DOCSLIB.ORG

Encounters with Nelida Tirado, José Moreno and Calvin Hazen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Encounters with Nelida Tirado, José Moreno and Calvin Hazen Studio BFPL: Encounters with Nelida Tirado, José Moreno and Calvin Hazen Nelida Tirado, dance José Moreno, voice Calvin Hazen, guitar LAND "Solea" abbreviated from the word "Soledad' often referred to as the Mother of the flamenco forms, means loneliness. The feeling and content of the music/dance is generally serious in nature, often with a sententious tone conveying a feeling of intimate pain and despair. SEA "Alegria" meaning joy, is of the family of vibrant flamenco forms of the rich port and naval station of Cadiz, Spain. Situated on a slice of land surrounded by sea, it boasts some of Spain's most beautiful architecture, beaches and sunny climate. The feel of the piece reflects the lively life there often referencing sailors and many seas. Accompanied by a mantón de manila, the manila shawl is very popular in Andalucia for festive occasions and also used as an accessory in the dance. The women use shawls to enhance and add drama to the performance twirling it around her body and air. AIR "Cantiñas" originating in the area of Cadiz in Andalucia, is festive reflecting the feeling of Cadiz where cantiñear is synonym of playing and improvising. Elements inherent of the spirit of cantiñas. About Nelida Tirado Nelida Tirado began her formal training at Ballet Hispanico of New York at the age of six. Barely out of her teens, she was invited to tour the U.S. with Jose Molina Bailes Españoles, a soloist in Carlota Santana’s Flamenco Vivo, soloist and dance captain in Compañía Maria Pages and in Compania Antonio El Pipa. She performed at prestigious flamenco festivals and on television in Spain and throughout France, Italy, UK, Germany and Japan, including at the Bienal del Arte Flamenco, Festival de Jerez, Festival de Otono, and the Festival de la Guitarra. She later represented Compania Maria Pages as a solo artist at the Aichi Expo in Japan. Upon her return to the US, Tirado has performed in Franco Zeferelli’s “Carmen” with the Metropolitan Opera of NY, World Music Institute’s “Gypsy Caravan 1”, and “Noche Flamenca” and was a featured flamenco star in Riverdance” on Broadway and with touring companies. About José Moreno Son of famous flamenco artists Estrella Morena and Pepe de Málaga, José began his flamenco career during his childhood. Since then José has been invited to perform in various companies and with distinguished artists such as: Manolete, Pastora Galván, Pedro Cortés, Omayra Amaya, Roberto Castellón, Chuscales, Jose Luis Rodriguez, Carmen Ledesma, Jesús Montoya, Curro Cueto, Amparo Heredia, Adrián Galia, Ángel Muñoz, Belén Maya, Chano Domínguez, Jorge Pardo, among many others. José has choreographed & performed with the New World Symphony Orquestra (2001) and the Boston Flamenco Ballet (2004) at Lincoln Theater. He has performed as well at the 7th annual Panama Jazz Festival (2010), Carnegie Hall (2010), Alliance Theatre (Zorro, The Musical, 2013), BAM (with Flamenco Vivo Dance Company, 2015), The Metropolitan Opera NYC(2014-2017) and The Kennedy Center/Washington National Opera (2015-2016) (Carmen), The Chicago Sinfonietta in the Ravinia Festival (2016), etc. He also participated in a TV series called Los Descendientes de Andalucía, produced by Canal Sur (Spain). About Calvin Hazen Calvin has recently relocated to the U.S. after 20 years of living and working as a professional guitarist in Madrid, Spain. During this time, he performed at some of the most famous Flamenco Tablaos in Spain, including El Corral de La Moreria, Cata Patas, Las Carboneras, Las Tablas, and El Teatro Arenal. Here he had the honor of sharing the stage with such illustrious artists as Manuel Liñan, Carmen “La Talegona”, Joaqiin Ruiz, Jesus Carmona, Jeronimo Maya, and Eva Duran to name a few. He has performed at some of the most prestigious theatres in the U.S. as well as internationally including Radio City Music Hall, and Lincoln Center in New York City, Teatro Nacional in Mexico City and Teatro Madrid in Spain where his performances have received enthusiastic critical acclaim. The Village Voice has hailed his “…excellent guitar playing…”, and The New York Times called his music “…a pleasure throughout.” About the Flamenco Festival “One of the year’s biggest dance events in New York City.” - The New York Times With the mission of spreading the richness and variety of flamenco art, Flamenco Festival has established itself as one of the most significant events of Spanish culture in the United States and as the main platform for flamenco in the international cultural scene. Flamenco Festival USA was founded in 2001 and has since become a showcase for Spanish artists in New York; Miami; Boston; and other cities across the United States. In 2003 the first Flamenco Festival was presented in London at Sadler’s Wells where it has since become an annual event. Flamenco Festival also presents concerts and organizes flamenco tours throughout Europe, Asia, and Oceania. With creativity as the driving force and fundamental axis, with our feet in the present and our eyes on the future, Flamenco Festival New York gives voice to creators of different generations, consolidated artists and new talents, who are advancing this language from very different positions, but with a strong personal stamp. .
Load more

Recommended publications
  • La Voz September 2005
    WWW.LAVOZ.US.COM PERIÓDICO BILINGÜE ABRIL • APRILH 2011 PO BOX 3688, SANTA ROSA, CA 95402 VOLUME / VOLUMEN X, NUMBER / NÚMERO 5 ¡Nueva galería de fotos de La Voz ! www.lavoz.us.com 50% INGLÉS – 50% ESPAÑOL, un periódico comunitario producido y operado en la región. 50% IN ENGLISH! BILINGUAL New La Voz photo gallery! www.lavoz.us.com The Voice 50% ENGLISH – 50% SPANISH NEWSPAPER locally owned and operated © 2011 • La Voz • 50¢ community newspaper. BILINGUAL NEWSPAPER ¡50% EN ESPAÑOL! El Mejor Periódico Bilingüe del Norte de California NORTHERN CALIFORNIA’S FOREMOST BILINGUAL NEWSPAPER DOS IDIOMAS, DOS CULTURAS, UN ENTENDIMIENTO BalenciagaBalenciagaandSpain, and Spain, de YoungoungMuseum, Museum, SananFr Francisco TWO LANGUAGES, TWO CULTURES, BalenciagaBalenciagayEspaña, y España, MuseoMuseoDe De Young, enenS SananFr Francisco ONE UNDERSTANDING ¡VENGA A CELEBRAR EL 10mo. ANIVERSARIO DEL CENTRO PARA LA JORNADA DIARIA DE GRATON! viernes, 8 de abril, 2011 de 7pm - 11pm Sebastopol Community Cultural Center, 390 Morris St, Sebastopol, CA Compre sus boletos por Internet: brownpapertickets.com Precio de $25 - $50. Gratis-niños menores de 14. No se rechaza a persona alguna por falta de fondos. Para boletos e informacion llame al 707.829.1864 www.gratondaylabor.org COME CELEBRATE THE 10TH ANNIVERSARY OF THE GRATON DAY LABOR CENTER! Friday, April 8th, 2011 from 7pm - 11pm Spain, ca. 1922. Mantón de Manila (shawl) Silk, polychrome silk floral embroidery. The Hispanic Society of America, New York, gift of Mary Ellen Padin 2002. Foto de / Photo by Ani Weaver Sebastopol Community Cultural Center La colonización española en Filipinas inició en el siglo XVI, asimismo durante la infancia de Cristóbal Balenciaga mucha de la riqueza de la costa vasca aún se derivaba del intercambio 390 Morris Street, Sebastopol, CA 95472 con ese país.
    [Show full text]
  • Female Flamenco Artists: Brave, Transgressive, Creative Women, Masters
    Ángeles CRUZADO RODRÍGUEZ Universidad de Sevilla Female flamenco artists: brave, transgressive, creative women, masters... essential to understand flamenco history Summary From its birth, in the last third of nineteenth century, and during the first decades of the twentieth, flamenco has counted on great female leading figures -singers, dancers and guitar players-, who have made important contributions to that art and who, in many cases, have ended their lives completely forgotten and ruined. On the other hand, in Francoist times, when it was sought to impose the model of the woman as mother and housewife, it is worth emphasizing another range of female figures who have not developed a professional career but have assumed the important role of transmitting their rich artistic family legacy to their descendants. Besides rescuing many of these leading figures, this article highlights the main barriers and difficulties that those artists have had to face because they were women. Keywords: flamenco history, women, flamenco singers, flamenco dancers, guitar players 1. Introduction Flamenco is an art in which, from the beginning, there has been an important gender segregation. Traditionally women have been identified with dancing, which favours body exhibition, while men have been related to guitar playing and to those flamenco styles which are considered more solemn, such as seguiriya. Nevertheless, this type of attitudes are based in prejudices without a scientific base. Re-reading flamenco history from gender perspective will allow us to discover the presence of a significant number of women, many of whom have been forgotten, whose contribution has been essential to mold flamenco art as we know it now.
    [Show full text]
  • Spain and the Philippines at Empire's End | University of Warwick
    09/25/21 HP310: Spain and the Philippines at Empire's End | University of Warwick HP310: Spain and the Philippines at View Online Empire's End (2016/17) Adam Lifshey. 2008. ‘The Literary Alterities of Philippine Nationalism in José Rizal’s “El Filibusterismo”.’ PMLA 123 (5): 1434–47. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25501945?seq=1#page_scan_tab _contents. Alda Blanco. n.d. ‘Memory-Work and Empire: Madrid’s Philippines Exhibition (1887).’ Journal of Romance Studies 5 (1): 53–63. https://contentstore.cla.co.uk/secure/link?id=f9466952-5520-e711-80c9-005056af4099. Anderson, Benedict. 16AD. ‘First Filipino.’ 16AD. http://www.lrb.co.uk/v19/n20/benedict-anderson/first-filipino. ———. 1991. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Rev. and ext. ed. London: Verso. http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2727725. Arbues-Fandos, Natalia. 2008. ‘The Manila Shawl Route.’ 2008. https://riunet.upv.es/bitstream/handle/10251/31505/2008_03_137_142.pdf?sequence=1. Camara, Eduardo Martin de la. 1922. ‘Parnaso Filipino. Antologia de Poetas Del Archipielago Magallanico.’ 1922. https://ia802609.us.archive.org/13/items/parnasofilipino16201gut/16201-h/16201-h.htm#p 103. Castro, Juan E. de. 2011. ‘En Qué Idioma Escribe Ud.?: Spanish, Tagalog, and Identity in José Rizal’s Noli Me Tangere.’ MLN 126 (2): 303–21. https://doi.org/10.1353/mln.2011.0014. ‘Christian Doctrine, in Spanish and Tagalog (Manila, 1593; World Digital Library).’ n.d. https://www.wdl.org/en/item/82/view/1/5/. ‘Competing Colonialisms: The Portuguese, Spanish and French Presence in Asia.
    [Show full text]
  • García Márquez, Gabriel ''Cien Años De Soledad''-Sp-En.P65
    García’s Cien Gregory Rabassa Cien años de soledad ONE HUNDRED YEARS OF SOLITUDE de by Gabriel García Márquez Gabriel García Márquez tr. by Gregory Rabassa bajado de Libros Tauro Avon Books, http://www.LibrosTauro.com.ar New York, USA [incontables errores de escaner sobre todo de concordancias] I. Chapter 1 Muchos años después, frente al pelotón de fusilamiento, el coronel MANY YEARS LATER as he faced the firing squad, Colonel Aureliano Buendía había de recordar aquella tarde remota en que su padre Aureliano Buendía was to remember that distant afternoon when his lo llevó a conocer el hielo. Macondo era entonces una aldea de veinte casas father took him to discover ice. At that time Macondo was a village of de barro y cañabrava construidas a la orilla de un río de aguas diáfanas que twenty adobe houses, built on the bank of a river of clear water that ran se precipitaban por un lecho de piedras pulidas, blancas y enormes como along a bed of polished stones, which were white and enormous, like huevos prehistóricos. El mundo era tan reciente, que muchas cosas care- prehistoric eggs. The world was so recent that many things lacked names, cían de nombre, y para mencionarlas había que señalarías con el dedo. and in order to indicate them it was necessary to point. Todos los años, por el mes de marzo, una familia de gitanos Every year during the month of March a family of ragged gypsies desarrapados plantaba su carpa cerca de la aldea, y con un grande would set up their tents near the village, and with a great uproar of alboroto de pitos y timbales daban a conocer los nuevos inventos.
    [Show full text]
  • Avila Gillian M 2020 Masters.Pdf (12.22Mb)
    REPOSITIONING THE OBJECT: EXPLORING PROP USE THROUGH THE FLAMENCO TRILOGY MARIA AVILA A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DANCE YORK UNIVERSITY TORONTO, ONTARIO APRIL, 2020 © MARIA AVILA, 2020 ii Abstract Reflecting on the creation process of my flamenco trilogy, this thesis explores how one can reposition iconic flamenco objects when devising, creating, and producing three short films: The Fan, The Rose and The Bull. Each film examines personal, historical, and local relationships to iconic flamenco objects, enabled through the collaboration with filmmakers: Audrey Bow, Dayna Szyndrowski, and Clint Mazo. iii Dedication I wish to dedicate this thesis to my mother Pat Smith. An inspirational teacher, artist, arts enthusiast, and the most wonderful mother a daughter could ask for. Miss you. iv Acknowledgements The journey to complete my MFA would not have been possible without the support of many individuals. Thank you to my collaborators Audrey Bow, Dayna Szyndrowski, Clint Mazo, Michael Rush, Sydney Cochrane, Bonnie Takahashi, Josephine Casadei, Verna Lee, Adya Della Vella, and Gerardo Avila for contributing your time and your talents. Thank you to my friends and family, you indeed made this all possible. Thank you to Connie Doucette, Adya Della Vella and Gerardo Avila, for your unconditional support. To my love Clint for risking it all and taking this journey with me. Thank you to my welcoming and encouraging classmates Emilio Colalillo, Raine Madison, Natasha Powell, Lisa Brkich, Christine Brkich, Patricia Allison, and Kari Pederson. Thank you to my editor Nadine Ryan for your dedication, enthusiasm and critical eye.
    [Show full text]
  • Colombian Artists in Paris, 1865-1905
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad.
    [Show full text]
  • Chinese Objects in the Museo Historico Nacional Collection
    FROM CHINA TO CHILE: CHINESE OBJECTS IN THE MUSEO HISTORICO NACIONAL COLLECTION ISABEL ALVARADO PERALES Chief, Department of Exhibitions and Conservation, National Historical Museum, Santiago, Chile Abstract: The textile and costume collection of the National Historical Museum in Santiago, Chile, contains many objects from China. Among these artifacts are silk Manila shawls, embroidered with flowers and fringed on all sides. Contents: Museo Histórico Nacional, National Historical Museum, Santiago, Chile; Chinese Artifacts; Manila Shawls; Embroidery Introduction The textile and costume collection of the National Historical Museum contains a variety of clothing and textiles artifacts. Most of these objects were used in Chile; some of them were made in the country; and others were brought from Europe. However, there are a small number of pieces that were included in donations from collectors who traveled around the world in search of objects and then donated their personal collections when the museum was founded in 1911. Artifacts from China including Manila Shawls Examples of pieces coming from China are a pair lotus shoes decorated with embroidered flowers with colorful silk threads (Fig. 1), a pair of boots with embroidered decorative patterns (Fig. 2), and two brisé fans from China, one made of ivory (Fig. 3) and the other made in dark tortoiseshell (Fig. 4), both from the nineteenth century. Also coming from China, the museum has in its collection an important number of Manila shawls, especially black ones. This kind of shawl is a square piece of silk cloth fully-embroidered. To use it as a garment, the shawl was folded in half like a triangle and worn over the shoulders.
    [Show full text]
  • Greater Mexico's Ramón Novarro
    Greater Mexico’s Ramón Novarro: Between Latin Lover and Aztec Prince Juan Sebastián Ospina León * Abstract: This article explores the construction of Ramón Novarro—the first Mexican actor to reach Hollywood stardom—as a “matinee idol” for women within multiple and competing, cultural discourses in Mexico City and Los Angeles. Looking at trade journals, periodicals catering to American, Mexican-American, and Mexican readerships, as well as Novarro’s starring role in Ben Hur: A Tale of the Christ (Fred Niblo, 1925), I trace the contradictory underpinnings shaping his star persona along class, ethnic, gendered, and sexed lines. Unlike that of Rudolph Valentino, Novarro’s star persona struck the right balance as an oddly de-eroticized Latin lover. This balance would allow for Novarro’s meteoric rise, within the growing nativist culture of mid-1920s Hollywood, against the backdrop of the Italian beau’s sudden fall. Keywords: Latino Hollywood, Ramon Novarro, latin lover, illustrated periodicals, star studies. ____________ El Ramón Novarro de Greater México: Entre latin lover y príncipe azteca Resumen: Este artículo explora la construcción de Ramón Novarro −el primer actor mexicano en alcanzar el estrellato en Hollywood − como matinee idol femenino en el marco discursos culturales antagónicos en las ciudades de México y Los Ángeles. A partir de periódicos dirigidos a públicos norteamericanos, mexicano-norteamericanos y mexicanos −y del estudio del rol del actor en Ben Hur (Fred Niblo, 1925) −, se identifican funciones contradictorias en la formación de la estrella en términos étnicos, de clase, de género y sexuales. A diferencia de Rudolph Valentino, Novarro encontró un punto medio como latin lover deserotizado que permitiría su ascenso dentro de la emergente cultura nativista del Hollywood de mediados de los años veinte, en contraste a la repentina caída del galán italiano.
    [Show full text]
  • International Camellia Journal 2016 No
    International Camellia Journal 2016 No. 48 Aims of the International Camellia Society To foster the love of camellias throughout the world and maintain and increase their popularity To undertake historical, scientific and horticultural research in connection with camellias To co-operate with all national and regional camellia societies and with other horticultural societies To disseminate information concerning camellias by means of bulletins and other publications To encourage a friendly exchange between camellia enthusiasts of all nationalities Major dates in the International Camellia Society calendar International Camellia Society Congresses 2018 - Nantes, Brittany, France. 2020 - Goto City, Japan. 2022 - Italy ISSN 0159-656X Published in 2016 by the International Camellia Society. © The International Camellia Society unless otherwise stated 1 Contents President’s Message Guan Kaiyun 6 Otomo Research Fund Report Herb Short 8 Web Manager’s Report Gianmario Motta 8 Editor’s Report Bee Robson 9 ICS Congress Nantes 2018 10 Historic Group Symposium United States 2017 12 International Camellia Congress Dali 2016 Pre-Congress tour reports Val Baxter, Dr Stephen Utick 13 Main Congress report Frieda Delvaux 17 Post Congress tours Kevin Bowden, Anthony Curry, Dr George Orel 20 Congress Proceedings Excellent Presentations Advances in taxonomy in genus Camellia Dr George Orel and Anthony S. Curry 26 Genetic strength of Camellia reticulata and breeding of new reticulata hybrids John Ta Wang 29 Identification and evolutionary analysis of microRNA MIR3633 family in Camellia azalea Hengfu Yin, Zhengqi Fan, Xinlei Li, Jiyuan Li 32 Breeding cluster-flowering camellia cultivars in Shanghai Botanical Garden Zhang Yali, Guo Weizhen, Li Xiangpeng, Feng Shucheng 35 Camellia Resources and history History of camellia cultivation and research in China Guan Kaiyun 37 Investigation and protection of ancient camellia trees in China Muxian You 39 Introduction of Camellia x hortensis from Japan to the world Prof.
    [Show full text]
  • INFORMATION ABOUT BALCLIS February SALE
    INFORMATION ABOUT BALCLIS February SALE Auction House BALCLIS Adress Calle Rossello 227, Post code 08008 Barcelona City Barcelona Country Spain URL of your website www.balclis.com your e-mail to receive absentee bids online [email protected] Title of the sale Balclis february Sale 2013 Place and date of the sale Place : Sala Balclis (Calle Rossello 227, Barcelona) Date : 27 – 28 of february Place and Dates of the exhibition (before the sale) Date : 18 – 26 February Balclis Barcelona Opening hours of the exhibition 9:30 - 14:00 16:00 - 19:00 817 An embroided white silk Manila shawl. From the first half of the 20th century. 176x176cm 700 700 818 Three Elezabethan fans with mother-of-pearl stickery. From the second quarter of the 19th century. Silken and litographed paper lands. Damages in some of them 27 cm long max 450 450 819 A printed "crèpe" Manila shawl. From the first half of the 20th century. 97x92 cm 250 250 820 Two "cristino" fans with ivory sticks, circa 1830. Grounds of kidskin and paper. Damage to the ground 19 cm long 150 150 821 English globe in lithographed paper with support with cast-iron cherub, second third of the 19th century. Marked "Harrison 1838" 49 cm high and 22 cm diam. 550 550 822 Set of damask silk curtains, second half of the 19th century. 305x107 cm 400 400 823 An embroided and ecru "crèpe" silk Manila shawl. From the secon third of the 20th century. 170x160 cm 350 350 824 Two Isabelline fans with ivory sticks, one with mother-of-pearl sticks and another with celluloid sticks, mid to late 19th century and circa 1930.
    [Show full text]
  • Conceptions of Purity in Modern Spain by Julia Haeyoon Chang A
    From Castus to Casticismo: Conceptions of Purity in Modern Spain By Julia Haeyoon Chang A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures and the Designated Emphasis in Women, Gender, and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Iarocci, Chair Professor Emilie L. Bergmann Professor Dru Dougherty Professor Minoo Moallem Spring 2013 From Castus to Casticismo: Conceptions of Purity in Modern Spain © 2013 Julia Haeyoon Chang 1 Abstract From Castus to Casticismo: Conceptions of Purity in Modern Spain by Julia Haeyoon Chang Doctor of Philosophy in Hispanic Languages and Literatures and the Designated Emphasis in Women, Gender, and Sexuality University of California, Berkeley Professor Michael Iarocci, Chair With the exception of the well-known figure of the ángel del hogar, concepts of purity in post-inquisitional Spain have rarely been used as central categories of analysis. This dissertation aims to address an important lacuna within nineteenth-century Spanish studies by tracing the complex ways in which purity, as an ideological regime, continued to operate as a less explicit but important construct in modern Spain. Rather than declining, such regimes metamorphosed into an array of discourses that positioned purity as a foundational ideological category for modern subjectivity and national identity in late imperial Spain. Specifically, I turn to the major realist novelists of the nineteenth century – Juan Valera, Leopoldo Alas, Emilia Pardo Bazán, and Benito Pérez Galdós -- to examine how realist fiction stages counter-narratives to essentialist notions of purity and impurity formulated and consequently deployed by Medicine, the Church, and the State.
    [Show full text]
  • Landaluz 5.Qxp
    Summary Edited by LANDALUZ, Association of Quality Food Products within Andalusia Editorial Board LANDALUZ, Association of Quality Food Products within Andalusia D. Manuel Jurado Toro D. Ángel Gómez Esquinas D. Álvaro Guillén Benjumea D. Jesús Barrio Rubio 46 Routes D. Alfonso Hidalgo Romero Osuna, a jewel in the D. Francisco Artacho Sánchez heart of Andalusia General Secretariat D. Juan de Porres Guardiola D. Santiago Urquijo Ruiz-Giménez D. Pedro Parias Jiménez Dña. Mariella Cingolani Coronel D. Miguel Angel Jiménez Segador D. Armando Dávila Miura 40 Flavours Dña. Regla García de Velasco Argüeso Hotel Palace Marqués de la Gomera Editorial Coordination and Design GLOBAL PRESS Carlos Javier Aguilar Galea Paloma Rodríguez Rodríguez Rocío Manteca Medina Avda. San Fco. Javier, 24 Edificio Sevilla I planta 9ª - Mód. 11, 41018 Sevilla Tel.: +34 954 92 32 33 - Fax: +34 954 92 29 65 [email protected] Photography Miguel Ángel Cano Pérez, Landaluz´s archive, Extenda, Lina´s archive. Translation Arual & Company, traducciones corporativas. This magazine has the support of EXTENDA, Trade Promotion Agency of Andalucia. 56 Pause LANDALUZ, Association of Quality Food Products Carriage Museum within Andalusia Avda. de Grecia 8 - 41012 Sevilla Tlf: +34 954 23 48 49 +34 954 29 63 19 Fax: +34 954 62 32 06 [email protected] www.landaluz.es We would like to thank: María Rodríguez, Mantones Foronda, Trajes de Flamenca Lina, Museo de Carruajes, Hotel Palacio Marqués de la Gomera. ASAJA-Sevilla. Depósito Legal: SE-0181-06 4 ANDALUSIAN FLAVOUR Summary 66 Ideas
    [Show full text]