An Educator's Guide to They Are We
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
Changuito, El Misterioso
Changuito, el misterioso Rafael Lam | Maqueta Sergio Berrocal Jr. En Cuba han existido, entre muchos, otros percusionistas que residieron en el exterior, muchas estrellas: Mongo Santamaría, el Patato Valdés, Orestes Vilató, Candito Camero, Walfredo de los Reyes, Carlos Vidal Bolado. Pero, en La Habana, hay que hablar de tres percusionistas de marca mayor, de grandes ligas: Chano Pozo, rey de las congas; Tata Guines, estrella de la tumbadora y José Luis Quintana “Changuito”, rey de las pailas. Changuito cumplió años el 18 de enero, no hubo fiesta grande, unas cervezas heladas (frías) y masitas de cerdo. El pailero mayor pasó la raya de los sesenta años de vida profesional. Cuando se hable de Premio Nacional de la Música, hay que recordar a los grandes. Changuito, ¿dónde comenzaste en la música? Empiezo a tocar influido por el ambiente en mi casa, mi papá era músico y ya a los cinco años yo estaba metido en la percusión, también me ayudó mucho Roberto Sánchez Calderín, formaba piquetes con mis amigos, estuve en el grupo Cabeza de Perro, y ya en 1956 responsablemente sustituía a mi padre en la orquesta del cabaret Tropicana y en la Orquesta Habana Jazz. Cuando aquello se empezaba temprano. Le hice una suplencia a mi padre en el cabaret Tropicana. ¿Después de esas experiencias qué hiciste en todos estos años, antes de 1959? Estuve trabajando con la Orquesta de Gilberto Valdés, Quinteto José Tomé, Artemisa Souvenir, Habana Rítmica 7. ¿A partir de 1959 qué haces? Comencé con el grupo Los Bucaneros que, en aquellos tiempos tenía mucha aceptación del público joven. -
RMAL Folkloric Recommendations
RMAL Folkloric Recommendations From the Usenet Newsgroup rec.music.afro-latin comes this list of recommended folkloric CD's (with an occasional cassette or LP). It is confined to Afro-Puerto Rican and Afro-Cuban "roots" music that is predominantly percussive/vocal; so it does not include the equally rich folkloric genre called son. Toward the end is a list of music and instruction videos and book/CD's. For those of you who are new to this genre, categories PUERTO RICO and CUBA have an asterisk * by those CDs which we think should be among your first buys. Our thanks for their generous help to Jorge Ginorio, Stan Ginn, Mike "Yambu" Doran, Zeno Okeanos and "Califa". Please note that for a few of these, the label and/or release date information is unknown. These are marked with (?). If you happen to know this information, please send me appropriate comments. PUERTO RICO Canario y su Grupo Plenas (Ansonia HGCD 1232) (?) Anthony Carrillo Mis Races (DRS Musical Productions DRMP2) 1997 Encuentro de Bomba y Plena al Acetato (MCB9203CD) 1992 - Modesto Cepeda *Races de Bomba y Plena (MCB9504CD) 1995 - Legado de Bomba y Plena (MCB9705CD) 1997 *William Cepeda & Bombazo (Blue Jackel BJAC 5027-2) 1998 Grupo Afro-Boricua Rafael Cepeda El Roble Mayor (Balele Records 010) 1996 Cortijo y Kako Ritmos y Cantos Callejeros (Ansonia CD 1477) 1970 Dr.Emanuel Dufrasne Puerto Rico Tambien Tiene Tamb - Book Copyright by Author, Gonzalez 1994 *Paracumbe Tamb (Ashe CD 2005) 1997 Somos Boricuas,Bomba y Plena en N.Y. (Henry Street 0003) Los Pleneros de la 21 1996 Los -
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. -
(Deb) – Katie Leclerc Currently Stars As Daphne Vasquez on The
‘CLOUDY WITH A CHANCE OF LOVE’ CAST BIOS KATIE LECLERC (Deb) – Katie Leclerc currently stars as Daphne Vasquez on the hit ABC family series “Switched At Birth.” In its third season, “Switched At Birth,” and Leclerc specifically, continue to drive a strong fan following and are respected and are applauded worldwide for their positive portrayal of deaf characters on television. Leclerc has been nominated for two Teen Choice Awards for her outstanding performance on the show. The first was in 2011 in the category of “Choice TV Break Out Star” and then again in 2013 in the category of “Summer TV Star.” Originally from Lakewood, Colorado and the youngest of three siblings, Leclerc got the acting bug when she starred in a local production of “Annie.” When the family moved to San Diego, she continued to pursue her desire to perform and began appearing in national commercials for such brands as Pepsi, Cingular, Comcast and GE. Leclerc got her big break at the age of 19 in 2004 when she was asked to guest star on “Veronica Mars,” starring Kristen Bell. She went on to have guest and recurring roles on such series as MTV’s “The Hard Times of RJ Berger,” CBS’s “CSI” and “The X List.” However, it is for portraying Raj Koothrappali’s gold-digging girlfriend Emily on the hit CBS series “The Big Bang Theory,” that brings her the most additional recognition. In film, she has starred in the Hallmark Channel Original Movie “The Confession,” as well as the independent features “The Inner Circle” and “Flying By” with Billy Ray Cyrus. -
HAVANA HOP Fulfills the Following Ohio and Atw Victoria Theatre Association
2015-2016 Resource Guide Written, Choreographed, and Performed by Paige Hernandez APRIL 27, 2016 9:30 & 11:30 A.M. • VICTORIA THEATRE The Frank M. FOUNDATION www.victoriatheatre.com Curriculum Connections You will find these icons listed in the resource guide next to the activities that indicate curricular elcome to the 2015-2016 Frank connections. Teachers and parents are encouraged to adapt all of the activities included in an M. Tait Foundation Discovery Series appropriate way for your students’ age and abilities. HAVANA HOP fulfills the following Ohio and atW Victoria Theatre Association. We are very National Education State Standards and Benchmarks for grades 2-8: excited to be your partner in providing English/Language Arts Standards Ohio Department of Education professional arts experiences to you and Grade 2- CCSS.ELA-Literacy.RL.2.2, CCSS.ELA-Literacy. your students! Drama/Theatre & Dance Standards RL.2.3, CCSS.ELA-Literacy.RL2.4, CCSS.ELA-Literacy. Drama/Theatre Standards RL2.5, CCSS.ELA-Literacy.RL2.6 I am excited for students in Dayton to Grade 2- 1CE-7CE, 1PR-3PR, 1RE-6RE Grade 3- CCSS.ELA-Literacy.RL.3.2, CCSS.ELA-Literacy. experience HAVANA HOP! Ms. Hernandez Grade 3- 1CE-5CE, 1PR-6PR, 1RE-5RE RL.3.3, CCSS.ELA-Literacy.RL.3.5, CCSS.ELA-Literacy. is a multifaceted artist, who is known Grade 4- 1CE-6CE, 1PR-7PR, 1RE-5RE RL.3.6 for her innovative fusion of poetry, hip Grade 5- 1CE-5CE, 1PR-5PR, 1RE-5RE Grade 4- CCSS.ELA-Literacy.RL.4.2, CCSS.ELA-Literacy. -
Chapter 14: Becoming a World Power, 1872-1912
Unit Planning Guide UNIT PACING CHART Unit 5 Chapter 14 Chapter 15 Chapter 16 Unit 5 Day 1 Unit Opener Chapter 14 Opener, Chapter 15 Opener, Chapter 16 Opener, Wrap-Up/Project, Section 1 Section 1 Section 1 Unit Assessment Day 2 Section 2 Section 2 Section 2 Day 3 Section 3 Section 3 Section 3 Day 4 Chapter Chapter Section 4 Assessment Assessment Day 5 Chapter Assessment U.S. Entrance into World War I Place the Ask students to individually rank the causes following “Causes of American Entrance into from most important to least important. Then World War I” on an overhead transparency: randomly group students and have them try • Loss of innocent lives to reach consensus. The interrelated nature of the six causes makes the task extremely diffi- • Loss of trade cult. If time permits repeat the process and • Historical/cultural ties to British/French make a hypothetical change in the historical Lee Weber • Defense of democracy against dictatorship facts. For instance, suggest that Germany had Price Laboratory • Freedom of the seas a large surface navy and Britain developed School unrestricted submarine warfare. How would • The Zimmermann Note Cedar Falls, IA U.S. policy have changed? Or, what if Germany were our major trading partner, not England and its allies? 486A Introducing Unit Author Note Dear American History Teacher: The great industrial development of the United States in the second half of the nineteenth century trans- formed the character of the nation. It also produced new pressures and new problems that shaped the era that began with the depression of 1893 and led ulti- mately to America’s entry into World War I. -
Huddleston, Vicki. Our Woman in Havana. New York: the Overlook Press, 2018
Journal of International and Global Studies Volume 10 Number 1 Article 14 12-1-2018 Huddleston, Vicki. Our Woman in Havana. New York: The Overlook Press, 2018 Olạ́ yokụ̀ Philip Adémólạ́ Ph.D. University of Ibadan, Nigeria, [email protected] Follow this and additional works at: https://digitalcommons.lindenwood.edu/jigs Part of the Anthropology Commons, Critical and Cultural Studies Commons, Environmental Studies Commons, and the Sociology Commons Recommended Citation Adémólá,̣ Olạ́ yokụ̀ Philip Ph.D. (2018) "Huddleston, Vicki. Our Woman in Havana. New York: The Overlook Press, 2018," Journal of International and Global Studies: Vol. 10 : No. 1 , Article 14. Available at: https://digitalcommons.lindenwood.edu/jigs/vol10/iss1/14 This Book Review is brought to you for free and open access by the Journals at Digital Commons@Lindenwood University. It has been accepted for inclusion in Journal of International and Global Studies by an authorized editor of Digital Commons@Lindenwood University. For more information, please contact [email protected]. Huddleston, Vicki. Our Woman in Havana. New York: The Overlook Press, 2018 “Who do you think you are representing here in Cuba?” The above question posed by a visiting American democratic congressman to American Ambassador to Cuba, Vicki Huddleston, in February, 2002, summarizes the complexities of diplomatic life for Americans in Cuba, as narrated in Huddleston’s memoir, Our Woman in Havana. This three-hundred-and-seven paged chronicle is divided into four parts, with seventeen chapters. It covers a period of slightly over two and half decades and details Huddleston’s involvement with Cuba (both as a diplomat and private citizen), from the time of the administration of U.S. -
Kalinago Ethnicity and Ancestral Knowledge 1
Kalinago Ethnicity and Ancestral Knowledge 1 Kalinago Ethnicity and Ancestral Knowledge Kathryn A. Hudepohl Western Kentucky University The Kalinago of Dominica have engaged in various efforts at cultural renewal in the past three decades. In this paper I examine one particular activity, recreated traditional dancing, and analyze how performers combine current and past cultural practices from their own community together with knowledge garnered from other indigenous groups to reinvent dance performances. Such performances represent a recent manifestation of successful cultural renewal in which community members use known resources to re-imagine and recreate meaningful tradition(s). Analysis of recreated traditional dance performances provides insight regarding how some members of the Kalinago community think about and utilize the ancestral knowledge base that forms the wellspring of their identity and reveals the regional and global exchanges that contribute to and enrich processes of cultural renewal. Performers interpret this type of cultural borrowing as a positive strategic maneuver because situating the community in a regional indigenous context bolsters claims to a strong, vibrant Kalinago identity. In this context, both the act of borrowing and the fi nal product are expressions of indigeneity. Protected from the heat of a Caribbean afternoon by the steeply-pitched roof of an open-sided longhouse, three traditionally dressed dancers from the Carib community in Dominica move across the raised stage as they perform a series of dances. Four additional individuals, dressed similarly, ring the back of the stage providing musical accompaniment on drums, a mounted piece of bamboo, and a shak-shak (similar in function to maracas). The director of the ensemble, dressed in western-style clothes, introduces the group and each song to provide cultural context. -
Tiny Voices February 2018
Tiny Voices February 2018 Stacey Dash’s Story Stacey Dash is one of the few actresses in Hollywood who is openly pro-life, but there was a time when she did not think that way and almost aborted her son. Dash is best known for starring in the film “Clueless” and appearing on “CSI”, “Single Ladies” and other TV shows. She also is a Fox News contributor. In a recent interview with People Magazine, Dash revealed how her early life was full of troubles - physical abuse, drugs, suicidal thoughts and more. “I couldn’t find happiness” she told the magazine. “It got to a point where I didn’t even want to live anymore,” The voice in my head was saying, ‘There’s nothing here for you.” Dash said a family acquaintance molested her for the first time when she was just 4 years old. She said she began doing cocaine when she was 16. Then, in her 20s, Dash said she suffered continuous physical abuse from a boyfriend. Though she eventually escaped the abusive relationship, her feelings of depression and worthlessness followed her. When she became pregnant with her new boyfriend, musician Christopher Williams, Dash said she decided to have an abortion. “When I got pregnant, I was doing a lot of drugs and I didn't want to live. I wanted to die. I A Publication ofof Humble A Publication Birthright was going to have an abortion. I was crying and I said to God, ‘Please tell me what to do.’ And God told me, ‘Keep your son.’ I ripped the IV out of my arm and I said, ‘I’m keeping my son’.” Today Dash’s son Austin is 25. -
HBO Series Girls and Insecure's Depiction of Race and Gender
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 HBO Series Girls and Insecure’s Depiction of Race and Gender Kimberley Peterson Honors College, Pace University Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Critical and Cultural Studies Commons, and the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Peterson, Kimberley, "HBO Series Girls and Insecure’s Depiction of Race and Gender" (2018). Honors College Theses. 199. https://digitalcommons.pace.edu/honorscollege_theses/199 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Peterson 1 HBO Series Girls and Insecure’s Depiction of Race and Gender Kimberley Peterson Peterson 2 Communication Studies Dr. Aditi Paul Communication Studies 3 May 2018 and 22 May 2018 Abstract In this research study the identification and representation of race and gender were looked at in the primetime HBO television series Insecure and Girls. The characters that were analyzed in two episodes were the young black women of Insecure and in two episodes the young white women in Girls. The method for this study was conducted using content analysis to identify the following variables focusing on identity, racial stereotypes and names used to address one another. Additionally, variables to identify gender included emotional approaches to situations, stereotypes and gender role expectations. The comprehensive findings revealed through similarities and differences of the episodes containing similar plot lines, as well as the overall analysis of each show, gave insight on how race and gender is being presented. -
Afro-Central Americans: T Rediscovering the African Heritage AFRO-CENTRAL AMERICANS • 96/3 T TIONAL REPOR an MRG INTERNA
Minority Rights Group International R E P O R Afro-Central Americans: T Rediscovering the African Heritage AFRO-CENTRAL AMERICANS • 96/3 T TIONAL REPOR AN MRG INTERNA G R M EDITED BY MINORITY RIGHTS GROUP AFRO-CENTRAL AMERICANS: REDISCOVERING THE AFRICAN HERITAGE © Minority Rights Group 1996 Acknowledgements British Library Cataloguing in Publication Data Minority Rights Group (MRG) gratefully acknowledges all A CIP catalogue record for this book is available from the British Library organizations and individuals who gave financial and other ISBN 1 897693 51 6 ISSN 0305 6252 assistance for this report. Published June 1996 This report has been commissioned and is published by The text of this report was first published in 1995 in No Longer Invisible – MRG as a contribution to public understanding of the issue Afro-Latin Americans Today by Minority Rights Publications which forms its subject. The text and views of the individ- Typeset by Texture ual authors do not necessary represent, in every detail and Printed in the UK on bleach-free paper by MFP Design and Print in all its aspects, the collective view of MRG. THE AUTHORS lator and interpreter at the Universidad Nacional, Heredia, Costa Rica. She is the author and co-author of several pub- JAMEELAH S. MUHAMMAD is currently studying at the lished works and articles. Universidad Nacional Autónoma de México, Mexico City. FRANKLIN PERRY is a Costa Rican of Jamaican descent. She is a founding member of the Organization of Africans He holds a licenciatura in English and translation and a BA in the Americas and is the author of numerous articles on in English and education from the Universidad de Costa the African presence in Mexico.