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THE VIVA GUIDE Barcelona Welcome To
THE VIVA GUIDE Barcelona Welcome to_ This guide was produced for you by the Viva Barcelona team. Graphic Design by Carmen Galán [carmengalan.com] BARCELONA Barcelona is the 10th most visited city in the world and the third most visited in Europe after London and Paris, with several million tourists every year. With its ‘Rambles’, Barcelona is ranked the most popular city to visit in Spain and it now attracts some 7.5 million tourists per year. Barcelona has a typical Mediterranean climate. The winter is relatively mild and the summer is hot and humid. The rainy seasons are the once in between autumn and spring. There are very few days of extreme temperature, heat or cold. Every 24th September, Barcelona celebrates it’s annual festival, La Mercè – corresponding to the day of its patron saint. It comprises of some 600 events, from concerts and all kinds of local, cultural attractions including the human tower building, els Castellers, erected by groups of women, men and children, representing values such as solidarity, effort and the act of achievement. Children are the real stars of this tradition, they climb to the very top of the human castell expressing strength over fragility. 4 5 Since 1987, the city has been Passeig de Gràcia being the most Districts divided into 10 administrative important avenue that connects the districts: Ciutat Vella, Eixample, central Plaça Catalunya to the old Sants- Montjuic, Les Corts, town of Gràcia, while Avinguda Sarriá-Sant Gervasi, Gràcia, Diagonal cuts across the grid Horta-Guinardò, Nou Barris, diagonally and Gran Via de les Corts Sant Andreu, Sant Martì. -
Peru's Musical Heritage of the Viceroyalty: the Creation of a National Identity
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2019 Peru's Musical Heritage of the Viceroyalty: The Creation of a National Identity Fabiola Yupari Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Yupari, Fabiola, "Peru's Musical Heritage of the Viceroyalty: The Creation of a National Identity" (2019). WWU Graduate School Collection. 887. https://cedar.wwu.edu/wwuet/887 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Peru’s Musical Heritage of the Viceroyalty: The Creation of a National Identity By Fabiola Yupari Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil Van Boer Dr. Ryan Dudenbostel Dr. Patrick Roulet GRADUATE SCHOOL Kathleen L. Kitto, Acting Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non-exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work, and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
Catalonia Gastronomic Experiences INDEX
Catalonia Gastronomic experiences INDEX Catalonia, gastronomic tourism destination 3 Map of wine and food tourism 4 We are what we eat 7 What will you find in this publication? 7 Catalonia, European region of gastronomy 2016 9 Catalan gastronomy 10 Ten ways to experience Catalan gastronomy 12 Brief history of Catalan gastronomy 14 Scenery, product, cuisine 16 Scenery to feast on 18 Catalan products with distinction 20 A food for every moment of the year 22 Try seasonal dishes 24 The kingdoms of good food 26 Cuina Catalana Brand 27 The galaxy of the Michelin stars 28 Going back to the essence with Slow Food 29 Gastronomic proposals 30 The markets: the cradle of gastronomy 32 Learning to cook, the other side of the apron 36 The favourite dishes of Catalonia 38 Oil tourism, three thousand years of oil 40 Fish tourism, farmers of the sea 42 Wine tourism, the secrets of wine 44 Other craft drinks 48 Hotels for licking your fingers 50 The museums, the showcase of our culture 54 Events, fairs and gastronomic festivals 58 Welcome to my farm, the origins 62 The most sustainable gastronomic tourism 64 © Photographs by order of pages: ACT 2, 6, 8, 10-11, 12, 13, 16-17, 18,19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 30-31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 61, 62, 63, 64, 65, 66-67, 68, 69, 70, 71, 73, 74, 75, 76, 77, 81, 82, 83, 85, 86, 87. -
Catalonia Vs Spain: a Desire for More Autonomy Has Led to a Surge of Independentism and a Divided Catalan Society
Department of Political Science Chair of Political Sociology Catalonia vs Spain: A desire for more autonomy has led to a surge of independentism and a divided Catalan society SUPERVISOR CANDIDATE Noé Meiler Prof. Michele Sorice Matr. 0792 ACADEMIC YEAR 2017-2018 Table of Contents 1 Introduction ......................................................................................................................................... 3 2 History .......................................................................................................................................................... 3 2.1 Early History of Catalan Institutions: ........................................................................................................... 3 The Generalities .......................................................................................................................................................................... 3 2.2 The rise of “Catalanism” ............................................................................................................................. 4 Republicanism and Federalism.................................................................................................................................................... 5 2.3 The Franco Regime ..................................................................................................................................... 6 Primo De Rivera .......................................................................................................................................................................... -
Maria Del Mar Bonet I La Nova Cançó
La veu del mar Maria del Mar Bonet i la Nova Cançó IES Antoni Cumella 2n Batxillerat Granollers 2010/2011 IES Antoni Cumella 2 La veu del mar: Maria del Mar Bonet i la Nova Cançó A ma mare per la seva estima i pel seu suport. A la Maria del Mar per ser l’ànima d’aquest treball, pel seu bon fer en tots aquests anys, per gaudir tant als seus concerts aquí i arreu i per què segueixi molts anys més fent el que li agrada i ens agrada. A la Maria Mercè i en Ramon que són els culpables possiblement, de que hagi fet aquest treball. Pels nostres viatges, les nostres rialles i els quefers de la vida. A Lautaro Rosas, Juan Miguel Morales, i Miguel Gorostiza, per la seva gentilesa, dis- posició i les nostres xerrades a Palma. A Ivette Nadal, Jay Ansill, Biel Mesquida, Toni Catany i Sebastià Alzamora per la seva amabilitat. A la Lola, qui va ser la primera en veure-m’hi espurnes de músic. També als meus professors de música de l’Escola Ponent de Granollers. A tots els meus amics del Conservatori de Granollers i de l’IES Antoni Cumella. A tots els mestres i amics de la Societat Coral Amics de la Unió qui m’han convertit en la persona que sóc avui. En especial als germans Vila. A la meva tutora del treball, per la seva paciència i la seva implicació personal. A totes aquelles persones que d’alguna manera o altre m’han ajudat a que aquest treball anés agafant forma. -
Representative List
Representative List Original: English and French CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Fifth session Nairobi, Kenya November 2010 NOMINATION FILE NO. 00364 FOR INSCRIPTION ON THE REPRESENTATIVE LIST OF THE INTANGIBLE CULTURAL HERITAGE IN 2010 A. STATE(S) PARTY(IES) For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed. Spain B. NAME OF THE ELEMENT B.1. Name of the element in English or French This is the official name of the element that will appear in published material about the Representative List. It should be concise. Please do not exceed 200 characters, including spaces and punctuation. The name should be transcribed in Latin Unicode characters (Basic Latin, Latin-1 Supplement, Latin Extended-A or Latin Extended Additional). Human towers B.2. Name of the element in the language and script of the community concerned, if applicable This is the official name of the element in the vernacular language corresponding to the official name in English or French (point B.1.). It should be concise. Please do not exceed 200 characters in Unicode (Latin or others), including spaces and punctuation. Castells LR10 – No. 00364 – page 1 B.3. Other name(s) of the element, if any In addition to the official name(s) of the element (B.1.) please mention alternate name(s), if any, by which the element is known, in Unicode characters (Latin or others). — C. CHARACTERISTIC OF THE ELEMENT C.1. Identification of the communities, groups or, if applicable, individuals concerned According to the 2003 Convention, intangible heritage can only be identified with reference to communities, groups or individuals that recognize it as part of their cultural heritage. -
Ritual and Contemporary Catalan Theater: the Work of La Fura Dels Baus
Journal of Catalan Studies 2015/2016 Ritual and contemporary Catalan theater: the work of La Fura dels Baus Duri Long Goergia Institute of Technology Introduction One only has to witness a few hours of La Mercè in Barcelona to experience the inherent theatricality involved in traditional Catalan rituals. From the pyrotechnics and demonic costumes in the correfoc to the enormous papier-mâché masks in the xambanga de gegants, performance is central to many Catalan festivities. Although there is a well-developed body of literature discussing contemporary Catalan theater (George & London 1996; Feldman 2009) as well as literature discussing traditional Catalan rituals (Hernández 2005; Noyes 2003) there is little that explores more than a surface level relationship between these two genres of performance. This essay will investigate this connection by identifying key thematic and symbolic elements that are present in Catalan rituals and examining how these elements have influenced theater in the period following the end of Franco’s regime. Focusing on elements such as non-verbal theatrical devices, motifs of teamwork and social union, and the use of theatrical catharsis, this essay will look at the work of Catalan theater company La Fura dels Baus in order to explore the presence of Catalan ritual in their work and investigate some of the possible implications of this presence on Catalan cultural identity. Catalan Identity From a theatrical point of view – and from the narrow perspective allowed by this focus – the main concern in this area relates not exclusively to history or politics but to the notion of civic or cultural national consciousness. -
Visions Academy!
Tour: Academy in Spain Destination: Platja D’Aro & Barcelona, Spain Specialization: Dance, Drama, Music & Art (Workshop-based) Itinerary: 5-days / 4-nights in destination Academy in Spain - Sample Itinerary Morning Afternoon Evening 1 Travel to the Costa Brava, Spain Welcome Dinner 2 Breakfast Master Class 1 Master Class 2 Master Class 3 Quiz Night 3 Breakfast Day Trip - Barcelona Dinner Sardana Dance 4 Breakfast Master Class 4 Master Class 5 Dinner Flamenco Dance 5 Breakfast Costa Brava Excursion Depart Costa Brava As with all sample itineraries, please be aware that this is an “example” of a schedule and that the activities included may be variable dependent upon dates, weather, special requests and other factors. Itineraries will be confirmed prior to travel. Welcome to world of VISIONS ACADEMY ! Outstanding ‘Performing & Expressive Arts’ school trips for Drama, Dance, Music and Art groups. With our destinations around the world you’ll find workshop-based trips, performance-based trips, and combination trips. From New York to China, Greece to Costa Rica, Spain to Hollywood… let us take you on a trip your students will remember for a lifetime! Welcome to Visions Academy! Kaleidoscope Adventures | 800-774-7337 www.kaleidoscopeadventures.com | [email protected] Spain… Visions ‘Academy in Spain’ offers excellent tour options with a unique cultural blend! Our Spanish Centre of Excellence is based in Platja D’Aro on the stunning Costa Brava. Situated in the heart of the Costa Brava, Platja D’Aro is an up-market Spanish seaside resort with its own golden sandy beaches, idyllic little bays, excellent performing arts facilities and a superb choice of accommodation. -
De La Pintura Costumista Flamenca Als Pessebres
DE LA PINTURA COSTUMISTA FLAMENCA ALS PESSEBRES CASOLANS DE CATALUNYA UN RECORREGUT PER LES MANIFESTACIONS DE L’ESCATOLOGIA EN LA IMATGERIA I LA CERÀMICA Jordi Arruga. Barcelona. A les més diverses cultures trobem elements i representacions iconogràfiques de caire escatològic, entès aquest terme, no en la seva accepció espiritual (de la paraula grega éskatos), que fa referència a la mort, la resurrecció i el judici final, sinó en el sentit humà (també del grec skatós), que es refereix a tot allò que versa sobre matèries fecals (Comadira 2005: 5). Se’n poden veure exemples en algunes façanes d’esglésies i altres edificis romànics i gòtics, on els artesans de les lògies medievals que hi treballaven decoraven racons, generalment poc visibles, amb escenes sexuals, burlesques o brutes, entre les quals hi ha escultures representatives de personatges defecant (Mateo Gómez 1979: 136-139, 172, làms XXVIII, XLI; Feixas 1996: 81-82). Però és d’ençà l’època de transició entre els períodes renaixentista i barroc, amb l’aparició de pintures dedicades a la descripció dels costums del poble i la natura que l’envolta (Hauser 1985: 55-58), quan més es varen difondre les imatges d’individus realitzant les seves deposicions, freqüentment integrats en paisatges humans. En són testimonis sobretot les obres de dos dels artistes flamencs més emblemàtics: El Bosch i Bruegel “el Vell". El pintor Hieronymus Bosch (“el Bosch”, ció” (Hindman 1981: 447-475). Així mateix, en els 1450-1516) ens oferia dins les seves obres un món gravats atribuïts a l’autor Fira («Kermesse») a Hobo- ple de fantasies i de malsons, i en algunes d’elles feia aparèixer personatges vomitant o orinant. -
La Renaixença, Febrer 2014
Les propostes literàries de la Renaixença: entre la tradició i la modernitat Josep Camps Arbós PID_00189036 © FUOC • PID_00189036 Les propostes literàries de la Renaixença: entre la tradició i la... Cap part d'aquesta publicació, incloent-hi el disseny general i la coberta, no pot ser copiada, reproduïda, emmagatzemada o transmesa de cap manera ni per cap mitjà, tant si és elèctric com químic, mecànic, òptic, de gravació, de fotocòpia o per altres mètodes, sense l'autorització prèvia per escrit dels titulars del copyright. © FUOC • PID_00189036 Les propostes literàries de la Renaixença: entre la tradició i la... Índex Objectius....................................................................................................... 5 1. La consolidació de la Renaixença (1859-1877)........................... 7 1.1. El paper dels Jocs Florals ............................................................. 7 1.1.1. Una institució anacrònica? ............................................ 7 1.1.2. Els discursos: literatura i ideologia ................................ 9 1.1.3. Expansió i consolidació ................................................. 11 1.2. La pràctica literària: la poesia ..................................................... 12 1.2.1. Problemàtica .................................................................. 12 1.2.2. Alguns poetes ................................................................. 13 1.3. La pràctica literària: el teatre ...................................................... 16 1.3.1. Notícia bibliogràfica ..................................................... -
An American Geographer in Catalunya1
Treballs de la Societat Catalana de Geografia, 61-62, 2006, p. 83/100 Thinking about Place and Culture: An American Geographer in Catalunya1 Daniel W. Gade Department of Geography University of Vermont Abstract In this essay on the geography of the heart, I use my experience in Catalunya to elaborate how geographers discover place and how a foreign encounter can transform one’s thinking. Intellectual inspiration in this tra- jectory has come from Goethe (self-aware traveler with an open mind); Herder (originator of the notion of cultural-linguistic diversity), A. Humboldt (scientist curious about foreign lands); Royce (philosopher of the periphery); and Sauer (maestro of a cultural historical approach to geography). Learning about place at three scales has been a process of discovery illuminated by revisitation, reflection, and comparison. The small city of Olot has offered perspectives on pedestrian—oriented urban living; the comarca of La Garrotxa has stimulated thinking about the logic of an environmenteally coherent micro-region; and Catalunya has provided an example of how soli- 1 I have chosen to use the endonym ‘Catalunya’ rather than the English exonym of ‘Catalonia.’ Insistence on the local usage of place-names legitimizes the linguistic character of a nation. Insensitivity to politico-cultu- ral change in the Spanish state is apparent in a world gazetteer published in the United States that gave prefe- rence to Castilian place-names (e.g. Gerona rather than Girona) in the entries for the països catalans (Cohen 1998). 84 Treballs de la SCG, 61-62, 2006 Daniel W. Gade darity, a sense of the past, but also the conjuncture of the Zeitgeist, have led to an extraordinary cultural resurgence. -
UNIVERSITY of CALIFORNIA SAN DIEGO Castells In
UNIVERSITY OF CALIFORNIA SAN DIEGO Castells in the Construction of a Catalan Community: Body, Language, and Identity amidst Catalonia’s National Debate A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Anthropology by Aida Ribot Bencomo Committee in charge: Professor Kathryn A. Woolard, Chair Professor Jonathan Friedman Professor John Haviland Professor Jeff Haydu Professor Pamela Radcliff 2020 Copyright Aida Ribot Bencomo, 2020 All rights reserved. The dissertation of Aida Ribot Bencomo is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California San Diego 2020 iii DEDICATION To Joan and Raúl iv TABLE OF CONTENTS Signature Page . iii Dedication . iv Table of Contents . v List of Figures . viii Acknowledgements . x Vita ............................................. xii Abstract of the Dissertation . xiii Chapter 1 Introduction . 1 1.1 General historical context of castells ................. 9 1.1.1 Casteller early performances . 9 1.1.2 Casteller ‘golden age’: a local phenomenon amidst the Cata- lan industrialization . 13 1.1.3 The casteller decline and the emergence of political Catalanism 18 1.1.4 Early 20th century: casteller decline and the emergence of sardanes as a national symbol . 21 1.1.5 Mid-20th century and current period . 26 1.1.6 Recent casteller ‘boom’ . 32 1.2 Research questions and organization of the dissertation . 37 Chapter 2 Castells, Methodology, and Field Sites . 40 2.1 A closer look at castells ........................ 40 2.1.1 The fundamental and technical aspects of a castell . 40 2.1.2 Organization of casteller practice and its structures .