Level 2 Lesson 10 Visit to Peru
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Language, Culture, and Society of Peru SFS 2090
Language, Culture, and Society of Peru SFS 2090 Syllabus The School for Field Studies (SFS) Center for Amazon Studies (CAS) Loreto, Peru This syllabus may develop or change over time based on local conditions, learning opportunities, and faculty expertise. Course content may vary from semester to semester. www.fieldstudies.org © 2019 The School for Field Studies Fa19 1 COURSE CONTENT SUBJECT TO CHANGE Please note that this is a copy of a recent syllabus. A final syllabus will be provided to students on the first day of academic programming. SFS programs are different from other travel or study abroad programs. Each iteration of a program is unique and often cannot be implemented exactly as planned for a variety of reasons. There are factors which, although monitored closely, are beyond our control. For example: • Changes in access to or expiration or change in terms of permits to the highly regulated and sensitive environments in which we work; • Changes in social/political conditions or tenuous weather situations/natural disasters may require changes to sites or plans, often with little notice; • Some aspects of programs depend on the current faculty team as well as the goodwill and generosity of individuals, communities, and institutions which lend support. Please be advised that these or other variables may require changes before or during the program. Part of the SFS experience is adapting to changing conditions and overcoming the obstacles that may be present. In other words, the elephants are not always where we want them to be, so be flexible! 2 Course Overview The LANGUAGE, CULTURES AND SOCIETIES OF PERU course is provided in two integrated modules: I. -
Présentation D'une Séquence – Formateurs Académiques
Présentation d’une séquence – Formateurs Académiques Formation Initiale, Académie de Versailles – août 2019 BMI - BB Titre de la séquence : “La música en la calle: ¿tradición popular o vector de cohesión social?” Programme culturel : L’art de vivre ensemble Axes : Axe 3 - Le village, le quartier, la ville (Axe 1 - Vivre entre générations / Axe 6 - La création et le rapport aux arts) Problématique : ¿En qué sentido podemos decir que la música y el baile, al manifestarse en la calle, son una afirmación de la identidad, y los vectores de la cohesión social de un pueblo ? Niveau : 2de Niveau du CECRL : A2 Nombre de séances : (½ séance d’introduction) + 4 séances + 1 séance pour l’évaluation (+ remédiation) • Objectifs culturels : -musiques et danses traditionnelles d’Espagne et d’A-L - Cuba, Argentine, Pérou (sevillana (et la feria de Séville), flamenco, tango, milonga, rumba, conga, marinera, huayno) -le réalisateur Fernando Trueba, le musicien et compositeur Bebo Valdés, l’écrivain José María Arguedas, le musicien Eliades Ochoa et le Buena Vista Social Club, le danseur de flamenco Eduardo Guerrero, la chanteuse Buika, le groupe Calle 13, le chanteur et musicien Manu Chao • Outils linguistiques : -lexicaux : le lexique lié aux danses étudiées et à la musique, quelques instruments de musique, le lexique lié à la cohésion sociale, à l’identité, au vivre ensemble, au partage, le lexique des sentiments tels que la joie, le lexique lié aux héritages, métissages, à la fusion des cultures, le lexique de la description d’images, des nationalités -
STATEWIDE APPRENTICESHIP PROGRAM SUPPORTS CALIFORNIA's CULTURAL TRADITIONS THROUGH 17 ARTIST TEAMS Since 1999, the Alliance Fo
STATEWIDE APPRENTICESHIP PROGRAM SUPPORTS CALIFORNIA’S CULTURAL TRADITIONS THROUGH 17 ARTIST TEAMS Since 1999, the Alliance for California Traditional Arts’ (ACTA’s) Apprenticeship Program has supported California’s cultural traditions with 348 contracts to outstanding folk and traditional artists and practitioners. Now entering its 19th cycle, ACTA’s Apprenticeship Program encourages the continuity of the state’s living cultural heritage by contracting exemplary master artists to offer intensive training and mentorship to qualified apprentices. ACTA’s Executive Director, Amy Kitchener says, “The Apprenticeship Program is at the heart of our mission, with a focus on the generational transfer of knowledge. The program not only sustains and grows traditions; it also reveals all the different ways of knowing within the many cultural communities of our state.” Master artist Snigdha Venkataramani (L) with her apprentice Anagaa Nathan (R; photo courtesy of Suri Photography). Contracts of $3,000 are made with California-based master artists to cover master artist’s fees, supplies and travel. Participants work closely with ACTA staff to develop and document the apprenticeships, culminating in opportunities to publicly share results of their work. The 2019 Apprenticeship Program cohort of 34 artists (17 pairs) reflects California’s breadth of cultural diversity and intergenerational learning, ranging from master artists in their 60s to a 15-year old apprentice, spanning from San Diego to Humboldt Counties. Thriving traditions supported through these apprenticeships reflect indigenous California cultural practices that include Yurok, Karuk, and Hupa basketry. Others celebrate traditions which have taken root in California, and originally hail from Peru, Africa, Bolivia, India, Iran, Armenia, China, Japan, Philippines, Korea, Mexico, and Vietnam. -
International Business Guide to Peru Mark Kingsmore
University of South Carolina Scholar Commons Senior Theses Honors College 5-5-2017 International Business Guide to Peru Mark Kingsmore Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the International Business Commons Recommended Citation Kingsmore, Mark, "International Business Guide to Peru" (2017). Senior Theses. 180. https://scholarcommons.sc.edu/senior_theses/180 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. University of South Carolina International Business Guide to Peru SCHC Senior Thesis Mark Kingsmore 5-2-2017 Table of Contents About the Author…………………………………………………………………..…3 Introduction……………………………………………………………………………..4 Being a Student in Lima……………………………………………….……………5 Pontificia Universidad Católica del Peru……………………...……5 Semester Calendar……………………………………………………………6 Compañero PUCP……………………………………………………..………8 Campus Area – Safety and Dining…………………………..…………8 Transportation to Campus……………………………………..…………9 Class Registration and Information…………………………………11 Extracurricular Activities…………………………………………………14 Living in Lima………………………………………………………………….………15 Host Family vs. Apartment……..….………………………..…………15 Neighborhoods of Lima………………………………………..…………17 Money, Money, Money………………………………………….………19 Cell Phone………………………………………………………………………20 WhatsApp………………………………………………………………………21 Food……………………………………………………………………….………21 Attractions……………………………………………………..………………23 -
World Heritage Patrimoine Mondial 41
World Heritage 41 COM Patrimoine mondial Paris, June 2017 Original: English UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION ORGANISATION DES NATIONS UNIES POUR L'EDUCATION, LA SCIENCE ET LA CULTURE CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE CONVENTION CONCERNANT LA PROTECTION DU PATRIMOINE MONDIAL, CULTUREL ET NATUREL WORLD HERITAGE COMMITTEE / COMITE DU PATRIMOINE MONDIAL Forty-first session / Quarante-et-unième session Krakow, Poland / Cracovie, Pologne 2-12 July 2017 / 2-12 juillet 2017 Item 7 of the Provisional Agenda: State of conservation of properties inscribed on the World Heritage List and/or on the List of World Heritage in Danger Point 7 de l’Ordre du jour provisoire: Etat de conservation de biens inscrits sur la Liste du patrimoine mondial et/ou sur la Liste du patrimoine mondial en péril MISSION REPORT / RAPPORT DE MISSION Historic Sanctuary of Machu Picchu (Peru) (274) Sanctuaire historique de Machu Picchu (Pérou) (274) 22 - 25 February 2017 WHC-ICOMOS-IUCN-ICCROM Reactive Monitoring Mission to “Historic Sanctuary of Machu Picchu” (Peru) MISSION REPORT 22-25 February 2017 June 2017 Acknowledgements The mission would like to acknowledge the Ministry of Culture of Peru and the authorities and professionals of each institution participating in the presentations, meetings, fieldwork visits and events held during the visit to the property. This mission would also like to express acknowledgement to the following government entities, agencies, departments, divisions and organizations: National authorities Mr. Salvador del Solar Labarthe, Minister of Culture Mr William Fernando León Morales, Vice-Minister of Strategic Development of Natural Resources and representative of the Ministry of Environment Mr. -
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011. -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Advancedaudioblogs3#1 Peruviancuisine:Lacomida Peruana
LESSON NOTES Advanced Audio Blog S3 #1 Peruvian Cuisine: La Comida Peruana CONTENTS 2 Dialogue - Spanish 4 Vocabulary 4 Sample Sentences 5 Cultural Insight # 1 COPYRIGHT © 2020 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED. DIALOGUE - SPANISH MAIN 1. Hola a todos! 2. Alguno ya tuvo la oportunidad de degustar algún plato típico peruano? 3. La comida peruana es una de las cocinas más diversas del mundo, incluso han llegado a decir que la cocina peruana compite con cocinas de alto nivel como la francesa y china. 4. La comida peruana es de gran diversidad gracias al aporte de diversas culturas como la española, italiana, francesa, china, japonesa, entre otras, originando de esta manera una fusión exquisita de distintos ingredientes y sabores que dieron lugar a distintos platos de comida peruana. 5. A este aporte multicultural a la cocina peruana, se suman la diversidad geográfica del país (el Perú posee 84 de las 104 zonas climáticas de la tierra) permitiendo el cultivo de gran variedad de frutas y verduras durante todo el año. 6. Asimismo el Perú tiene la bendición de limitar con el Océano Pacífico, permitiendo a los peruanos el consumo de diversos platos basados en pescados y mariscos. 7. La comida peruana ha venido obteniendo un reconocimiento internacional principalmente a partir de los años 90 gracias al trabajo de muchos chefs que se encargaron de difundir la comida peruana en el mundo y desde entonces cada vez más gente se rinde ante la exquisita cocina peruana. 8. En el año 2006, Lima, la capital del Perú, fue declarada capital gastronómica de América durante la Cuarta Cumbre Internacional de Gastronomía Madrid Fusión 2006. -
[Thesis Title]
¡SI TE ATREVES! COMPOSING MUSIC AND BLACK IDENTITY IN PERU, 1958-1974 Andrew A. Reinel A thesis submitted in partial fulfillment of the requirements for the degree of BACHELOR OF ARTS WITH HONORS DEPARTMENT OF HISTORY UNIVERSITY OF MICHIGAN March 30, 2008 Advised by Professors: Jesse Hofnung-Garskof & Paulina Alberto For Mom, Dad, Lucy, Maria, and Dianne (familia). TABLE OF CONTENTS Figures .............................................................................................................................. ii Acknowledgements ........................................................................................................ iii Introduction ...................................................................................................................... 1 Chapter One: Nicomedes Santa Cruz .......................................................................... 10 Chapter Two: Victoria Santa Cruz .............................................................................. 23 Chapter Three: Peru Negro .......................................................................................... 33 Conclusion ...................................................................................................................... 42 Bibliography ................................................................................................................... 46 FIGURES Figure 1. “Cumanana” 3rd Ed. (1970)……………………………………………………18 Figure 2. “…Con Victoria Santa Cruz” (1972)………………………………………….26 Figure 3. “Peru Negro” (1974)………………………………………………...................39 -
Poder Y Estudios De Las Danzas En El Perú
!"! " !# $ ! " # $ %&&'( A Carmen y Lucho 2 CONTENIDO Resumen……………………………………………………………………………… 4 Introducción…………………………………………………………………………… 5 1. Inicio de los estudios de las danzas y el problema nacional (1900-1941).......................................................................................... 9 2. Avances en los estudios de las danzas, influencia de la antropología culturalista y continuación del debate sobre lo nacional (1942-1967)........................................................ 18 3. Estudios de las danzas y nacionalismo popular (1968-1980)…………………………………………………………....................... 37 4. Institucionalización de los estudios de las danzas (1981-2005)...................................................................................................... 48 Conclusiones: Hacia un balance preliminar de los estudios de las danzas en el Perú.................................................................... 62 Referencias bibliográficas................................................................................. 68 3 Resumen Esta investigación trata sobre las relaciones que se establecen entre el poder y los estudios de las danzas en el Perú, que se inician en las primeras décadas del siglo XX y continúan hasta la actualidad, a través del análisis de dos elementos centrales: El análisis del contexto social, político y cultural en que dichos estudios se realizaron; y el análisis del contenido de dichos estudios. El análisis evidencia y visibiliza las relaciones de poder no manifiestan -
ICAHM Final Program
FINAL CONFERENCE PROGRAM EL PROGRAMA FINAL DEL CONGRESO WITH PAPER ABTRACTS/CON LOS RESUMENES 27-30 NOVEMBER/NOVIEMBRE, 2012 CUZCO, PERU THANK YOU TO OUR HOSTS GRACIAS A NUESTROS ANFITRIONES UNIVERSIDAD NACIONAL SAN ANTONIO ABAD DEL CUSCO 1 Monday, November 26 Inauguración en la Municipalidad del Cuzco Words from: Mayor of Cuzco: Economista Luis Florez García Rector of the National University of Cuzco: Dr. Germán Zecenarro Madueño Drs. Douglas Comer and Willem Willems, Co-Presidents of ICAHM Dr. Alberto Martorell, President of ICOMOS-PERU Musical performance: Sylvia Falcón Welcome Cocktail Party in the Museo Machu Picchu, Casa Concha Words from: Dr. Jean-Jacques Decoster, Director of the Museo Machu Picchu Tuesday, November 27 9:00-10:30 Participants pick up their registration materials at Municipalidad del Cuzco 10:30-12:30 KEYNOTE TALKS LOCATION: MUNICIPALIDAD DEL CUZCO MODERATOR: WILLEM WILLEMS 10:30 Doug Comer (Co-President, ICAHM) 11:00 Fritz Lüth (President, European Association of Archaeologists) 11:30 Ruth Shady (Former President, ICOMOS-Peru) 12:00 Nuria Sanz (UNESCO) (read by Willem Willems) 12:30 -2:30 LUNCH BREAK 2:30-5:15 Management and Policy LOCATION: MUNICIPALIDAD DEL CUZCO MODERATOR: HELAINE SILVERMAN 2:30-2:45 Neale Draper: “Managing Archaeological Heritage in the Pilbara Resources Boom” 2:45-3:00 Elin Dalen: “Cultural and Natural Heritage-A New Policy for World Heritage in Norway” 3:00-3:15 Alejandro Camino Diez Canseco: “Making Heritage sites conservation sustainable: the experience of the Global Heritage Fund” 3:15-3:30 -
THE FLAMENCO BOX in the CLASSROOM History , Evolution and Didactic Autor: Carlos Crisol Maestro
THE FLAMENCO BOX IN THE CLASSROOM History , Evolution and Didactic Autor: Carlos Crisol Maestro Coordinación de Diseño y Maquetación: Nuria Crisol de la Fuente Colaboración de los alumnos del CFGM Preimpresión en Artes Gráficas IES Santo Reino: Juan Jesús Mesa Moraleda y Gema Moreno Serrano en diseño de interiores y portada - contraportada. Traducción inglés: Nuria Sánchez INDEX I. PRECEDENTS AND ANALOGIES OF THE BOX Introduction and state of the issue Pg. 2 Searching for a box history in the world Pg. 3 The box in Perú: Findings documented on the origin of the box Pg. 5 The box in Cuba Pg. 7 The box in Spain: origin and evolution Pg. 8 . II. CONSTRUCTION OF THE BOX Building materials Pg. 12 Sundbox. Cubic capacity and dimensions of the box Pg. 14 Sound output: box hole (back, side, bottom ...) Pg. 15 Front or struck cover Pg. 18 String tension and tuning system. Treatment of harmonics. String arrangements in the box. Pg. 26 III. THE FLAMENCO BOX IN THE CLASSROOM Introduction Pg. 39 Objectives concretion Pg. 41 Subjects and curriculum areas relation: Pg. 43 Music Plastic and Visual education (Art) Language Social sciences, Geography and History Maths Physical education Languages Techology and Informatics Contribution to the Basic Competences: Pg. 45 Linguistic communication competence Mathematical competence Knowledge and interaction with the physical environment competence Information management and digital competence Social and citizen competence Cultural and Artistic competence Learning to learn competence Autonomy and self-esteem competence. IV. FLAMENCO BOX TEACHING AND LEARNING METHODS Pg. 48 V. BIBLIOGRAPHY. Pg. 51 1 Introduction and state of the issue.