DOCSLIB.ORG

Winter 2017.18 FEATURED ARTIST: Tania Gonzalez Ortega YOUR GUIDE to LOCAL ARTS & CULTURE in INSIDE THIS ISSUE the METHOW VALLEY and BEYOND

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Winter 2017.18 FEATURED ARTIST: Tania Gonzalez Ortega YOUR GUIDE to LOCAL ARTS & CULTURE in INSIDE THIS ISSUE the METHOW VALLEY and BEYOND WINTER 2017.18 FEATURED ARTIST: TANIA GONZALEZ ORTEGA YOUR GUIDE TO LOCAL ARTS & CULTURE IN INSIDE THIS ISSUE THE METHOW VALLEY AND BEYOND. EXHIBITS, EVENTS. CLASSES. METHOW ARTS. ACCESS TO IMAGINATION. EEsstt.. 11998822 Book your Methow Valley getaway locally. We feature licensed, legal nightly rentals and local inns, as well as extended stay homes, we are happy to provide recommendations. You are also welcome to stop by our office at 245 Riverside Ave, inside the Purple Sage Gallery on the boardwalk, downtown Winthrop and book your next stay. Art made by regiional artiists and friiends. METHOW ARTS ALLIANCE POST OFFICE BOX 723 PRST TWISP, WaSHINGTON 98856 U.S. Postage PAID Wenatchee, WA 98801 Permit No. 241 experience www.MethowArts.org l 509.997.4004 Methow Arts Alliance WINTER 2017 109 Second Avenue, PO Box 723 Twisp, WA 98856 THE CaLL 509.997.4004 I wish all of you a vibrant Winter www.MethowValleyArts.org season. Enjoy the abundance of methow arts alliance is a non profit organization founded creative activity offered in the Christine M. Kendall in 1983 that enriches the lives of our community through a Methow Valley. From innovative variety of diverse art programs. classes to world-renowned performance, exhibits of local Board of Directors artwork and theatre, Art is at A loud screee of a Red-tailed Hawk Don Ashford, President the forefront of life here in the T. Lewis, Vice President Valley. fills the air. The sharp cry breaks Frauke Rynd, Treasurer Amanda Jackson Mott Alison Philbin, Secretary Executive Director, Visit our website for updates, through a quiet afternoon Jonathan Baker Methow Arts Alliance new listings, articles, and ticket Hannah Cordes info www.methowarts.org. Enjoy - Staff like an intonation of sacred bells Amanda Jackson Mott, Executive Director Ashley Lodato, Arts Education Director when we are summoned to be Chris Moore, Office/Events Specialist Mia Stratman, Intern alert. This screee soon dies away Stella Gunnip Hunter, Senior ART Ambassador magazine connects audiences with the work of our many resident and visiting artists and the organizations that provide to a softer remnant until only echoes a breadth of arts programming. Our magazine is a celebration of the vision, genius and creativity that of it like an earworm of song remain. abound in the Methow Valley and beyond. To receive this publication in the mail, please become a member VALLEY GOODS GIFT SHOP EVENTS Sounds awaken us—place us with our of our organization and we will gladly mail you a copy INSPIRE YOUR GIFT-GIVING quarterly. Thank you for supporting a diverse and @ DOOR NO.3 PRINT STUDIO plentiful arts community. AT VALLEY GOODS GIFT SHOP AND HOLIDAY EMPORIUM feet on the ground, mind in the same Published and designed by Methow Arts Alliance info@ MEET THE MAKER: methowartsalliance.org - 509.997.4004 methowarts.org GabbY BEAUDIN OF MOLLY'S SOAP spot, a brief respite from busy thoughts, DECEMBer 7th – 24th AT TWISPWORKS Wed, Dec 13, 1 – 4pm: Meet the new face behind local soap brand Molly's Soap and learn a little about Do you enjoy receiving a copy of this it’s our North Star in finding peace. CONTRIBUTORS Shopping for gifts during the holiday is a reminder of the scope and talent brought to us by the artists what it takes to make such scented delights. magazine in your mailbox? Please renew FEATURE PHOTOGRAPHY: and artisans of the Methow Valley. This year you can see a bounty of hand-crafted, locally-made your membership so that we can continue Tom Forker goodies by heading over to TwispWorks for Valley Goods: a holiday shop brought to you by the folks at HANDS-ON KIDS CRAFTS SEND US YOUR POEMS & ORIGINAL ARTWORK. WITH LAURA GUNNIP your subscription. Thank you. FEATURE ARTICLE: Door No. 3 Print Studio. We welcome magazine submissions from our artist Marcy Stamper Thurs, Dec 14, 3:30 – 5:30pm, kids of all ages community in the form of poems, photographs or With shop hours every day starting December 7 and continuing until the day before Christmas, Valley welcome, by donation. ____$35, ____$50, ____ $100, _____other artwork. If space allows we will be happy to include Goods will feature wares from more than thirty local vendors. Robin and Laura of Door No. 3 are also yours in our quarterly art magazine. Please email planning a series of 'Meet the Maker' events as well as art-making nights for kids of all ages. MEET THE MAKER: SARA Please mail check to: Methow Arts, The ART Magazine is ASHFORD OF CULLER STUDIO PO BOX 723, TWISP, WA 98856 your artwork with title and full artist name and published quarterly by Methow Wed, Dec 20, 1-6pm: Talk to Sara about her work “We're really excited to have the opportunity to host a similar event to Handmade for the Holidays,” address to: [email protected] Arts Alliance, a non-profjt with natural dyes and shop a wide selection of hand- organization. All contents says Robin Doggett, “it's always a nice time catching up with neighbors and shopping some beautiful dyed scarves and other beautiful wearable art. are copyrighted and may not hand-made things – it's a big part in spreading the holiday cheer.” 2017 ARTS PARTNERS be used without the express consent of the publisher. HANDS ON KIDS CRAFTS LOCATION/HOURS: Valley Goods is located in TwispWorks building 9, right next to Door No. 3 Print WITH LAURA GUNNIP methow DESIGN/LAYOUT/EDITING: Methow Arts Alliance Studio and is open Dec 7-24, 10am–6pm, Monday-Friday, and 10am–3pm during the weekend. Enjoy Thurs, Dec 21st, 3:30 – 5:30 pm, kids of all ages Subscribe: [email protected] Twisp, WA 98856 509.996.3925 welcome, by donation. 509.997.7529 arts a cup of Blue Star coffee and a treat while you shop. [email protected] or 509-449-1081. www.winthropgallery.com www.MethowArts.org www.mercplayhouse.org Twisp, WA 98856 Winthrop Music Association 109 2nd Ave, Suites B/C 509.997.2926 509.997.3837 PO Box 723, Twisp, WA Twisp, WA 98856 www.winthropbluesfestival.com #accesstoimagination #methowarts www.twispinfo.com www.methowarts.org 509.997.4601 www.cascadiamusic.org TANIA GONZALEZ ORTEGA D*Signs and Methow TICKETS: METHOWARTS.ORG 509.997.2787 Gallery TwispWorks www.confluencegallery.com 109 Glover St. Pages 10 and 11 showcase our featured artist Tania Gonzalez Ortega. In addition to the center spread, be sure to Twisp, WA 98856 Twisp, WA 98856 509.997.3300 Methow Valley Chamber Festival 509.449.1081 [email protected] www.twispworks.org 509.997.0255 509.996.6000 visit our website to view her photo shoot with this issue's photographer, Tom Forker, who captures her in action at www.twispinfo.com www.doorno3.com www.methowmusicfestival.org her studio up the Twisp River. www.methowarts.org/featuredartist SUPPORTERS thank you. Gonzalez Ortega will be featured in a solo exhibit at the MAX Gallery in Seattle next year. Dates are not set yet. methow Her art can be seen in an exhibit at Cinnamon Twisp Bakery through the end of December 2017. It is also online at arts artbytego.blogspot.com and www.facebook.com/tegopaintings. members! SUPAMAN - SAT. FEB. 10. 2018 2 experience www.MethowArts.org l 509.997.4004 experience www.MethowArts.org l 509.997.4004 3 EVENTS/CLASSES/EXHIBITS WINTER ART CALENDAR Do you enjoy receiving a copy of this magazine in your mailbox? Please renew your membership & continue your subscription. Classes/artist opportunitiesand events in GREEN, The Vanishing Caribou Rainforest The Best Christmas Pageant Ever Thank you for your support. ____$35, ____$50, ____ $100, _____other Exhibits BLUE. Tues, Dec 5, 6pm-8:30pm Fri, Dec 8-Sun, Dec 17 Holiday party (appetizers, activities & awards) at 6pm. David by Barbara Robinson. See article for times and details. Please mail your check to: METHOW ARTS, PO BOX 723, TWISP, WA 98856 Moskowitz presentation for Methow Conservancy First Tues- ongoing Tickets $5-$7/youth under 18; $16-$18/adults. (Featured artist Danbert Nobacon, ART magazine cover, 2013.) day. At the Winthrop Barn. 509-996-2870. Merc Playhouse, Twisp, WA. 509.997.7529, info@mercplay- house.org classes/events MV Community School Holiday Performance Hands on kids crafts with Laura Gunnip Line Dancing Wed, Dec 6, 5pm Elephant Gun Riot FEBRUARY Thursday, Dec 21, 3:30–5:30 pm, kids of all ages welcome, by Mondays, 6 pm, Lessons at 6:30pm Student performance, dessert auction. Sat, Dec 9, Doors open, 7pm, Music, 8pm MARCH donation. See article. Dooor No. 3, [email protected] Sweetheart Valentines $4. Twisp Grange. 509.429.2064. Methow Valley Community Center. Modern rock music from Spokane. At Barnyard Cinema, Sat, Feb 10, Noon–2pm 509-997-4447 Winthrop, WA. www.thebarnyardcinema.com Connecting Threads Cascadia presents Holiday Music at Sun Mountain Lodge This Valentine's Day spread the love by printing your own Spinners and Weavers Mar 3 – Apr 14, Opening reception Mar 3, 4-8pm Dec 23-30 valentine cards! Get a feel for the basics of letterpress design Thursdays, 1pm Vision En Rouge Prohibition Party Modern fiber arts. Confluence Gallery and Art Center. At Sun Mountain Lodge. cascadiamusic.org, 509-997-0222 using Door No. 3 Print Studio's vintage wood type and proof- Meet and spin/weave. 137 Old Twisp Hwy. 509.997.5666 Through Jan 6 Sun, Dec 10, 8pm 509-997-ARTS, www.confluencegallery.com ing press. $30. See article. Door No. 3, [email protected] Confluence Gallery’s Holiday exhibit. See article. Freestone Inn & Cabins. Prohibition ended in 1933. Celebrate Michael Brady Piano Concert Fix Your Gear Nights at eqpd 509-997-ARTS, www.confluencegallery.com in Mazama.
Load more

Recommended publications
  • Hip Hop Helps: Systemic Discrimination in Social Work Andragogy
    This thesis/project/dissertation has been reviewed for 508 compliance. To request enhancements, please email [email protected]. HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project Presented to the faculty of the Division of Social Work California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF SOCIAL WORK by Yarin Gomez SPRING 2017 © 2017 Yarin Gomez ALL RIGHTS RESERVED ii HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY A Project by Yarin Gomez Approved by: __________________________________, Committee Chair Maria Dinis, Ph.D., MSW ____________________________ Date iii Student: Yarin Gomez I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the project. __________________________, Department Chair ___________________ Dale Russell Date Division of Social Work iv Abstract of HIP HOP HELPS: SYSTEMIC DISCRIMINATION IN SOCIAL WORK ANDRAGOGY by Yarin Gomez Hip Hop is a transnational culture ignored in social work academia. A qualitative exploratory study with a social constructionist lens used a non-probability sampling method to recruit six Masters-level social work students in a stakeholder-engaged focus group. Subjects took the Rap Music Attitude and Perception (RAP) Scale, to gage perceptions about the music genre. As part of the focus group, open-ended questions were presented about Hip Hop music video content with themes of institutional racism. Data analysis verified individual and collective processes of social identity construction, delineating social agency versus oppression, and exploring the educational merits of Hip Hop.
    [Show full text]
  • Notes on Identity and Politics in the Native American Indian Hip Hop Community
    Native American Indian Hip Hop By Neal Ullestad Native American Indian Hip Hop 2 ABSTRACT Notes on Identity and Politics in the Native American Indian Hip Hop Community 1/25/12 This article raises several questions for analysis regarding identity and politics in indigenous hip hop in the United States. Asking how community, home, land, patriarchy and colonialism affect expressed indigenous hip hop identities, and how pedagogy, affirmation and play are exhibited in Native lyrical content, primarily positive examples are examined. Native American Indian Hip Hop 3 Forged in the creative imagination of identities in resistance to imposed defeat, loss of land and culture, and stereotypes that enable oppression, Native American Indian rappers are today making a positive impact in indigenous communities across the country. Using the most modern musical techniques and sounds, they carry forward elements of the wisdom of the past. Gabriel Yaiva, Diné hip hop artist and activist from Arizona, who listens for wisdom in the “sounds of the ancients,” wonders on “Many Ways to Grow Corn,” “Who’s planning for the Seventh Generation?” (Summer Solstice, 2009) At the same time that he ponders the future, Yaiva pronounces that “there was a time when we had to wait in line to be heard.” That time has passed, and indigenous activists are speaking out, telling their stories and working together in coalitions – with natives and non-natives alike – to take control of their lives, culture and environment. An amazing array of young indigenous people is utilizing hip hop and rap as a vehicle to organize for justice and well-being and to express their Native identities.
    [Show full text]
  • Lorentz, Korinna
    MASTERARBEIT im Studiengang Crossmedia Publishing & Management Erfolgversprechende Melodien – Analyse der Hooklines erfolgreicher Popsongs zur Erkennung von Mustern hinsichtlich der Aufeinanderfolge von Tönen und Tonlängen Vorgelegt von Korinna Gabriele Lorentz an der Hochschule der Medien Stuttgart am 08. Mai 2021 zur Erlangung des akademischen Grades eines „Master of Arts“ Erster Betreuer und Gutachter: Prof. Dr. Oliver Wiesener Zweiter Betreuer und Gutachter: Prof. Oliver Curdt E-Mail: [email protected] Matrikelnummer: 39708 Fachsemester: 4 Geburtsdatum, -ort: 15.04.1995 in Kiel Danksagung Mein größter Dank gilt Professor Dr. Oliver Wiesener für das Überlassen des Themas und die umfangreiche Unterstützung bei methodischen und stochastischen Überlegungen. Ich danke ihm insbesondere dafür, dass er trotz einiger anderer Betreuungsprojekte meine Masterarbeit angenommen hat und somit meinen Wunsch, im Musikbereich zu forschen, ermöglicht hat. Des Weiteren möchte ich meinem Freund und meiner Familie dafür danken, dass sie sich meine Problemstellungen bis zum Ende hin angehört haben und mir immer wieder Inspi- rationen für neue Lösungswege geben konnten. Besonderer Dank gilt meiner Mutter, Gabriele Lorentz, mit der ich interessante Gespräche zu musikalischen Themen führen konnte und mei- nem Vater, Dr. Thomas Lorentz, mit dem ich nächtliche Diskussionen über Markov-Ketten und Neuronale Netzwerke hatte. Ich danke meinen Eltern und meinem Freund, Michael Feuerlein, für die kritische Durchsicht der Arbeit. Kurzfassung In der vorliegenden Masterarbeit wurden die Melodie-Hooklines von Popsongs, die in Deutsch- land zwischen 1978 und 2019 sehr erfolgreich waren, explorativ analysiert. Ziel war, zu unter- suchen, ob gewisse Muster in den Reihenfolgen der Töne und Tonlängen vorkommen, und diese zu finden. Für die Mustersuche wurden Markov-Ketten erster, zweiter und dritter Ord- nung sowie Chi-Quadrat-Anpassungstests berechnet.
    [Show full text]
  • The Value of Arts Education: How Do We Measure Success in American Society?
    The Value of Arts Education: How Do We Measure Success in American Society? Jan Harasim T. H. Rogers K-8 School INTRODUCTION In an era when public schools are expected to focus largely on testing and statistical measurements to validate success, the value of arts education has once again been called into question. In the political atmosphere of the No Child Left Behind (NCLB) legislative mandate, many schools have chosen to cut the arts out of the curriculum, and deem the subjects of reading, writing, and arithmetic as the most indicative measures of student success. But what quantitative test can ever measure the impact of the arts, and, in particular, music, on the development of a child? We are getting better at finding out the answers, as several scientific studies have found that arts education actually raises the academic performance level of students as well as enhances affective domain outcomes. (Deasy iv) In one such study, published in 1999, researchers from Columbia University Teachers College found that “young people in ‘high-arts’ groups performed better than those in ‘low-arts’ groups on measures of creativity, fluency, originality, elaboration, and resistance to closure … pupils in arts-intensive settings were also strong in their abilities to express thoughts and ideas, exercise their imaginations and take risks in learning” (Burton, Horowitz, and Abeles 36). Students immersed in an arts-rich curriculum demonstrated “the ability to explore myriad ideas, envision and try out unusual and personal responses, consider objects, ideas, and experiences in detail, and be willing to keep thoughts open long enough to take imaginative leaps” (38).
    [Show full text]
  • Éducation Et Engagement Dans Le Hip Hop Global Charles Norton
    Éducation et engagement dans le hip hop global Charles Norton To cite this version: Charles Norton. Éducation et engagement dans le hip hop global. Art et histoire de l’art. Université de Nanterre - Paris X, 2020. Français. NNT : 2020PA100150. tel-03273448 HAL Id: tel-03273448 https://tel.archives-ouvertes.fr/tel-03273448 Submitted on 29 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. École doctorale 138 : Lettres, langues, spectacles EA 4414 : Histoire des arts et des représentations Membre de l’université Paris Lumières Charles Norton Éducation et engagement dans le hip hop global Thèse présentée et soutenue publiquement le 18/12/2020 en vue de l’obtention du doctorat de Esthétique de l’Université Paris Nanterre sous la direction de M. Alain Milon (Université Paris Nanterre) Jury : Rapporteur : M. Alain-Philippe Durand Doyen et professeur des universités à University of Arizona Rapporteure : Mme. Vivian Nun Halloran Doyenne et professeur à Indiana University à Bloomington Membre du jury : M. Alain Milon Professeur des universités à l’Université Paris Nanterre, membre de l’IUF Membre du jury : M. Alain Vulbeau Professeur émérite à l’Université Paris Nanterre Membre du jury : Mme.
    [Show full text]
  • Multilingual Metal Music EMERALD STUDIES in METAL MUSIC and CULTURE
    Multilingual Metal Music EMERALD STUDIES IN METAL MUSIC AND CULTURE Series Editors: Rosemary Lucy Hill and Keith Kahn-Harris International Editorial Advisory Board: Andy R. Brown, Bath Spa University, UK; Amber Clifford-Napleone, University of Central Missouri, USA; Kevin Fellezs, Columbia University, USA; Cynthia Grund, University of Southern Denmark, Denmark Gérôme Guibert, Université Sorbonne Nouvelle, France; Catherine Hoad, Macquarie University, Australia; Rosemary Overell, Otago University, New Zealand; Niall Scott, University of Central Lancashire, UK; Karl Sprack- len, Leeds Beckett University, UK; Heather Savigny, De Montfort University, UK; Nelson Varas-Diaz, Florida International University, USA; Deena Wein- stein, DePaul University, USA Metal Music Studies has grown enormously over the last 8 years from a hand- ful of scholars within Sociology and Popular Music Studies, to hundreds of active scholars working across a diverse range of disciplines. The rise of interest in heavy metal academically reflects the growth of the genre as a normal or con- tested part of everyday lives around the globe. The aim of this series is to provide a home and focus for the growing number of monographs and edited collections that analyse heavy metal and other heavy music; to publish work that fits within the emergent subject field of metal music studies; that is, work that is critical and inter-disciplinary across the social sciences and humanities; to publish work that is of interest to and enhances wider disciplines and subject fields across social sciences and the humanities; and to support the development of early career researchers through providing opportunities to convert their doctoral theses into research monographs.
    [Show full text]
  • “I'm Not a Rapper, I'm an Activist Who Rhymes”: Native
    “I’M NOT A RAPPER, I’M AN ACTIVIST WHO RHYMES”: NATIVE AMERICAN HIP HOP, ACTIVISM, AND TWENTY-FIRST CENTURY IDENTITIES by MEGAN M. ENGLAND A THESIS Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2016 THESIS APPROVAL PAGE Student: Megan M. England Title: “I’m Not a Rapper, I’m an Activist Who Rhymes”: Native American Hip Hop, Activism, and Twenty-First Century Identities This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of English by: Dr. Elizabeth Wheeler Chairperson Dr. Kirby Brown Member Dr. Stephanie Nohelani Teves Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Megan M. England iii THESIS ABSTRACT Megan M. England Master of Arts Department of English June 2016 Title: “I’m Not a Rapper, I’m an Activist Who Rhymes”: Native American Hip Hop, Activism, and Twenty-First Century Identities In this thesis, I examine the ways in which a growing number of Indigenous artists in the United States and Canada are using hip hop not only as a form of artistic expression, but also to vent frustration about and to draw attention to contemporary issues affecting their communities. These artists participate in a tradition of politically conscious performance that has influenced and been influenced by Indigenous social movements across North America.
    [Show full text]
  • Black African and Caribbean Youth Inclusion Practices: the Role of Hip-Hop
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2017 Black African and Caribbean Youth Inclusion Practices: The Role of Hip-hop Lewis, Stefan Lewis, S. (2017). Black African and Caribbean Youth Inclusion Practices: The Role of Hip-hop (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/25145 http://hdl.handle.net/11023/3655 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Black African and Caribbean Youth Inclusion Practices: The Role of Hip-hop by Stefan Lewis A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS GRADUATE PROGRAM IN SOCIOLOGY CALGARY, ALBERTA February, 2017 © Stefan Lewis 2017 Abstract In this thesis I explore the ways in which Black African and Caribbean immigrant youth in Calgary, Alberta, use Hip-hop culture to foster feelings of inclusion in Canadian society. It is projected that by 2016, 25% of the youth population in Canada was immigrant. While some immigrant youth are on par socio-economically with their Canadian-born counterparts, others face barriers that make inclusion strenuous. First and second generation Black African and Caribbean immigrant youth in particular face social and economic barriers in Alberta.
    [Show full text]
  • Urbana Glazba
    Urbana glazba Bando, Marin Master's thesis / Diplomski rad 2019 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Academy of Arts and Culture in Osijek / Sveučilište Josipa Jurja Strossmayera u Osijeku, Akademija za umjetnost i kulturu u Osijeku Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:251:401863 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-23 Repository / Repozitorij: Repository of the Academy of Arts and Culture in Osijek SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU ODSJEK ZA GLAZBENU UMJETNOST STUDIJ GLAZBENA PEDAGOGIJA Marin Bando URBANA GLAZBA Diplomski rad MENTORICA: red. prof. art. Sanja Drakulić Osijek, 2019. SAŽETAK Urbana glazba je žanr iz 80-ih i 90-ih godina koji uključuje R&B, hip hop, soul i grime. Danas je, pod utjecajem globalizacije, tržišne ekonomije i slobodnog tržišta, zauzela svoje mjesto u mainstream popularnoj kulturi. Može se reći da ne postoji dio svijeta u kojemu ne postoje hibridni i mješoviti žanrovi i podvrste, posebice hip hopa koji je izdominirao na tržištu urbane glazbe. Postoji svjetska hip hop scena, ali i ona regionalna. Bez obzira na neke različitosti, neke karakteristike hip hopa su posvuda iste. Naime, to je pretežno „crnačka glazba“ koja je utjecala na brojne kulture, a koja je od svojih početaka do danas ostala vjerna svojim tradicionalnim načelima kao što su dance skupine, koreografije, video, festivali, grafiti, break dance, DJ-evi, beatboxing, MCing, sinkopirani ritmovi bubnja, upotreba gramofona itd. Urbana je glazba danas pod utjecajem moćne glazbene industrije i tehnološkog napretka, te je postala u velikoj mjeri komercijalna.
    [Show full text]
  • Proquest Dissertations
    Aural Traditions: Indigenous Youth and the Hip-hop Movement in Canada A Dissertation Submitted to the Committee on Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctorate of Philosophy in the Faculty of Arts and Sciences TRENT UNIVERSITY Peterborough, Ontario, Canada © Copyright by Karyn Recollet 2010 Indigenous Studies Ph.D. Graduate Program May 2010 * Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-64088-3 Our file Notre reference ISBN: 978-0-494-64088-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • CAN WE LIVE and BE MODERN and INDIGENOUS? Toward an Indigenous Hip Hop Culture
    Introduction CAN WE LIVE AND BE MODERN AND INDIGENOUS? Toward an Indigenous Hip Hop Culture In the summer of 2009, I attended an academic conference on the West Coast. It was arid and hot. Held during the evening, we had a fancy gathering with fresh-grilled steak, fish, and all sorts of fancy foods that at the time I was not culturally equipped to know what they were. Not knowing very many people, I got my plate, then scoped out where I was going to sit. I approached a table with what looked like a healthy mix of elders and adults in their early thirties, then sat down. An elder took an interest in me. He was a very tall, handsome, masculine Native (Dine) man. He had long gray hair that glistened in the setting sun; he wore a bolo tie. His hands were adorned with at least three rings on each. And he had a deep voice; he sounded like my uncle. He asked me where I was from (basically, are you Native and if so, where is your family from? I found this a positive approach to the question.). And finally, he asked me what I was interested in academi- cally. I told him that I was interested in the relationship between black Americans and Native Americans during the black-red-power movements. He nodded, searching, I suppose, about how he could follow up with another question or extend the discussion. Sensing the pause, I then casually mentioned that I am interested in Native American hip hop. His head jerked up as if he had a sudden neck spasm.
    [Show full text]