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Buenos Aires, Mecca of Tango: Activation Processes, Mega Cultural Events, Tourism and Dilemmas in the Local Heritage1
BUENOS AIRES, MECCA OF TANGO: ACTIVATION PROCESSES, MEGA CULTURAL EVENTS, TOURISM AND DILEMMAS IN THE LOCAL HERITAGE1 PhD. Hernán Morel CONICET-UBA/FFyL [email protected] ABSTRACT In this paper, we go through the history of the construction of tango as heritage. The period analyzed here begins in the late 90's and extends until 2010. We analyze the factors underlying the cultural policies that came to surface after the "turn" of tango as heritage in Buenos Aires, that is to say, after the activation and promotion of this popular genre on part of the political power (Morel 2009). Through a process analysis, we outline the official efforts behind this recognition. Simultaneously, we examine the impact of tourism as a decisive factor in the political-cultural approaches of the successive administrations. Our aim is especially focused on two main aspects: first, we highlight the heritage-driven policies that went along with the activation process of this genre, and, secondly, we note the consolidation of the cultural policies and actions which had to do, mainly, with the organization of tango events in relation to the promotion of tourism in the city. Under this framework, we explore the negotiations and disputes which, later on, led to the creation of the Buenos Aires Tango Festival and its institutionalization within the official cultural program. Keywords: political heritage, festivals, tourism, tango. RESUMEN En este artículo nos proponemos realizar un recorrido por la trayectoria de construcción patrimonial del tango, abordando el período que abarca desde fines de la década de los 90 hasta el año 2010. -
Fátima Florez: “La Solidaridad Me Hace Bien Al Alma”
19 años de la Revista Edición Nro. 218 - Mayo 2015 www.cilsa.org O.N.G. por la Inclusión Fátima Florez: “La solidaridad me hace bien al alma” • ESPECIAL DOSSIER / Santa Fe • Sitios: Aires de campo para el turismo rural • Sociedad: De qué se habla cuando se habla de autismo Institucional/ RSE Socialmente comprometidos El Hotel Plaza Buenos Aires y CILSA poseen un vínculo a través de la cual desarrollan los laza Hotel lleva 105 años ininterrum- Premios al Compromiso Social. pidos brindando servicios a sus hués- A su vez, el establecimiento cede pedes. Fue el primer establecimiento las instalaciones para que la ONG P de lujo en Buenos Aires al momento de su entregue elementos ortopédicos. apertura, en 1909. Damián Nachtajler, general manager, explica que “el prestigio que tiene nuestro hotel es producto de haber mantenido la misión de satisfacer en forma perma- nente las necesidades de nuestros clientes, adaptándose a parte de la rutina anual y por la cual se expresa las distintas épocas y cambios que se han dado en nuestra una gran satisfacción al aportar un granito sociedad en tantos años. Es por ello que esa construcción de arena para ayudar al prójimo. “Realizamos de prestigio y excelencia se la debemos agradecer a cada muchas donaciones a instituciones que lo necesitan como uno de los empleados quienes, desde su apertura y hasta el la Fundación Sagrada Familia, Emaús Argentina, Fun- día de hoy, tienen intacta la vocación de seguir colaborando dación Hastinapura, Cooperativa Ecológica `Reciclando para que el Plaza Hotel se mantenga siempre como uno Sueños´, Templo ACISBA Recoleta y Refugio San de los hoteles más reconocidos de nuestro país”. -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Programación Colombia Cultural En Bs As 2013
Programación Colombia Cultural en Buenos Aires día por día Sábado 2 de febrero 15.30 hs. ATABAQUES ( Atlántico) Clases y Exhibiciones de baile http://www.corporacionculturalatabaques.blogspot.com.ar/ La Corporación Cultural Atabaques, inicia en el año 2003 en la ciudad de Cartagena de Indias, bajo la dirección de Wilfran Barrios Paz, con un grupo de personas que trabaja de manera continua, para el desarrollo de programas encaminados a la investigación, dinamización, proyección, difusión y preservación de las manifestaciones artísticas, culturales y en el fortalecimiento socio cultural de los y las afrocolombianos/as. Usina del Arte, avenida Pedro de Mendoza 501, La Boca 18.30 hs SWING LATINO (Salsa) Clases y exhibiciones www.elmulatoysuswinglatino.com La Fundación Escuela de Baile Swing latino, nace en el año 1999 en el Barrio San Pedro Claver en la ciudad de Cali, con el objeto de mejorar la calidad de vida de los niños, niñas y jóvenes las comunas 11, 13 y 16 de la ciudad, las cuales presentan altos grados de condiciones de vulnerabilidad como violencia juvenil, desempleo, viven en contexto de desplazamiento, embarazos a temprana edad, deserción escolar, entre otros.Entre el 2006 y el 2012, se han consagrado 7 veces como campeones mundiales de salsa. Buenos Aires Playa Parque de los Niños, General Paz y avenida Cantilo, Nuñez. 21 hs JOCAYCU Clases y Exhibiciones de baile http://www.danzasjocaycu.com/ El Grupo de Danzas folklóricas colombianas Jocaycu, es uno de los grupos de danzas colombianas más representativo del folklor colombiano, se formó en 1995 por iniciativa de los estudiantes de la Institución Prensa Ministerio de Cultura 1 Fecha de Publicación: 05/02/2013 educativa Joaquín de Cayzedo y Cuero de la Ciudad de Cali (Colombia) con el propósito de rescatar su cultura, su pasado y vivenciar el presente por medio de las danzas folklóricas. -
Al Son De La Clave: El 3+3+2 En El Tango Las Décadas Del 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), Pp
artículos AL SON DE LA CLAVE: EL 3+3+2 EN EL TANGO LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos Clang (N.° 4), pp. 55-68, abril 2016 ISSN 2524-9215 Al son de la clave: el 3+3+2 en el tango LAS DÉCADAS DEL 20, 30 Y 40 Pablo Mitilineos [email protected] Facultad de Bellas Artes. Universidad Nacional de La Plata. Argentina RESUMEN En la «Tercera Guardia» del tango, desde 1949 en adelante, dentro de la corriente que llamamos «Tango de vanguardia», estudiamos la clave afroamericana «3+3+2» como un elemento estructural de muchas compo- siciones de referentes, como Astor Piazzolla y Eduardo Rovira. Este artículo surge a partir de la investigación sobre el origen de este material y las transformaciones a través de la historia del tango. Más allá de las vincula- ciones altamente consensuadas con las sonoridades africanas desarrolladas en el Río de la Plata desde la época colonial y con el género milonga du- rante el siglo XIX, en el estudio realizado se identificaron otras apariciones de gran importancia textural en versiones de tangos grabadas durante las décadas del veinte, del treinta y del cuarenta. PALABRAS CLAVE Tango de vanguardia, claves afroamericanas, Piazzolla, Rovira Clang Año 4 | N.°4 | ISSN 2524-9215 55 Enseñar música popular no es tarea sencilla. y único» (2014: s/p). Esa línea de trabajo es la No lo era antes y tampoco ahora que existen que intentamos seguir en nuestras clases y en importantes experiencias en instituciones de nuestros trabajos académicos. Actualmente, en enseñanza formal terciaria y universitaria. -
Celebrating 21 Years of Life in Argentina
CELEBRATING 21 YEARS OF LIFE IN ARGENTINA Aaand I’m back. After a hectic, time-consuming shopping period, I finally got the time to write this entry! Basically the past few weeks were spent traveling to 10 different classes and listening to their respective professors give introductions, and then judging by those whether or not I wanted to pursue the class. I also considered factors such as class size and how well I liked the professors. IFSA warned us how the Argentine university registration processes was notoriously disorganized, and that was certainly the case. Besides castellano, my classes include a seminar about political and social processes in Latin America, a class about contemporary solidarity movements in Argentina, and a human rights class. I’m also taking a film and literature class with a contemporary focus on the 21st century. That class, as well as castellano, is taught at the IFSA headquarters in center of town on Avenida Corrientes. The seminar is taught at La Universidad del Salvador, off Avenida Córdoba a little farther out in Recoleta but nearby a Subte estación. The rest of my classes are at La Universidad Católica Argentina in The San Telmo/Puerto Madero area. Out of all three places, UCA is by far the most modern, though it is an absolute pain to access- if you’re traveling from the center of town, you have to give yourself at least half an hour to cross the Plaza de Mayo (especially when there’s a protest) and then three wide avenidas. I should note that, yes, both universities are very much Catholic, with crosses and pictures of Pope Francis everywhere. -
Librerías De Texto
ESPECIAL VUELTA A CLASES TODOS LOS DÍAS LIBRERÍAS DE TEXTO VENTA ONLINE LOCALIDAD MARCA DIRECCIÓN CABA - BELGRANO SBS LIBRERÍA WWW.SBS.COM.AR CABA - MONSERRAT ELEKTRA COMICS WWW.ELEKTRACOMICS.COM.AR CABA - PARQUE PATRICIOS TEMATIKA WWW.TEMATIKA.COM CABA - RECOLETA ANIMALES WWW.ANIMALES.STORE CABA - RETIRO KEL EDICIONES SA WWW.KELEDICIONES.COM CABA - SAN NICOLÁS LIBRERÍA HERNANDEZ WWW.LIBRERIAHERNANDEZ.COM MAR DEL PLATA FRAY MOCHO WWW.FRAYMOCHO.COM.AR VENTA TELEFÓNICA LOCALIDAD MARCA DIRECCIÓN VENTA TELEFÓNICA CÚSPIDE 011-5237-1105 VENTA TELEFÓNICA YENNY/ EL ATENEO 0810-33-EXTRA (39872) VENTA PRESENCIAL LOCALIDAD MARCA DIRECCIÓN ADROGUÉ ESTACION LIBRO AVENIDA HIPÓLITO YRIGOYEN 13298 AMÉRICA URBANO LIBRERÍA RIVADAVIA E INDEPENDENCIA AVELLANEDA EL ALEPH ALSINA 84 AVELLANEDA YENNY GÜEMES 897 AYACUCHO COPY CENTRO CALLE 25 DE MAYO 1260 AZUL LIBRERÍA BIBLOS IRIGOYEN 578 AZUL SERENDIPIA MAIPÚ 712 BAHÍA BLANCA AGENCIA SUR LIBRERIAS ESTOMBA 215 BAHÍA BLANCA DON BOSCO LA LIBRERÍA VIEYTES 102 BAHÍA BLANCA HENRY LIBROS ALSINA 27 BAHÍA BLANCA KLAS LIBROS BROWN 426 BAHÍA BLANCA LIBRERIA DON QUIJOTE FITZ ROY 92 BAHÍA BLANCA UNI LIBROS BROWN 145 BAHÍA BLANCA YENNY SARMIENTO 2153 BERAZATEGUI CASA DE LIBROS PRAGA CALLE 13 N° 4928 BERAZATEGUI EL ALEPH CALLE 14 N° 4862 BERAZATEGUI FACTOTUM LIBROS Y CAFÉ AVENIDA MITRE 1054 BERNAL GALERNA BELGRANO 423 BURZACO DALIS LIBROS ALSINA 669 CABA - ALMAGRO SOPLAVIENTOS BILLINGHURST 970 CABA - AMAGRO LIBRERÍA PELUFFO AVENIDA CORRIENTES 4276 CABA - BALVANERA GALERNA AVENIDA CORRIENTES 1916 CABA - BALVANERA YENNY AVENIDA -
TANGO… the Perfect Vehicle the Dialogues and Sociocultural Circumstances Informing the Emergence and Evolution of Tango Expressions in Paris Since the Late 1970S
TANGO… The Perfect Vehicle The dialogues and sociocultural circumstances informing the emergence and evolution of tango expressions in Paris since the late 1970s. Alberto Munarriz A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO March 2015 © Alberto Munarriz, 2015 i Abstract This dissertation examines the various dialogues that have shaped the evolution of contemporary tango variants in Paris since the late 1970s. I focus primarily on the work of a number of Argentine composers who went into political exile in the late 1970s and who continue to live abroad. Drawing on the ideas of Russian linguist Mikhail Bakhtin (concepts of dialogic relationships and polyvocality), I explore the creative mechanisms that allowed these and other artists to engage with a multiplicity of seemingly irreconcilable idioms within the framing concept of tango in order to accommodate their own musical needs and inquietudes. In addition, based on fieldwork conducted in Basel, Berlin, Buenos Aires, Gerona, Paris, and Rotterdam, I examine the mechanism through which musicians (some experienced tango players with longstanding ties with the genre, others young performers who have only recently fully embraced tango) engage with these new forms in order to revisit, create or reconstruct a sense of personal or communal identity through their performances and compositions. I argue that these novel expressions are recognized as tango not because of their melodies, harmonies or rhythmic patterns, but because of the ways these features are “musicalized” by the performers. I also argue that it is due to both the musical heterogeneity that shaped early tango expressions in Argentina and the primacy of performance practices in shaping the genre’s sound that contemporary artists have been able to approach tango as a vehicle capable of accommodating the new musical identities resulting from their socially diverse and diasporic realities. -
PROYECTO DE DECLARACIÓN El
“2016-Año del Bicentenario de la Declaración de la Independencia Nacional” Senado de la Nación Secretaria Parlamentaria Dirección General de Publicaciones (S-1965/16) PROYECTO DE DECLARACIÓN El Senado de la Nación DECLARA Su adhesión a la conmemoración del 41º aniversario del fallecimiento de Aníbal “Pichuco” Troilo, célebre bandoneonista argentino, compositor y director de orquesta, fallecido el 18 de Mayo de 1975. Guillermo J. Pereyra.- FUNDAMENTOS Señora Presidente: El 11 de julio de 1914 nacía en Buenos Aires uno de los mayores bandoneonistas argentinos, compositor, director de orquesta, que está considerado uno de los grandes renovadores del tango. Aníbal Carmelo Troilo nació pleno barrio del Abasto. Sus padres se llamaban Felisa Bagnoli y Aníbal Troilo. Su padre le pondría el seudónimo de Pichuco, nombre por el cual llamaban a uno de sus mejores amigos; el apodo podría ser una deformación del napolitano picciuso que significa "llorón". Durante su niñez Troilo escuchaba tocar el bandoneón en los bares de su barrio, a los 10 años convenció a su madre para que le comprara uno con el que tocó casi toda su vida.´ Un año después, en 1925 (cuando tenía 11 años) realizó su primera actuación en un bar vecino al Mercado de Abasto. A los 14 años ya había formado un quinteto. Estudió hasta tercer año en la prestigiosa Escuela Superior de Comercio Carlos Pellegrini. En diciembre de 1930 fue contratado para formar parte del famoso sexteto que integraban entre otros el violinista Elvino Vardaro, el pianista Osvaldo Pugliese y Alfredo Gobbi (hijo), donde tuvo como compañero a Ciriaco Ortiz.. En 1931 incursionó brevemente en la orquesta de Juan Maglio, y al promediar ese año se reencontró con Ciriaco Ortiz en la orquesta “Los provincianos” creada fundamentalmente para grabaciones. -
THE BANDONEÓN by Eduardo Lazarowski
THE BANDONEÓN By Eduardo Lazarowski “Each 11 of July is celebrated as the National Day of the Bandoneón as homage to the birthday of Aníbal Troilo” … Thus read a headline on a major Argentine newspaper on July 2014. Neither Troilo’s name nor the instrument that contributed to his rising as one of the greatest personalities in tango history are foreign words to tango dancers around the world. But not many tango lovers know the history of the “tango wind box”. So, let’s examine the major technical and historic features of the instrument considered the “soul” of tango music. The bandoneón was invented to substitute the otherwise expensive and not always available church organs in rural communities of north Germany around 1835. Technically, the bandoneón is a portable wind instrument that belongs to the subgroup of “aero-phones” together with the accordion and the concertina, and it is played by depressing a series of buttons (keys) capriciously distributed on the surface of its two side panels. Opening and closing the blower produce the vibration of metal wedges. Professional tango musicians use the so-called achromatic bandoneón, which produce different notes (by the same key) during the opening and closing of the instrument. A standard modern bandoneón has 71 keys (38 and 33 on the right and left panels, respectively), generating 142 voices. The bandoneón owes its name to its inventor, Heinrich Band and the cooperative (Union) created to financially Maestro Julian Hasse performing in Durham NC support its manufacturing. Thus, when the instrument arrived to Buenos Aires, it was phonetically called by its trade-mark label “Band-Union” and the voice soon mutated from bandunión to bandoneón. -
Buenos Aires Research Guide Where to Stay Travelling Around the City
Buenos Aires Research Guide This is a multi-authored document on carrying out research in Buenos Aires, compiled by staff and students at the Centre of Latin American Studies, Cambridge. We hope it will be helpful to you and to many others in the future. Please email Joanna Page ([email protected]) if you have any new discoveries to add or to update any details that are wrong. __________________________________________________________________________________________________________________ Where to stay Most students/researchers would opt for one of three areas: Palermo, Barrio Norte or San Telmo. Palermo is the quietest and has low-rise buildings and lots of trendy cafes/restaurants, but it can feel a bit touristy, it’s further out from the city centre and the transport links aren’t as good, depending on which part you’re staying in. San Telmo is a more traditional neighbourhood and lots of people love it, but some parts are more rundown. Barrio Norte is probably a good compromise – nice, safe neighbourhood with lots of facilities and good transport links to the centre. Best to choose somewhere near a subte station or near major bus routes (eg along Avenida Santa Fe, Las Heras, etc.). Travelling around the city You will need to buy a Sube card for a small deposit on arrival, which will work for buses and the metro. This can then be recharged at metro stations and many kiosks. For travelling throughout the city, the websites http://beta.comoviajo.com/ and http://mapa.buenosaires.gob.ar/ are very useful. You can enter your starting point and destination and they will calculate the fastest public transport connections between them. -
Ireland and Latin America: a Cultural History
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2010 Ireland and Latin America: a cultural history Murray, Edmundo Abstract: According to Declan Kiberd, “postcolonial writing does not begin only when the occupier withdraws: rather it is initiated at that very moment when a native writer formulates a text committed to cultural resistance.” The Irish in Latin America – a continent emerging from indigenous cultures, colonisation, and migrations – may be regarded as colonised in Ireland and as colonisers in their new home. They are a counterexample to the standard pattern of identities in the major English-speaking destinations of the Irish Diaspora. Using literary sources, the press, correspondence, music, sports, and other cultural representations, in this thesis I search the attitudes and shared values signifying identities among the immigrants and their families. Their fragmentary and wide-ranging cultures provide a rich context to study the protean process of adaptation to, or rejection of, the new countries. Evolving from oppressed to oppressors, the Irish in Latin America swiftly became ingleses. Subsequently, in order to join the local middle classes they became vaqueros, llaneros, huasos, and gauchos so they could show signs of their effective integration to the native culture, as seen by the Latin American elites. Eventually, some Irish groups separated from the English mainstream culture and shaped their own community negotiating among Irishness, Englishness, and local identities in Brazil, Uruguay, Peru, Cuba, and other places in the region. These identities were not only unmoored in the emigrants’ minds but also manoeuvred by the political needs of community and religious leaders.