DOCSLIB.ORG

SECC Flag with URL CMYK

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SECC Flag with URL CMYK RRIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indbIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indb 1 77/7/2017/7/2017 110:33:390:33:39 AAMM 22017017 SStatetate EEmployeemployee CCharitableharitable CCampaignampaign serving the campaign area of the RRIOIO GGRANDERANDE VVALLEYALLEY HHONORARYONORARY CCAMPAIGNAMPAIGN CCHAIRHAIR Lt. Governor Dan Patrick LLOCALOCAL EEMPLOYEEMPLOYEE CCOMMITTEEOMMITTEE Hope Noble (Chair) Texas Department of Criminal Justice – Lopez and Segovia Complex Carmen Amaya (Vice Chair) Texas Department of Public Safety Carla Lopez University of Texas – Rio Grande Valley Lizette Moreno South Texas College Mary Prepejchal Texas State Technical College Anna Rangel Texas Office of Attorney General Marina Reyna Community Care Eligibility Services Gustavo Salinas Texas Department of Family & Protective Services your support of the SECC is voluntary If you feel you are being coerced to donate money at any time during this campaign, please submit a written complaint to: Texas Comptroller of Public Accounts, P.O. Box 13528, Capitol Station, Austin, Texas 78711-3528. RRIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indbIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indb 1 77/7/2017/7/2017 110:33:550:33:55 AAMM The table of contents SStatetate EEmployeemployee general information about the SECC ...........................................................2 the benefits of payroll deduction ................................................................4 CCharitableharitable CCampaignampaign what will my gift provide (giving guide) .......................................................4 a case for leadership giving .......................................................................5 is the only statutorily authorized 2016 leadership givers .............................................................................6 2016 SECC award winners ......................................................................11 workplace campaign for state explanation of each charitable listing’s content ..........................................11 how to give to another region in Texas .......................................................11 agency and higher education statewide charitable organizations Charitable organizations belonging to a statewide federation, which provide local services only, employees throughout Texas. are listed in the local section of the directory. ABC – America’s Best Charities ................................................................12 Adopt-A-Beach ......................................................................................15 In 2016, the SECC marked its America’s Charities ................................................................................15 Assistance to Domestic Victims of Human Trafficking .................................16 23rd year by raising more than Community Health Charities ...................................................................16 EarthShare of Texas ................................................................................17 $8.155 million Fund for Veterans’ Assistance ..................................................................18 Global Impact ........................................................................................18 for charitable organizations Local Independent Charities of Texas ........................................................19 Neighbor To Nation ................................................................................20 throughout the Lone Star state. Save Texas History .................................................................................21 Texas Match the Promise Foundation ........................................................21 ________________________________________________________________________________________________________________________________________________________ Texas State History Museum ....................................................................21 For more information about the SECC: local charitable organizations .........................22 secctexas.org index ............................................................................................26 RRIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indbIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indb 1 77/7/2017/7/2017 110:33:550:33:55 AAMM 2 S what is the SECC? Thanks to legislation that created the State Employee Charitable Campaign in 1993, employees of state agencies, junior and community colleges, and universities throughout Texas enjoy the benefit of giving to many of their favorite charities through an annual workplace giving campaign which features the convenience of payroll deduction. WE CAN BE PROUD THAT THE CAMPAIGN HAS GROWN SO MUCH IN 23 YEARS … donations exceeded $8.155 million for charitable organizations in 2016. does it work? It’s not hard to see why how Each fall, we get the opportunity to learn about the charities in the SECC, employees of the Friendship choose which ones we want to help, and then fi ll out a pledge form to indicate State have responded so how much we wish to donate to which groups. We can make a one-time gift by cash or check. Or, even better, our gift can be deducted from each paycheck enthusiastically to the SECC: beginning at the fi rst of next year. • It’s an easy, effective The campaign runs from September through October. During this time period, you can expect to attend an informational meeting or be approached by a and cost-efficient way co-worker with information and a pledge form. This directory provides to give to charities. information on all the charities in the campaign — a great resource not only for helping you make your choices, but also for fi nding help if you need it yourself. • Our contributions help improve the quality of life for people in communities what charities are involved? locally, across the country One of the great benefi ts of the SECC is the wide variety of charities and causes represented — there’s something for everyone. They range from small and around the world. local organizations to large and well-known national and international groups. • The campaign supports Those charities that wish to participate must meet stringent legal requirements, a wide variety of vital and then be scrutinized by teams of state employees to ensure: health and human services. • They are recognized by the IRS as 501(c)(3) nonprofi t organizations and registered with the Secretary of State. • All charities in the • They are audited (or reviewed) annually by an accountant in accordance campaign must meet with generally accepted auditing standards. strict eligibility criteria. • They provide direct or indirect health and human services. • They spend no more than 25 percent of funds raised on administration. RRIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indbIO-GRANDE-VALLEY_SECC2017_DIRECTORY.indb 2 77/7/2017/7/2017 110:33:560:33:56 AAMM S 3 who governs and runs the SECC? why Committees of state employees govern the SECC at two levels — statewide and locally. They ensure the campaign is conducted fairly and equitably under a strict should I give? set of guidelines that give donors confi dence in both the charities that benefi t and the methods used to solicit. • To help those who are less At the state level, a committee of state employees called the State Policy Committee fortunate through no fault of (SPC) provides governance and oversight. Three members are appointed by the their own. Governor and three each by the Lieutenant Governor and the Comptroller of Public Accounts. They are responsible for a campaign plan, a budget and ensuring the • To support a favorite cause or eligibility of statewide organizations. The SPC also hires a State Campaign Manager charity on a regular basis. to administer the campaign. It’s the right thing to do. At the local level, Local Employee Committees (LECs) provide similar oversight. • The SPC appoints the LEC chair and Committee, which then recommends a local • It will make you feel great. campaign manager to the State Policy Committee to administer the campaign locally. • It’s tax deductible. how are funds distributed? Contributions made by state agency employees are distributed by the State Comptroller to participating federations, who then send the funds along to their members. Each university distributes funds to federations through its own payroll system. At the local level, the Local Campaign Managers distribute the funds the same way. But because it is almost impossible to account for donations lost through such things as an employee leaving or transferring, a percentage method is used to distribute funds. At the end of each year’s campaign, the percent of funds pledged to each charity is calculated. Each charity then receives that percentage of what is eventually collected. Undesignated pledges are shared with all participating charities using the same percentage. Each charity also pays its share of the cost of running the campaign (printed materials, etc.) based on the same percentage. how much should I give? with a low How much to give is totally up to you; your personal generosity is no one’s business but your own and remains confi dential. Still, many of us like to have some idea overhead of what is appropriate to consider as a gift. FIRST … you might consider participating as a leadership giver — one of of 10% statewide the many people who like to do a little more by donating at the leadership more of your contribution giving levels described later. gets to the charities SECOND … you might consider one of the standards used in campaigns like this throughout the nation —
Load more

Recommended publications
  • Carmen Amaya: La Leyenda Manuel Moraga
    Carmen Amaya: la leyenda Manuel Moraga “Mi sangre era el mar mismo. Me contagiaba de su movimiento. Me enseñaban sus olas a no morir jamás.” (Fragmento del poema La Fuente de Carmen Amaya, de José Hierro) Imagen de la exposición Carmen Amaya en Argentina, mujer y artista, Centro Cultural Blanquerna, 2010 CG|02 Carmen Amaya: la leyenda La han definido como la mejor bailaora de todos los tiempos, pero su sombra se extiende mucho más allá de lo puramente artístico. Su origen humilde, su personalidad, su generosidad, su liderazgo siendo mujer en una época poco dada a las concesiones de género, las historias que nos llegan allende los mares, las que protagonizó aquí, sus amores, su enfermedad, e incluso su muerte: su vida entera tiene todos los ingredientes para un gran relato. Rodaje de Los Tarantos, 1963. Exposición Vidas Gitanas / Filmoteca Española Carmen Amaya: la leyenda CG|03 e todo tuvo la vida de Carmen Amaya. Su propio naci- neral. Carmen Amaya fue portada de la revista Life y artistas como miento es ya nebuloso. En general, se acepta que vino Fred Astaire o Greta Garbo se entusiasman con ella. Chaplin dijo de al mundo el 2 de noviembre de 1913, pero no faltan Carmen Amaya que era un volcán y Orson Welles la quiso contratar autores que apuntan otros años para el alumbramiento para una película pagándole más incluso que a Marlen Dietrich. El de nuestra protagonista: 1917, 1918, 1921… Incluso su éxito aumenta su leyenda y el huracán Amaya arrasaba… Dlugar de nacimiento también ha sido objeto de discusión, aunque aquí sí hay consenso: Barcelona, y concretamente el barrio del Y es en Nueva York donde Carmen Amaya lleva a cabo otro de los Somorrostro.
    [Show full text]
  • ENG.Dossier Tranç
    GELABERT AZZOPARDI companyia de dansa i Present TRANÇ Tranç is a show directed by Cesc Gelabert and filmmaker Isaki Lacuesta. Gelabert himself is in charge of the stage performance, together with dancers Roser López Espinosa and Lorena Nogal. A group of young dance students are to take part in this production and complete the cast. Metamorphosis, transfigurations, and time machines: a dancer starts to turn centuries ago and the turning ends up in a present-day body. A choreographic phrase that crosses time, connecting dancers of different generations. Tranç aims to show dance as a continual gesture transmitted by the maestros of the past and inherited by today’s choreographers, who embody it and transform it to obtain a new variation every time. A play of ever-distorting mirrors. Tranç combines echoes from the past and splits from the present onstage; live dancers with images projected onto transparent acrylic glass sheets: evocations of figures from our history (Carmen Amaya, Vicente Escudero, Joan Magriñá, La Maña, Rosita Mauri, Tórtola Valencia), living maestros (Yiya Diaz, Anna Maleras, Albert Sans), and fleeting projections of flashes of movement from some of our contemporaries (Marta Carrasco, Andres Corchero, Àngels Margarit, Maria Muñoz, Thomas Noone and Sol Picó). Phantasmagorias that will serve as a preamble to the bodies of the dancers who will give a live performance of this game of translations and betrayals, of gestures transmitted from creator to creator. Artistic direction Cesc Gelabert / Isaki Lacuesta Coreography direction
    [Show full text]
  • Postmodern Shifts in Flamenco Dance Illeana Gomez
    University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations 6-28-2010 La Nueva Escuela De La Danza Flamenca: Postmodern Shifts in Flamenco Dance Illeana Gomez Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Recommended Citation Gomez, Illeana. "La Nueva Escuela De La Danza Flamenca: Postmodern Shifts in Flamenco Dance." (2010). https://digitalrepository.unm.edu/thea_etds/15 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. i ii LA NUEVA ESCUELA DE LA DANZA FLAMENCA: POSTMODERN SHIFTS IN FLAMENCO DANCE BY ILLEANA GOMEZ B.A., Cultural Anthropology, University of Texas at Austin, 2005 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Dance The University of New Mexico Albuquerque, New Mexico May, 2010 iii LA NUEVA ESCUELA DE LA DANZA FLAEMNCA: POSTMODERN SHIFTS IN FLAMENCO DANCE BY ILLEANA GOMEZ ABSTRACT OF DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Dance The University of New Mexico Albuquerque, New Mexico May, 2010 iv LA NUEVA ESCUELA DE LA DANZA FLAMENCA: POSTMODERN SHIFTS IN FLAMENCO DANCE By Illeana Gomez B.A., Cultural Anthropology, University of Texas at Austin, 2005 Master of Fine Arts Dance ABSTRACT Within the past ten years flamenco, the musical genera from Andalusia, the southernmost region of Spain, has gone through a very evident transformation.
    [Show full text]
  • The Original Festival Flamenco Gitano 1965
    THE ORIGINAL FESTIVAL FLAMENCO GITANO 1965 THE ORIGINAL FESTVAL FLAMENCO GITANO 1965 EMO 9301-2 LC 5774 German Release Date: July 1, 1993 The authentic Spanish Flamenco art is artistically the richest. and liveliest folk-music in Europe. For some reason, although not lacking in popularity, this is less well known in the greater part of Europe. There are several reasons for its comparitive obscurity and they call to mind the situation of Blues in America before its "discovery" in Europe: confusion of concepts and standards, mixing with popular fashions in music, cabaret and night-clubs. Most of those activities do not display the true Flamenco art. The desire to open the door to a wider understanding of the Flamenco art and its artists and to make known the music which has inspired a wide range of contemporary music and especially Jazz, led to the resolve to call exclusively upon those who formed this art, and who preserve its essential nature in the closed circles of their own communities: the GITANOS, the Spanish Gipsies. Federico Garcia Lorca said: "... these people have united the most ancient elements of our country with the oldest they brought with them to Andalusia, and given the definite form to what we call the CANTE JONDO. They are the soul of our soul...." THE FLAMENCO IS THE BLUES OF EUROPE. Both have strong African roots and both were created and kept alive over the century by depressed minorities. In November 1965, Lippmann and Rau, the organizers of the American Folk Blues Festival, followed this successful event with the Festival Flamenco Gitano.
    [Show full text]
  • Cementerio De Ciriego, Un Jardín Que Mira Al
    01 NÚMERO DE MANZANA / BLOCK NUMBER / NUMERO DE BLOC OBRA DESTACADA / OUTSTANDING WORKS / LES INCONTOURNABLES + INFO: WWW.CEMENTERIODECIRIEGO.ES | APP CEMENTERIO DE CIRIEGO Monumento a los "Héroes de la libertad" del 24 de Panteón de la familia Corcho (Francisco Panteón de la familia Cué (Ramón Lavín Casalís, Panteón Cué II, 1955 / Cué II Pantheon / Caveau Cué II. septiembre de 1868 / Monument to the "Heroes of freedom" Torres, 1899) / Corcho Family Pantheon / Caveau 1894) / Cué Family Pantheon / Caveau de la famille Cué. Cementerio de Ciriego, of 24th September 1868 / Monument aux « Héros de la liberté » de la famille Corcho. du 24 septembre 1868. Este panteón es una reinterpretación Eclecticismo arquitectónico que facilita Su influencia centroeuropea de un jardín que mira al mar Alberga restos de los “héroes” del 02 del historicismo neomedieval. 03 la presencia de iconografía funeraria 04 principios del s. XX permitió una 01 levantamiento de la Revolución de 1868. This pantheon is a reinterpretation of contemporánea. renovación arquitectónica en las It houses remains of the “heroes” of the 03 neo-medieval historicism. 04 Architectural eclecticism which facilitates 08 necrópolis contemporáneas. Ciriego Cemetery, a garden overlooking the sea 01 uprising of the 1868 Revolution. the presence of contemporary funeral Its early 20th century Central European Ce caveau est une réinterprétation de iconography. influence allowed architectural renovation. Le cimetière de Ciriego, un jardin tourné vers la mer Abrite les dépouilles des « héros » du l’historicisme néo-médiéval. soulèvement de la révolution de 1868. Éclectisme architectural facilitant la présence Son influence d’Europe centrale, du début de l’iconographie funéraire contemporaine.
    [Show full text]
  • FIESTA FLAMENCA a Guide to the Art & History of Flamenco
    FIESTA FLAMENCA A guide to the art & history of flamenco This guide cannot be reproduced without the permission of Flamenco Vivo Carlota Santana. *Available in Spanish upon request* 4 West 43rd Street, Suite 608, New York, NY 10036 Phone: 212-736-4499, Fax: 212-736-1326 Email: [email protected] www.flamenco-vivo.org 2 Flamenco Vivo Carlota Santana Established in 1983 by Carlota Santana and Roberto Lorca, Flamenco Vivo Carlota Santana is a professional Flamenco dance company based in New York City, North Carolina and Madrid. It was founded with the vision of promoting a forum whereby new and quality Spanish dance works and music, could be created, developed and presented to the general audiences. After Mr. Lorca’s untimely death, Ms. Santana took over the artistic direction of the company and has expanded its repertoire by creating many new dramatic dance works, musical scores and choreographies within a mixture of various dance vocabularies. Ms. Santana is also deeply involved in integrating Hispanic-American influences into the Company’s work; in the development of young artists; and in promoting Hispanic culture through national performances and Arts Education programming. The Company’s innovative Arts-in-Education programs, integrating Spanish dance and culture with the school curriculum, have achieved wide recognition and success in many important theatres and in schools, nationwide and internationally. 3 Flamenco Vivo Vocabulary Geography Basic Terms: Definition: Atlantic Ocean A body of water west of Spain Boundaries Areas that separate countries and regions Continent Body of land formed on oceans Europe A continent east of the Atlantic Ocean and where Spain is located Strait of Gibraltar A boundary located between Europe and Africa Spain A country in Europe.
    [Show full text]
  • Anglo-Spanish
    anglo-spanish Society 225 Spring 2010 Quarterly Review in this issue foul play on the costa...Denise Holt meets the King of Spain...Travel Scholarship update... Letter from Madrid ... News... Rafael Nadal Reg Charity No. 1080250 from the editor elcome to the second issue President: Carles Casajuana i Palet, of the Review in its new His Excellency The Spanish Ambassador format. Thanks to all of you Deputy President: The Duke of Wellington KG, who kindly wrote in to give LVO,OBE,MC,DL us your thoughts on the new Wstyle of our Society’s maga- Chairman (Incoming): Dame Denise Holt zine. The response to the last edition Vice-Chairman: Jimmy Burns was encouragingly positive. We had Executive Secretaries: Events and Grants: Siobhan many more comments than usual Songour from members, but please keep Membership and Finance: Jordi Casinos them coming; we want to make it even better and to expand it to reflect the growing audience of people Honorary Treasurer: Mark Phillips interested in Spain. Editor: Adrian Wright Does it give you what you want? Design: Steve Bunn RCA In this issue we welcome our new Chairman, Dame Denise Holt; we hope Other Members of the Emily Cooper Ilmo Sr Juan Mazarredo she enjoys her position at the helm of the Society and feel sure that her Executive Council: Gonzalo Ålvarez-Garrido María Amparo guiding hand will see us through the waters of transition in the coming Albert Jones García-Asencio years. As usual, we have Book and Music Reviews, Recipes, the Spain Up- Carmen Bouverat Paul Pickering date and cover of Anglo-Spanish events, giving special mention to those Mercedes Licudi-Studdard Miriam González of the Society: look out for future events on page 10, and in particular the Lady Pilar Brennan John Scanlan Young Musicians Evening.
    [Show full text]
  • Revista Carta De España 399.Indd
    Carta de España Ministerio de Empleo y Seguridad Social Diciembre 2013 / 699 en portada Foto: Pablo Tarrero Nueva fotografía española pueblos El mariposario de Benalmádena / cultura y sociedad Jordi Mollà 699 / Diciembre 2013 lectores Consejo Editorial Administración Cartas de nuestros Marina del Corral Téllez, Jefa de Servicio: queridos lectores, y la Secretaria General de Elena Jáñez Vázquez Inmigración y Emigración Direcciones y teléfonos: sección Imágenes de la Aurelio Miras Portugal, C/ José Abascal 39, Emigración. Director General de Migraciones 28003 Madrid Gabinete de Comunicación Tf. 91 363 72 87 (Administración) del Ministerio de Empleo y Tf. 91 363 16 56 (Redacción) Seguridad Social Fax: 91 363 70 57 e-mail: [email protected] Coordinador editorial Suscripciones: José Julio Rodríguez Hernández e-mail: [email protected] 4-5 Redacción Impresión y distribución Director: Artes Gráfi cas San Miguel Emilio Ayala de la Hoz Carretera de Mahora, km. 2 en españa Jefes de Sección: 02080 Albacete Pablo Torres Fernández www.agsmartesgrafi cas.com Poner el Belén y jugar (Actualidad y Cultura) Distribuidora: Sergrim S.L. a la lotería, tradiciones Francisco Zamora Segorbe Depósito Legal: 813-1960 (Reportajes y Deporte) ISSN: 0576-8233 españolas. Carlos Piera Ansuátegui NIPO: 270-13-001-6 (Emigración y Cierre) WEB: 270-13-003-7 Fotografía: Juan Antonio Magán Revuelta www.cartadeespaña.es Edición técnica y maquetación: María Rodríguez Martínez Colaboradores: Pablo San Román (Francia), Ángela Iglesias 11 (Bélgica), Lourdes Guerra (Alemania), Marina Fernández Carta de España autoriza la (Reino Unido), Natasha Vázquez reproducción de sus contenidos y Felipe Cid (Cuba), Gisela siempre que se cite la procedencia.
    [Show full text]
  • The Modern Synthesis of Josephine Baker and Carmen Amaya
    University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations Spring 4-8-2019 The Modern Synthesis of Josephine Baker and Carmen Amaya Justice Moriah Miles Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Part of the Dance Commons, Playwriting Commons, and the Theatre History Commons Recommended Citation Miles, Justice Moriah. "The Modern Synthesis of Josephine Baker and Carmen Amaya." (2019). https://digitalrepository.unm.edu/thea_etds/48 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected], [email protected], [email protected]. i Justice Miles_______________________________________________________ Candidate Theatre and Dance__________________________________________________ Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Donna Jewell, Chairperson____________________________________________ Dominika Laster____________________________________________________ Kirsten Buick______________________________________________________ Marisol Encinias____________________________________________________ Eva Encinias_______________________________________________________ Amanda Hamp_____________________________________________________ ii
    [Show full text]
  • University of California Riverside
    UNIVERSITY OF CALIFORNIA RIVERSIDE Flamenco Capital: Tradition, Revolution and Renewal in Seville, Spain A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Joshua Michael Brown August 2014 Dissertation Committee: Dr. Jonathan Ritter, Chairperson Dr. Walter Aaron Clark Dr. Deborah A. Wong Copyright by Joshua Michael Brown 2014 The Dissertation of Joshua Michael Brown is approved: Committee Chairperson University of California, Riverside 2014 Acknowledgements There are so many people and organizations that helped make this dissertation possible. First, I would like to thank the members of my dissertation committee: Walter Clark, Deborah Wong and Jonathan Ritter. Throughout my time at UC Riverside, each of these professors provided me with encouragement, support, feedback and guidance that have helped me grow as a scholar, teacher, musician, community member and human being. Dr. Clark has taught me so much about music, history and Spain. His leadership and teaching styles have had a serious impact on my approaches to pedagogy, presentation and professionalism. Deborah Wong has consistently challenged me to become a better scholar and to think more deeply and critically about my work. I am grateful for her advice and teachings, and that she demanded excellence from me at every turn. Finally, Jonathan Ritter has been such a great advisor and mentor. His patience, kindness, humor and wisdom are all boundless. I admire Jonathan for so many reasons, and pattern myself after him in a number of ways. I consider myself very lucky for being able to work with these three remarkable individuals and scholars.
    [Show full text]
  • White Gypsies: an Interview with Eva Woods Peiró
    INTERVIEW · Cinema Comparat/ive Cinema · Vol. V · Núm 10 · 2017 · 46-53 White Gypsies: An interview with Eva Woods Peiró María Adell ABSTRACT KEYWORDS This interview with Eva Woods Peiró, a scholar specializing in Spanish Cinema, actress, star, stardom, folklórica, musical film, Hispanic Studies, mainly addresses the issues present in her gender, race, Imperio Argentina, Raquel Meller. book White Gypsies: Race and Stardom in Spanish Musicals. The book studies some of the most important female stars of Spanish ‘folkloric’ musical cinema from the 1920s to the 1940s, using a transversal perspective that deals with themes of stardom, gender and, above all, race. Woods Peiró analyzes folklórica stars like Raquel Meller and Imperio Argentina, white female stars who gained huge popularity performing female Roma characters on screen. Studying these ‘white gypsies’ allows Woods Peiró to approach issues rarely addressed in the historiography of Spanish cinema: from the filmic representation of race and gender to the idea of stardom as a narrative of social ascent. The author concludes that these figures, while favoring a national discourse of non-problematic racial assimilation, also contained within them a transgressive component by the fact that they portrayed mestizo characters in extremely popular films. 46 Cinema Comparat/ive Cinema · Vol. V · No 10 · 2017 WHITE GYPSIES: AN INTERVIEW WITH EVA WOODS PEIRÓ Eva Woods Peiró is an Hispanist from Valencian descent based en rama (Eduardo García Maroto, 1943). in New York whose interest in popular Spanish folklóricas such as Raquel Meller, Imperio Argentina or Concha Piquer focuses Some years ago, along with another colleagues I started a in the way in which these stars channeled the racial identity of project of Oral History of the Spanish Cinema2 of the 40s the female and male spectators of the Spanish cinema between and 50s.
    [Show full text]
  • The Original Documents Are Located in Box 16, Folder “8/20/76-9/04/76 - Vail, CO (2)” of the Betty Ford White House Papers, 1973-1977 at the Gerald R
    The original documents are located in Box 16, folder “8/20/76-9/04/76 - Vail, CO (2)” of the Betty Ford White House Papers, 1973-1977 at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Betty Ford donated to the United States of America her copyrights in all of her unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Ski Shops Vail Viii age, LionsHead and our new shop in Aspen. The Rossignol and Nordica specialists! Also featuring the best in Rossignol rental and demo equipment. vail institute Wishing the Vail Institute a great season... Owners- Fred and Jaci Ange/oh and Micky Salloway Fourth Annual Summer Program 1976 Saturday. July 3 University of Colorado CROWN & C LOWN: Workshop in C reative Dramatics· LionsHeod Saturday. July 3 University of Colorado CROWN & CLOWN: She Stoops to Conquer Tent Pavilion Sunday. July 4 University of Colorado CROWN & CLOWN: Rumpelstiltskin" Golden Peak Sunday. July 4 University of Colorado Crown & CLOWN: Ouchi Tent Pavilion Thursday, July 8 THE WIZARD Magic Show· LionsHeod WecSoturday July 10 AMAN FOLK ENSEMBLE - Children's Program· Tent Pavilion Saturday July 10 AMAN FOLK ENSEMBLE in Concert Tent Pavilion Wednesday.
    [Show full text]