DOCSLIB.ORG

(46000) Latinas in Popular Performance: from Celia to Selena

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(46000) Latinas in Popular Performance: from Celia to Selena THE UNIVERSITY OF TEXAS AT AUSTIN DEPARTMENT OF MEXICAN AMERICAN AND LATINA/O STUDIES SPRING 2021 MAS 315 (40640) AND WGS 301 (46000) LATINAS IN POPULAR PERFORMANCE: FROM CELIA TO SELENA MONDAYS AND WEDNESDAYS FROM 10:00 TO 11:30 AM. (SYNCHRONOUS) INTERNET (CANVAS / ZOOM) PROFESSOR: LAURA G. GUTIÉRREZ EMAIL: [email protected] OFFICE PHONE: 471-3543 OFFICE HOURS: ON ZOOM OFFICE HOURS: MONDAYS AND WEDNESDAYS FROM 3:30-4:30 PM & BY APPOINTMENT Land Acknowledgment (I) We would like to acknowledge that we are meeting on Indigenous land. Moreover, (I) We would like to acknowledge and pay our respects to the Carrizo & Comecrudo, Coahuiltecan, Caddo, Tonkawa, Comanche, Lipan Apache, Alabama-Coushatta, Kickapoo, Tigua Pueblo, and all the American Indian and Indigenous Peoples and communities who have been or have become a part of these lands and territories in Texas, here on Turtle Island. Course Description: While this course’s title suggest that the span of the class material covered will begin with a visual cultural analysis of Celia Cruz, the Queen of Salsa, and will end with Selena, the Queen of Tejano, these two figures only conceptually bookend the ideas that will be explored during the semester. This class will begin by sampling a number of performances of Latinas in popular cultural texts to get lay the ground for the analytical and conceptual frameworks that we will be exploring during the semester. First of all, in a workshop format, we will learn to analyze cultural texts that are visual and movement-based. We will, for example, learn to write performance and visual analysis by collectively learning and putting into practice vocabulary connected to the body in movement, space(s), and visual references (from color to specific ethnic tropes). Second, we will begin to explore the ways in which Latinas have been hypervisible and invisible at the same time, both in culture and in society at large. The class asks the following: how can we reconcile that the notion of Queen, as signaled by these two figures, or, in general, the notion of Diva, used to signal a performance of virtuosity and excellence, which merited adoration, can co-exist in a society where Latinas are devalued? By combining methods from Latinx Studies and Performance Studies, where embodied practices and representations of race and ethnicity are conjoined in our analysis, we will have a wider understanding of Latinas in popular culture in the United States beginning in the early 20th Century. To that end, this class will examine figures in US 20th and 21st centuries popular culture that have enriched some cultural industries, specifically Hollywood and the music industry, yet have been exceedingly exoticized, discriminated because of race and gender, and marginalized or rendered invisible. By being attendant to the conventions that have manufactured certain representations, that is, by learning to analyze performance texts in popular culture, the students will come to understand not only questions of gender and race and ethnicity as important analytics, but will also become conversant in the theories and practices of performance. Some of the figures that we will study include: Carmen Miranda, Lupe Vélez, Dolores del Río, María Montez, Rita Moreno, Celia Cruz, La Lupe, La India, Jennifer López, Selena, Shakira, Cardi B. 1 THE UNIVERSITY OF TEXAS AT AUSTIN DEPARTMENT OF MEXICAN AMERICAN AND LATINA/O STUDIES Objectives: • To study popular cultural representations of Latinas in the U.S. • To learn about how embodied practices by Latinas (movement, singing, live presentations—even if mediated—are have existed and operated since the early 20th Century. • To understand how Latina popular performance produces cultural, social, and political significance. • To develop critical thinking and reading skills. • To cultivate the ability to take part in critical discussions about Latina performance. • To begin to develop skills in performance description and analysis. • To learn basic skills in performance research and writing. • To learn the basics of collective work, public speaking, and fielding questions. Required Texts in University Co-op (On Guadalupe) and Resistencia Bookstore (2000 Thrasher Ln, Austin, TX 78741) Hernández, Jillian. Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment (only available in print, you may want to purchase online, either print or digital) Mendible, Myra, editor. From Bananas to Buttocks: The Latina Body in Popular Film and Culture (available in print and digital, but it’s also available through UT Libraries online) Paredez, Deborah. Selenidad: Selena, Latinos, and the Performance of Memory (available in print and digital, but it’s also available through UT Libraries online) ADDITIONAL REQUIRED READING MATERIAL (AVAILABLE THROUGH CANVAS) Aparicio, Frances R. "La Lupe, La India, and Celia: Toward a Feminist Genealogy of Salsa Music" Cepeda, María Elena. “Shakira as the Idealized, Transnational Citizen: A case study of Colombianidad in Transition” Fregoso, Rosa Linda. "Lupe Vélez: The Queen of B's"(Bananas to Buttocks) Molina-Guzmán, Isabel. "Disciplining J.Lo: Booty Politics in Tabloid News" Negrón-Muntaner, Frances. “Celia’s Shoes” (Bananas to Buttocks) Negrón-Muntaner, Frances. "Feeling Pretty: West Side Story and Puerto Rican Identity Discourses" Roberts, Shari. “The Lady in the Tutti-Frutti Hat” REQUIRED AUDIO VISUAL TEXTS: AVAILABLE THROUGH THE PROFESSOR, ON LINE, OR IN CLASS González, Rita, The Assumption of Lupe Vélez Solberg, Helena, Bananas is my Business Troyano, Ela, La Lupe: Queen of Latin Soul Wise, Robert and Jerome Robins, West Side Story Cardi B Music Videos (selected) Celia Cruz: The Legacy Project (https://celiacruz.com/music/) Celia Cruz Music Videos and segments of biographical video documentary sketches Dolores del Río (selected early Hollywood film segments) Jennifer López Music Videos and segments of some films India Music Videos (selected) Latin Music USA—program #3 and #4 María Montez (selected film segments) Rita Moreno (selected segments of TV appearances) 2 THE UNIVERSITY OF TEXAS AT AUSTIN DEPARTMENT OF MEXICAN AMERICAN AND LATINA/O STUDIES Shakira Music Videos (selected) Some preliminary notes *Even if we will be meeting virtually, the space the we will always be seeking to create will be respectful of all of our differences, whether they are religious beliefs, racial backgrounds, immigration status, gender presentations, ways of speaking (i.e. accents), in sum, all of our differences. *Let’s do our best to stay healthy, both physically and mentally. Do let me know if I need to do anything to ensure that we are all doing well. Requirements BREAKDOWN OF REQUIREMENTS: • Attendance and Active class participationà20% • Midterm Examà25% March 24 • Three short papers (2 pages; 10% each)à30% February 12, March 12, April 9 • Final Examà25% May15 DESCRIPTION OF REQUIREMENTS: ATTENDANCE AND ACTIVE CLASS PARTICIPATION (20%): Part of what makes my classes more generative are the discussions, for them, you must attend. Although attendance would only account for five percent of your final grad (5%), discussion will be fifteen percent (15%). You are allowed a total of THREE excused absences. After three absences, your final grade will be affected because of the lack of participation. Tardiness will not be tolerated; please arrive to class on time. The students are entirely responsible for class material that is covered during class lectures and discussions. The professor will not hold additional hours to cover material missed because of an absence. Office hours are exclusively for the review of material or if the student needs additional guidance (understanding concepts, historical contexts, etc). There is an active participation component to your grade so you must come prepared to participate actively in the discussion of the assigned texts/materials. If class discussions become too professor-centered, the professor will upload questions that the student must then bring to class, with answers, in order to earn participation grade. The professor will ask each student to bring in a text to class to share and discuss. Additionally, you must be willing to listen to your fellow classmates and respond intelligently and respectfully. SHORT PAPERS (30%): You will have three 2-page papers (each worth 10%) based on course readings. These papers are designed to gauge your ability to synthesize the readings and to take a rigorously argued and logical position vis-à-vis that material. They are intended for the student to be able to expand the ideas that have been generated by the reading and/or viewings of films and in lecture and discussion sections. I will upload 4 questions (at the most, but perhaps 3) onto canvas and you will be asked to base your short essay on one of those questions. The papers are due at the end of the due date (11:59 pm CST) via Canvas! MIDTERM EXAM (25%) 3 THE UNIVERSITY OF TEXAS AT AUSTIN DEPARTMENT OF MEXICAN AMERICAN AND LATINA/O STUDIES FINAL EXAM (25%) GradinG Scale: 92-100 A 80-91 B 70-79 C 60-69 D below 60 E Notice regarding Academic Integrity A fundamental principle for any educational institution, academic integrity is highly valued and seriously regarded at The University of Texas at Austin. More specifically, you and other students are expected to maintain absolute integrity and a high standard of individual honor in scholastic work undertaken at the University. This is a very basic expectation that is further reinforced by the University's Honor Code. At a minimum, you should complete any assignments, exams, and other scholastic endeavors with the utmost honesty, which requires you to: • acknowledge the contributions of other sources to your scholastic efforts; • complete your assignments independently unless expressly authorized to seek or obtain assistance in preparing them; • follow instructions for assignments and exams, and observe the standards of your academic discipline; and • avoid engaging in any form of academic dishonesty on behalf of yourself or another student.
Load more

Recommended publications
  • Tenth Conference on Cuban and Cuban-American Studies
    Cuban Research Institute School of International and Public Affairs Tenth Conference on Cuban and Cuban-American Studies “More Than White, More Than Mulatto, More Than Black”: Racial Politics in Cuba and the Americas “Más que blanco, más que mulato, más que negro”: La política racial en Cuba y las Américas Dedicated to Carmelo Mesa-Lago February 26-28, 2015 WELCOMING REMARKS I’m thrilled to welcome you to our Tenth Conference on Cuban and Cuban-American Studies. On Friday evening, we’ll sponsor the premiere of the PBS documentary Cuba: The Forgotten Organized by the Cuban Research Institute (CRI) of Florida International University (FIU) Revolution, directed by Glenn Gebhard. The film focuses on the role of the slain leaders since 1997, this biennial meeting has become the largest international gathering of scholars José Antonio Echeverría and Frank País in the urban insurrection movement against the specializing in Cuba and its diaspora. Batista government in Cuba during the 1950s. After the screening, Lillian Guerra will lead the discussion with the director; Lucy Echeverría, José Antonio’s sister; Agustín País, Frank’s As the program for our conference shows, the academic study of Cuba and its diaspora brother; and José Álvarez, author of a book about Frank País. continues to draw substantial interest in many disciplines of the social sciences and the humanities, particularly in literary criticism, history, anthropology, sociology, music, and the On Saturday, the last day of the conference, we’ll have a numerous and varied group of arts. We expect more than 250 participants from universities throughout the United States and presentations.
    [Show full text]
  • Latin Artist La India Sola Album Download Torrent Latin Artist La India Sola Album Download Torrent
    latin artist la india sola album download torrent Latin artist la india sola album download torrent. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66ca8e0e4e9c0d3e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. India. There at least two artist by the name of India, one from the United States and one from the United Kingdom. 1) A highly-emotive approach to Latin music has led to Puerto Rico-born and Bronx, New York-raised La India (born: Linda Viera Caballero) being dubbed, "The Princess of Salsa." Her 1994 album, Dicen Que Soy, spent months on the Latin charts. While known for her Salsa recordings, India started out recording Freestyle w/ her debut album Breaking Night in 1990 as well as lending her vocals to many house classics. 1) A highly-emotive approach to Latin music has led to Puerto Rico-born and Bronx, New York-raised La India (born: Linda Viera Caballero) being dubbed, "The Princess of Salsa." Her 1994 album, Dicen Que Soy, spent months on the Latin charts.
    [Show full text]
  • La Salsa (Musical)
    ¿En qué piensan cuando leen la palabra - Salsa? ¿Piensan en lo que comemos con patatas fritas o tortillas? ¿O piensan en la mùsica y el baile? ¿Qué es la Salsa? Salsa es un estilo de música latinoamericana que surgió en Nueva York como resultado del choque de la música afrocaribeña traída por puertoriqueños, cubanos, colombianos, venezolanos, panameños y dominicanos, con el Jazz y el Rock de los norteamericanos. Desde ese entonces, vive deambulando de isla en isla, de país a país, incrementando de tal manera, su riqueza de elementos. Es asi que la Salsa no es una moda pasajera, sinó una corriente musical establecida, de alto valor artístico y gran significado sociocultural: en ella no existen barreras de clase ni de edad. ¿Quienes son los artistas de la Salsa? Celia Cruz La que se va a volver la Reina de la Salsa nació en 1924. Desde niña, al nacer su talento se atreve a cantar en unas fiestas escolares o de barrio, luego en unos concursos radiofónicos. Notaron su talento y entonces empezó una carrera bajo los consejos aclarados de uno de sus profesores. Asi fue que en el 1950, pudo imponerse como cantante en uno de los grupos más famosos de La Havana : la Sonora Matancera. Con este grupo de leyenda fue con quien recorrió toda América Latina durante quinze años, dejando mientras tanto en Cuba su experienca revolucionaria hasta que se instale en 1960 en los Estados Unidos. Hasta ahora, va a guardar una nostalgia de su país, que a menudo se podrá sentir en sus textos y intrevistas.
    [Show full text]
  • Artelogie, 16 | 2021 Diaspora, De/Reterritorialization and Negotiation of Identitary Music Practic
    Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 16 | 2021 Fotografía y migraciones, siglos XIX-XXI. Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores Electronic version URL: https://journals.openedition.org/artelogie/9381 DOI: 10.4000/artelogie.9381 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Iván César Morales Flores, “Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid”, Artelogie [Online], 16 | 2021, Online since 27 January 2021, connection on 03 September 2021. URL: http://journals.openedition.org/artelogie/9381 ; DOI: https://doi.org/10.4000/artelogie. 9381 This text was automatically generated on 3 September 2021. Association ESCAL Diaspora, de/reterritorialization and negotiation of identitary music practic... 1 Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores This text is part of the article “La Rumba de Pedro Pablo: de/reterritorialization of Cuban folkloric, traditional and popular practices in the Madrid music scene of the 21st century” published in Spanish in the dossier “Abre la muralla: refracciones latinoamericanas en la música popular española desde los años 1960”, Celsa Alonso and Julio Ogas (coords.), in Cuadernos de Etnomusicología, Nº 13, 2019, as a result of the Research Project I+D+i: “Música en conflicto en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI)” HAR2015-64285- C2-1-P.
    [Show full text]
  • Lecuona Cuban Boys
    SECCION 03 L LA ALONDRA HABANERA Ver: El Madrugador LA ARGENTINITA (es) Encarnación López Júlvez, nació en Buenos Aires en 1898 de padres españoles, que siendo ella muy niña regresan a España. Su figura se confunde con la de Antonia Mercé, “La argentina”, que como ella nació también en Buenos Aires de padres españoles y también como ella fue bailarina famosísima y coreógrafa, pero no cantante. La Argentinita murió en Nueva York en 9/24/1945.Diccionario de la Música Española e Hispanoamericana, SGAE 2000 T-6 p.66. OJ-280 5/1932 GVA-AE- Es El manisero / prg MS 3888 CD Sonifolk 20062 LA BANDA DE SAM (me) En 1992 “Sam” (Serafín Espinal) de Naucalpan, Estado de México,comienza su carrera con su banda rock comienza su carrera con mucho éxito, aunque un accidente casi mortal en 1999 la interumpe…Google. 48-48 1949 Nick 0011 Me Aquellos ojos verdes NM 46-49 1949 Nick 0011 Me María La O EL LA CALANDRIA Y CLAVELITO Duo de cantantes de puntos guajiros. Ya hablamos de Clavelito. La Calandria, Nena Cruz, debe haber sido un poco más joven que él. Protagonizaron en los ’40 el programa Rincón campesino a traves de la CMQ. Pese a esto, sólo grabaron al parecer, estos discos, y los que aparecen como Calandria y Clavelito. Ver:Calandria y Clavelito LA CALANDRIA Y SU GRUPO (pr) c/ Juanito y Los Parranderos 195_ P 2250 Reto / seis chorreao 195_ P 2268 Me la pagarás / b RH 195_ P 2268 Clemencia / b MV-2125 1953 VRV-857 Rubias y trigueñas / pc MAP MV-2126 1953 VRV-868 Ayer y hoy / pc MAP LA CHAPINA.
    [Show full text]
  • Cuerpo Y Bolero. La Lupe: Una Aproximación En Clave De Artefacto Cultural
    ISSN 2250-7116 ARTÍCULO / ARTIGO / ARTICLE el oído pensante 8.1 (febrero-julio, 2020): [65-85] 65 doi: 10.34096/oidopensante.v8n1.7597 Cuerpo y bolero. La Lupe: una aproximación en clave de artefacto cultural Celiner de Jesús Ascanio Barrios " Universidad de las Américas, Quito, Ecuador [email protected] Christian Paul Chasi Escobar Universidad de las Américas, Quito, Ecuador [email protected] Recepción: septiembre 2019. Aceptación: diciembre 2019. Resumen El cuerpo es el lugar en donde se inscribe la subjetividad. No existe subje- tividad sin cuerpo. Más allá de las teorías políticas, los estudios sobre esta categoría se abren también a perspectivas que lo conectan con la vida y el deseo. El cuerpo erótico constituye así una deriva que dialoga con las Políticas del Afecto y los Estudios Culturales. Nuestro trabajo parte de un fenómeno, pensado como “artefacto cultural”, que se origina en la música y estalla hacia otros campos generando una productividad. El objetivo del presente artículo es analizar categorías como cuerpo y erotismo y su - nalidad de excepción” en quien vida y obra se mezclan para dar lugar a un artefactorelación con cultural: el bolero, La Lupe. a partir Nuestro de una corpus figura está que conformado constituye por una formatos “perso que permitirán leer esta productividad que representa La Lupe en Lati- noamérica durante el siglo XX. Partiremos de las propuestas teóricas de Roger Dadoun sobre erotismo, cuerpo y deseo, y de las discusiones sobre “originalidad” de Gilles Deleuze, en diálogo con diferentes lecturas sobre el bolero que permitirán comprender las categorías anteriores, tomando en cuentaPalabras la clave:especificidad artefacto que cultural, tienen bolero, dentro erotismo, del imaginario cuerpo, La latinoamericano.
    [Show full text]
  • Playbill 0911.Indd
    umass fine arts center CENTER SERIES 2008–2009 1 2 3 4 playbill 1 Latin Fest featuring La India 09/20/08 2 Dave Pietro, Chakra Suite 10/03/08 3 Shakespeare & Company, Hamlet 10/08/08 4 Lura 10/09/08 DtCokeYoga8.5x11.qxp 5/17/07 11:30 AM Page 1 DC-07-M-3214 Yoga Class 8.5” x 11” YOGACLASS ©2007The Coca-Cola Company. Diet Coke and the Dynamic Ribbon are registered trademarks The of Coca-Cola Company. We’ve mastered the fine art of health care. Whether you need a family doctor or a physician specialist, in our region it’s Baystate Medical Practices that takes center stage in providing quality and excellence. From Greenfield to East Longmeadow, from young children to seniors, from coughs and colds to highly sophisticated surgery — we’ve got the talent and experience it takes to be the best. Visit us at www.baystatehealth.com/bmp Supporting The Community We Live In Helps Create a Better World For All Of Us Allen Davis, CFP® and The Davis Group Are Proud Supporters of the Fine Arts Center! The work we do with our clients enables them to share their assets with their families, loved ones, and the causes they support. But we also help clients share their growing knowledge and information about their financial position in useful and appropriate ways in order to empower and motivate those around them. Sharing is not limited to sharing material things; it’s also about sharing one’s personal and family legacy. It’s about passing along what matters most — during life, and after.
    [Show full text]
  • 9780982919873.Pdf
    “I could live with very few material things, with almost nothing. But I could not live without my record collection, above all those of Cuban music. And I’m infected since my infancy by those Afro-Cuban drumbeats that reverberated in Santiago de Cuba accompanied by the unequaled sound of the Chinese cornet. The reason why I have always sighed, lived and loved with a Cuban song in the heart.” — IVÁN ACOSTA 1 RAMÓN VELOZ 14 OLGA GUILLOT Linda Guajira Miénteme 2 RAMÓN VELOZ 15 GUILLERMO PORTABALES Los penachos de las palmas El Carretero 3 LUIS BRAVO 16 ORQUESTA ARAGÓN Un poquito de tu amor Espiritu burlón 4 COMPARSA DE LOS HOYOS 17 SONORA MATANCERA Y MIGUELITO VALDÉS Conga de los Hoyos Se formó el rumbón 5 CONGA DE SANTIAGO 18 PACHO ALONSO Paso Franco al carnaval Que me digan feo 6 CONGA CARABALÍ 19 LUIS M. CARBONELL La Carabalí de Santiago de Cuba Así es mi suelo cubano 7 SINDO GARAY 20 LA LUPE Perla marina Con el diablo en el cuerpo 8 CELINA Y REUTILIO 21 DÁMASO PÉREZ PRADO A la caridad del Cobre La Chunga 9 LOS COMPADRES 22 EDUARDO DAVIDSON Preparen Candela Le Frisson 10 BENY MORÉ 23 IVÁN ACOSTA Santiago de Cuba Ser tu amor y no tu dueño 11 BENY MORÉ 24 IVÁN ACOSTA Y SERGIO GARCÍA-MARRÚZ Oh! Vida Amigos (Tema de Ramón) 12 TRIO MATAMOROS 25 CANDIDO CAMERO La Santiaguera Ghana Spice 13 TRIO MATAMOROS 26 DAVID OQUENDO Y RAÍCES HABANERAS El que siembra su maíz Raíces Habaneras “Yo podría vivir con muy pocas cosas materiales, con casi nada.
    [Show full text]
  • FOR IMMEDIATE RELEASE CONTACT Mary Lugo 770-623
    FOR IMMEDIATE RELEASE CONTACT Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Pressroom for more information and/or downloadable images: http://www.itvs.org/pressroom/ Program companion website: http://www.pbs.org/lalupe Independent Lens: LA LUPE QUEEN OF LATIN SOUL, TO HAVE ITS BROADCAST PREMIERE ON PBS, TUESDAY, JUNE 5 AT 10:00 PM (check local listings) Portrait of the Fiery Latin Music Sensation Wraps up Independent Lens Season (San Francisco, CA)—LA LUPE QUEEN OF LATIN SOUL tells the fascinating and ultimately tragic story of the Cuban bombshell known as La Lupe, once the reigning Queen of Latin Music, whose wild, unabashedly sensual singing style made her a sensation, first in Cuba and then New York. But unlike her sometime rival, Celia Cruz, whose death was commemorated with a mobbed Fifth Avenue processional, La Lupe died broke and forgotten in the Bronx. A must-see for every Latin music fan, Ela Troyano’s LA LUPE QUEEN OF LATIN SOUL will have its television premiere on the Emmy® Award-winning PBS series Independent Lens, hosted by Terrence Howard, on Tuesday, June 5, 2007 at 10:00 PM (check local listings). From a poor town in Cuba to the stage of Carnegie Hall, Lupe “La Lupe” Yoli transformed Latin music. Told through interviews with such contemporaries as Mongo Santamaria (who introduced La Lupe to New York audiences, only to have his star stolen by rival bandleader Tito Puente), Johnny Pacheco, and many others, as well as vintage footage of the outrageous La Lupe charming TV hosts David Frost and Dick Cavett, LA LUPE evokes the heady heyday of the mambo era, from the casinos of pre-revolutionary Havana to the famed nightspots of Manhattan.
    [Show full text]
  • Last Stop Ranchara Staged Reading Script (239.48
    LAST STOP RANCHERA Script-in-Progress by Latina Theater Lab For a Staged Concert Reading at: The Yerba Buena Center for the Arts February 12, 1999 Dramaturg, Cherríe Moraga. Working version: February 9, 1999 ACT 1 PROLOGUE: (Excerpt from) “Prodigal Hija and The Last Stop Cantina” by Mónica Sánchez Sound cue of heart beating and panting. Lights fade up. PRODIGAL HIJA: I am running And I can't stop Estoy corriendo To the Last Stop Last Stop Ranchera Where all roads lead For those in search of a truth like me MUSICA: Mariachi music to "La Negra". Ends with sound montage of Ranchera endings. This is my quest. This ubiquitous "tan-tan" leaves me no rest. Like a reccurring waking dream, like a ringing echo in my ear, like an audio pebble in my shoe, this musical punctuation hammers at my core, consumes me desde el corazón al patín. I have to get to root of the matter, I have to know: Why? Why, "TAN-TAN"? What is the Genesis of the Finale, "TAN-TAN". Y como el viento que corre, I run: past Banda MUSICA past Cumbia MUSICA past Bolero MUSICA past Corrido MUSICA past Salsa y Son MUSICA until at last, the distant sounds of mariachi and the smell of tequila lead me to my ranchera revelation. In true Ranchera form, I follow my heart, which in this case means to follow my feet, hasta llegar al fondo, straight to the caballo's mouth, to the end of the line, to the last stop ranchera. “Opera en la Misión” by Marlène Ramírez-Cancio MUSICA: Yma Sumac MARLENE: Then the music came in.
    [Show full text]
  • Hampshire in Havana Cuba Project Abstracts Theme: Performing Arts
    Hampshire in Havana Cuba Project Abstracts Theme: Performing Arts The abstracts listed here are for projects done on the Hampshire in Havana Cuba program, related to the theme of Performing Arts (theater, music, dance). Projects are listed by year beginning in 2008, with the most recent year first and then in alphabetical order by last name. For questions about specific projects, please contact the Global Education Office. ______________________________________________________________________ Name: Tatiana Hargreaves Year: S2016 Tutor: Caridad (Cary) Diez Title: "Un Panorama Histórico y Actual del violin en Cuba" Medium: Essay, music performance During my three months in Cuba, I researched the history of the violin in Cuba while simultaneously getting to know many different violinists in La Habana. As a culmination of different research angles including library research, interviews, performances, and music exchanges, I wrote an extensive paper titled “Un Panorama Histórico y Actual del violin en Cuba”, discussing the historic and contemporary uses of the violin in Cuban music from the first Catholic religious music to classical pieces, violin ritual music, contradanza, danzón, cha-cha-chá, charanga, and more. I found that two main themes shape the development of the violin in Cuba: 1) the majority of violinists have classical training from conservatories or music schools while being surrounded by traditional music, 2) the violin serves as a way to cross genres since the same violinists play in symphonic orchestras, as popular dance bands, religious ceremonies, etc. These patterns return throughout the history of the violin in Cuba and are still present today. Name: Yolandi Guerrero Year: S2015 Tutor: Caridad (Cary) Diez Title: Eat the skin / comete la piel Topic: La Lupe, Cuban singer Medium: creative writing, poetry, book I had to keep my nails short for this one.
    [Show full text]
  • La Lupe: Queen of Latin Soul a “Whole” Story
    Ela Troyano’s La Lupe: Queen of Latin Soul A “Whole” Story by Mirasol Riojas DuriNG a Q & A session that followed the screening of La Lupe: Queen of Latin Soul, independent filmmaker, Ela Troyano, mentioned that her film is not like traditional documentaries, particularly those that are thematically oriented. Anyone in the audience familiar with either Troyano’s work or the musical performances of Cuban songstress, Lupe Yoli (aka La Lupe and La Yi Yi Yi), had to know that when they sat down to watch the film, they would be watching something characteristically unconventional. Both La Lupe (who was known for her outrageous performances) and Troyano’s films—particularly Latin Boys Go to Hell (1997)—have developed cult followings over the years, and La Lupe is a testament as to the many reasons why this is so. An international star, La Lupe was one of the most celebrated Latin performers of the 1960s and 70s. While her music continues to be some of the best selling of the era and her status as an icon among JAN09 7 CSupdateW toc Latino communities is undeni- to tell her story. In doing so, she able, La Lupe is not nearly as has created an important histori- well-known among the general cal document and shed light on public as many of her contem- a generation from which we still poraries, such as Tito Puente or have much to learn. Celia Cruz. Troyano notes that we Troyano’s interest in La Lupe have only begun to learn about surfaced in 1987, years after the the Latin musicians of this era.
    [Show full text]