinct feminist understandings of Chilean music history, spatial politics, and the patriarchal systems that shape these. In Chapters Two and Three, I examine the role of cantautoras (women singer-songwriters) across generations of political movements, specifically addressing the feminist legacies, activism, and travels of folklorist Violeta Parra (b. -
The Edwin A. Fleisher Collection of Orchestral Music: Latin American Orchestral Works
2016-17 The Edwin A. Fleisher Collection of Orchestral Music: Latin American Orchestral Works Compiled by Gary Galván The Edwin A. Fleisher Collection of Orchestral Music at the Free Library of Philadelphia THE EDWIN A. FLEISHER COLLECTION OF ORCHESTRAL MUSIC Background Philadelphia philanthropist Edwin Adler Fleisher (1877-1959) founded the first training orchestra in the United States in 1909 – over a half century before José Antonio Abreu’s famed El Sistema. The Little Symphony Club, as it was first known, was open to both sexes and all races free of charge. Over the next 20 years, Fleisher would spend between $10,000 and $20,000 annually to supply the Symphony Club with music for biweekly rehearsals (including regular sight-reading sessions!) and annual concerts. Having exhausted U.S. publishing agents, Fleisher personally traveled to Europe in 1913, 1925, 1927, 1929, and 1930 to meet with composers and publishers and purchase music to fulfill the group’s needs. A special visa in 1929 permitted him unprecedented access to works in the Soviet Union. In 1929, Fleisher donated his expansive collection to the Free Library of Philadelphia. Valued at $500,000 (nearly $7 million adjusted for inflation), the collection contained complete performance sets (a conductor’s score and a part for each musician) for just over 3,300 works. Between 1934 and 1943, Fleisher co-sponsored a Works Progress Administration Music Copying Project dedicated to creating performance sets from unpublished manuscripts by Pan American composers and doubled the size of the collection. Fleisher personally sponsored Nicolas Slonimsky’s sojourn to Latin America in 1941-42 with $10,000 to secure works from South and Central America. -
Antonio Martin
PREGÓN GRAN MOMO 2018 A CARGO DE ANTONIO MARTÍN PRESENTACIÓN DE MANOLO CASAL Y MODESTO BARRAGÁN COMPARSA A. MARTÍN Al amanecer consumío en llamas de entre el fatuo fuego despierta mi alma... Que pa volver me sobran redaños volver cantando a la tierra mía aunque hasta el alma me estén quemando entre la Viña y Santa María... San Juan y el Mentidero el Pópulo y Puntales quemarme de por vía... Aquí otra vez me tiene y vengo a fuego vivo, quémame si quieres quémame contigo... Quémame si quieres Cai...el corazón, prende con tu fuego toito mi ser, fuego que mantiene viva mi afición… Fuego en mi garganta, fuego en mi cantar, la llama divina, Cai de mi querer, que me quema en vida fundío en tu Carnaval… Carnaval ANTONIO MARTIN “El tanguillo gaditano se va perdiendo y es una pena…el cantecillo gitano que fue naciendo por nuestras venas…” Cantando de esta manera, hace más de veinte años, sobre este mismo escenario vine a ser tu pregonero… Hoy la historia es bien distinta, que 1 esta noche aquí se libra una batalla, eso sí, de lo más gaditana entre el Gran Momo y el coplero… Que si ustedes creyeron en la dicha de librarse tan fácilmente del niño de la Cruz Verde, -ni con agua caliente, picha- estaban tan equivocados como yo…Y eso que yo soy el gran Momo. Bueno, lo era. Y es que al llegar a Cádiz no tuve mejor idea que entrar,nada más y nada menos,por el mismísimo barrio de la Viña, “Y en el barrio de la Viña han puesto luces extraordinarias, hay que ver cómo reluce esa calle de la Palma…”Y claro, siendo noche de Carnaval pasó lo que tenía que pasar.