DOCSLIB.ORG

Centro Cultural De La Raza Archives CEMA 12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Centro Cultural De La Raza Archives CEMA 12 http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g No online items Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections © 2006 Centro Cultural de la Raza CEMA 12 1 Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 83.0 linear feet Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes). creator: Centro Cultural de la Raza (San Diego, Calif.). Access Restrictions None. Publication Rights Copyright resides with donor. Copyright has not been assigned to the Department of Special Collections, UCSB. All Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which also must be obtained Preferred Citation Centro Cultural de la Raza Archives, CEMA 12., Department of Special Collections, University Libraries, University of California, Santa Barbara. Acquisition Information Donated by CCLR board of directors, 2000. Organization History El Centro Cultural de la Raza is a Chicano Cultural Center founded in 1970 in San Diego, as an alternative program to encourage and facilitate artistic growth and cultural interchange in the San Diego communities. It is currently a member of the American Association of Museums. Centro Cultural has given birth to many artistic groups, such as MALAF, the Mexican American Liberation Art Front, and Teatro Mestizo. It also provides art classes and drama, music, dance and arts and crafts Presentations, many of which have origins in Mexico and "Aztlán," a term used by Chicanos to indicate the American Southwest. Tours and presentations have been designed to give background on various cultural activities. The Centro's circular building has offices and workrooms, studios, a theater, and much wall space for mural projects. It is one of the largest Chicano cultural arts buildings in the Southwest. The cultural center supports and encourages the creative expression "of those people who are indigenous to the border region." Although established in 1970, its origins stem to the mid to late 1960's, when local Chicano artists were becoming aware that they needed a place where they could develop and preserve the contributions and ideologies of San Diego's native population. Those active in forming the center and the organization of Los Toltecas en Aztlán, the organizing body of the center, were Salvador Torres, Guillermo Aranda, Ruben de Anda, Mario Acevedo, Victor Ochoa, David Avalos, the Enrique Family, the Delia Moreno Family, and others. Though much of the formative years of the center's philosophy and ideology began in the mid 60's, the center's official inauguration was in July 1970 when the city of San Diego allowed Torres and company to locate the cultural center in Balboa Park. Through much political and social opposition in the 1970's due to subject matter of murals and debate on the question of where they would be based, the cultural center endured and became very strong with the backing of its community members. As a cultural center, it not only promoted creative expression in art and formal art classes, but also included in its busy seven day-a-week schedule workshops in danza folklorica, interpretive dance, music, theatre, sculpture, and a multidisciplinary 'Tolteca' class. These classes were the basis of all activities that took place, as education of and for the border culture was important to the Toltecas en Aztlán. Closely related are the multi-media events that took place. These events incorporated music, dance and poetry to generate traditional and indigenous Mexican theatrical motifs. Groups that formed through the work of the Center include: Ballet Folklorico in Aztlán, founded by Herminia Enrique;Congreso de Artistas Chicanos en Aztlán, founded by Salvador Torres;and Trio Moreno, a musical group Centro Cultural de la Raza CEMA 12 2 Archives CEMA 12 Scope and Content of Collection The Centro Cultural de la Raza archives represents activities at and involving CCLR and its members between 1971 and 1999. The collection consists of 8 series contained in 156 archival boxes occupying approximately 67 linear feet of space. There are also 738 slides for which a separate guide is available through CEMA. In addition there are 226 silk screen prints and 66 offset printed posters housed in 3 map drawers in CEMA and approximately 250 offset prints are housed in boxes at the annex. A separate guide is not yet available for this collection. The archival material includes but is not limited to administrative/personnel records, grant/funding requests and applications and event/program/project documentation, as well as collected research on various artists, political figures (politicos) and a wide variety of topical themes from agriculture to racism. The series are arranged with an emphasis on CCLR's own system of record-keeping as of December 1, 1982 when a central files outline was created reflecting the order of and patterns used in cycle's filing system (a copy of this general outline is available in Series I Sub Series IV ). Subsequently folders generally follow either an alphabetical or a chronological order according to original titles or dates. When necessary, titles were assigned to folders that lost their labels or to items that were loose or without a proper folder. The archives include organizational records, films, videos, slides, photographs, posters, exhibition catalogs, and the manuscripts for published and unpublished works. Included is an extensive collection of clipping files and correspondence files on Chicano issues in the San Diego area. Series descriptions Series I: Administrative Records. Series I is housed in 54 archival boxes and is composed of four sub series;each sub series is chronologically ordered, beginning with the earliest date and ending with not dated (n.d.) material. Sub series I , Board of Directors , contains mostly board of directors meetings and includes By-Laws and articles of incorporation pertaining to both the founding of Toltecas en Aztlán and Centro Cultural de la Raza. Sub series II , Committees , contains by-laws, meetings and notes from various committees, beginning with numerous files pertaining to Mesa Directiva. Sub series III , Funding , consists of audits, accountant reports, budgets, and grant applications and proposals. Major funding sources are Combined Arts and Education Council (COMBO), the City of San Diego Financial Department, Regional Employment and Training Consortium, California Arts Council, Parks and Recreation Department Recreation Support Program, and National Endowment for the Arts. Sub series IV , General Administrative Files , contains a wide variety of material including activities reports, correspondence, lease agreements, membership development, staff meetings, and policies and procedures manuals. Series II: Internal Events, Programs and Projects. Series II is housed in 28 archival boxes and is a copious source of information on a wide variety of activities taking place at CCLR. Activities documented consist of workshops, exhibitions, mural dedications and projects, performances and various arts and cultural events. Workshops documented here include but are not limited to Ballet Folklorico en Aztlán, Tolteca Productions, Teatro Mestizo, Toltecas Concheros, Razita and the Border Arts Workshop or Taller de Arte Fronterizo (BAW/TAF). Events documented here include the 10th, 15th and 20th Anniversary celebrations of the CCLR along with the Norteñ o Music Festival, Chicano Park Day. Included in this series are numerous files pertaining to CCLR's 15th Anniversary Celebration and published book, Made In Aztlán . This entire series is ordered chronologically and then alphabetically within each year. Any information pertaining to Tolteca Publications is housed in the fifth series, Publications , in the sub series, Internal Publications . Series III: Organizations, Institutions and Corporations. Series III is housed in 32 archival boxes and is a reflection of CCLR's wide variety of professional networking activities. It is composed of four sub series;the first three sub series are ordered alphabetically by title, the last sub series is ordered chronologically. Sub series I , Community
Load more

Recommended publications
  • TOOLBOX of FAITH a Tapestry of Faith Program for Children Grades
    TOOLBOX OF FAITH A Tapestry of Faith Program for Children Grades 4-5 BY KATE TWEEDIE COVEY © Copyright 2008 Unitarian Universalist Association. This program and additional resources are available on the UUA.org web site at www.uua.org/re/tapestry . 1 TABLE OF CONTENTS ABOUT THE AUTHORS ....................................................................................................................... 3 ACKNOWLEDGMENTS ....................................................................................................................... 3 THE PROGRAM ................................................................................................................................... 4 SESSION 1: FAITH (TOOLBOX AND RULER) .................................................................................. 15 SESSION 2: QUESTIONING (MAGNIFYING GLASS) ....................................................................... 27 SESSION 3: INTEGRITY (COMPASS) ............................................................................................... 40 SESSION 4: FLEXIBILITY (DUCT TAPE) .......................................................................................... 54 SESSION 5: REFLECTION (MIRROR) .............................................................................................. 68 SESSION 6: EXPRESSION (PAINTBRUSH) ..................................................................................... 79 SESSION 7: DEMOCRATIC PROCESS (CHALK) ............................................................................
    [Show full text]
  • Indigenous Resistance Movements in the Peruvian Amazon
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon Christian Calienes 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/2526 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] THE PRODUCTION OF SPACE Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes A dissertation submitted to the Graduate Faculty in Earth and Environmental Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 i © 2018 CHRISTIAN CALIENES All Rights Reserved ii The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon by Christian Calienes This manuscript has been read and accepted for the Graduate Faculty in Earth & Environmental Sciences in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Inés Miyares Chair of Examining Committee Date Cindi Katz Executive Officer Supervisory Committee: Inés Miyares Thomas Angotti Mark Ungar THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes Advisor: Inés Miyares The resistance movement that resulted in the Baguazo in the northern Peruvian Amazon in 2009 was the culmination of a series of social, economic, political and spatial processes that reflected the Peruvian nation’s engagement with global capitalism and democratic consolidation after decades of crippling instability and chaos.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • 04-01-1921.Pdf
    CA s s CITY CHR ONICL, E Vol. 16, No. 46., CASS CITY, MICH., FRIDAY, APRIL 1, 1921 10 PAGES I I,~ , ,q Beach. This camp site is furnished for many milestones of contented, with electric lights, city water, nice b~issnfdU:.travelisthewish°fah°st°f TWO 80HOOL8 - driveway encircling the park and is The Garden Plot BILL P[}ST[R CU, only five hours trip from Detroit on gravel roads. A rustic casino with DIVIDE HONOlt] fine dancing pavilion on the ~second AUCTION ~ CALENDAI~. i; IN;O POR TED / floor, huge cement stoves under roof are erected, boating facilities are pro~ Wm. Parrish has sold his farm 21~ RUBA MARSHALL WINS ORA- vided and a free bath house will be at miles west of Cuss City and will have S. CHAMPION ADMITS PAR.T= TORICAL CONTEST AT the disposal of the tourists. County an auction sale on Wednesday, April NERS AND ENLARGES CROSWELL. League baseball games will be played 6. Full particulars are printed on on the ball grounds adjoining and the page 9. BUSINESS. rocky rip rap of the north pier fur- Dr. J. T. Redwine has sold ~is resi- nishe,~ a wonderful haven for black dence property and wilt sell his CroswelI School Representative Suc- Company Will Extend Working Field bass. household goods at auction on Satur- cessful in Declamatory Contest day, April 9. The list of articles i,s to A|ma, St. Louis, Mr. Pleasant, Friday Evening. )tinted on page 8. Ithaca and Other Points.' Alex McPhait wiil hold an auction sale Of live stock and implements on Miss Ruba Marshall, the represen- 12 STATESPt88[D the McPhail farm lb~ miles'north of When Gee.
    [Show full text]
  • Sentimental Appropriations: Contemporary Sympathy In
    SENTIMENTAL APPROPRIATIONS: CONTEMPORARY SYMPATHY IN THE NOVELS OF GRACE LUMPKIN, JOSEPHINE JOHNSON, JOHN STEINBECK, MARGARET WALKER, OCTAVIA BUTLER, AND TONI MORRISON Jennifer A. Williamson A dissertation submitted to the faculty of the University of North Carolina in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature Chapel Hill 2011 Approved by: Linda Wagner-Martin William L. Andrews Philip Gura Fred Hobson Wahneema Lubiano © 2011 Jennifer A. Williamson ALL RIGHTS RESERVED ii ABSTRACT JENNIFER A. WILLIAMSON: Sentimental Appropriations: Contemporary Sympathy in the Novels of Grace Lumpkin, Josephine Johnson, John Steinbeck, Margaret Walker, Octavia Butler, and Toni Morrison (Under the direction of Linda Wagner-Martin) This project investigates the appearance of the nineteenth-century American sentimental mode in more recent literature, revealing that the cultural work of sentimentalism continues in the twentieth-century and beyond. By examining working-class literature that adopts the rhetoric of “feeling right” in order to promote a proletarian ideology as well as neo-slave narratives that wrestle with the legacy of slavery, this study explores the ways contemporary authors engage with familiar sentimental tropes and ideals. Despite modernism’s influential assertion that sentimentalism portrays emotion that lacks reality or depth, narrative claims to feeling— particularly those based in common and recognizable forms of suffering—remain popular. It seems clear that such authors as Grace Lumpkin, Josephine Johnson, John Steinbeck, Margaret Walker, Octavia Butler, and Toni Morrison apply the rhetorical methods of sentimentalism to the cultural struggles of their age. Contemporary authors self-consciously struggle with sentimentalism’s gender, class, and race ideals; however, sentimentalism’s dual ability to promote these ideals and extend identification across them makes it an attractive and effective mode for political and social influence.
    [Show full text]
  • Ing Theatre History in the Americas
    Re-Stor(y)ing Theatre History in the Americas: Professional Players and the Callao Contract of 1599 Susan Beth Finque A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Scott Magelssen, Chair Jose Antonio Lucero Stefka Mihaylova Program Authorized to Offer Degree: School of Drama @Copyright 2017 Susan B. Finque University of Washington Abstract Re-stor(y)ing Theatre History in the Americas: Professional Players and the Callao Contract of 1599 Susan B. Finque Chair of the Supervising Committee: Associate Professor Scott Magelssen, Chair School of Drama In neglecting Peruvian theatre history, theatre studies has kept a branch of American theatre’s genealogical tree nearly invisible, despite the fruits of its growth thriving in plain sight. In investigating a contract drawn in Callao, Peru, 1599, I reveal a culture of secular, professional performance in sixteenth-century Lima. Inarguably creating the first professional company in the Western Hemisphere, the contract features male and female signatories, democratic structure, business sophistication, and a synchronicity with the evolution of the profession in Shakespeare’s London. Players were onstage in the Americas more than a hundred years earlier than current narratives dictate. The contract’s neglect, and English language scholars’ neglect of the Peruvian archives reveal pervasive biases in historiography. Asking how an abundance of archival evidence and the repertory of Peru persist without influencing theatre history in the Americas, I investigate genetic elements in the americanity of Peru, a term defining influences from indigenous, invasive and mestizaje cultures. I theorize with scholars Michel de Certeau, Carolyn Dean, Diana Taylor, Odai Johnson and Joseph Roach, among others, how slow-to-change narratives of theatre history in the Americas lack a hemispheric consciousness and are ruled by a series of persistent hegemonic assumptions.
    [Show full text]
  • Worth Their Salt, Too
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@USU Utah State University DigitalCommons@USU All USU Press Publications USU Press 2000 Worth Their Salt, Too Colleen Whitley Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the United States History Commons Recommended Citation Whitley, C. (2000). Worth their salt, too: More notable but often unnoted women of Utah. Logan: Utah State University Press. This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. Worth Their Salt, Too More Notable but Often Unnoted Women of Utah WORTH THEIR SALT, TOO More Notable but Often Unnoted Women of Utah Edited by Colleen Whitley UTAH STATE UNIVERSITY PRESS Logan, Utah 2000 Copyright © 2000 Utah State University Press “Marion Davis Clegg: The Lady of the Lakes” copyright © 2000 Carol C. Johnson All rights reserved Utah State University Press Logan, Utah 84322-7800 All royalties from the sale of this book will be donated to support the Exhibits office of the Utah State Historical Society. Cover photos: Marion Davis Clegg, courtesy of Photosynthesis; Verla Gean FarmanFarmaian, courtesy of Gean FarmanFarmaian; Ora Bailey Harding, courtesy of Lurean S. Harding; Alberta Henry, courtesy of the Deseret News; Esther Peterson, courtesy of Paul A. Allred; Virginia Sorensen, courtesy of Mary Bradford Typography by WolfPack Printed in Canada Library of Congress Cataloging-in-Publication Data Worth their salt, too : more notable but often unnoted women of Utah / edited by Colleen Whitley.
    [Show full text]
  • Ministerial Regional Meeting
    MINISTERIAL REGIONAL MEETING “Education for All in Latin America and the Caribbean: Balance and Challenges post-2015” MINISTRY OF EDUCATION OF PERU Lima, October 30th and 31st, 2014 Education for All in Latin America and the Caribbean: Balance y Challenges post-2015 2 INDEX PRESENTATION 03 ORGANIZATION Organizers 04 Contacts 04 Participants 05 Venue of the Event 05 General Facilities 06 Visa 06 Health Services 06 Smokers 06 FACILITIES: Ministers 07 FACILITIES: Delegates and Technical Teams 08 GENERAL INFORMATION LIMA, Host City 14 Climate 15 Currency 15 Commerce 17 Telecommunications 17 Taxes 17 Electricity 17 Banks and Credit Card Services 17 Local Time 18 Attention Hours 18 Places of Interest 19 Gastronomy 22 Education for All in Latin America and the Caribbean: Balance y Challenges post-2015 3 PRESENTATION Education for All (EFA) was promoted by five multilateral organizations (UNESCO, UNICEF, UNDP, UNFPA and the World Bank) in the World Conference on Education for All held in Jomtien (1990) where it was assumed an “expanded vision of learning” and it was agreed to establish universal access to basic education and to massively reduce illiteracy before the end of the decade. This global commitment to provide quality basic education for all children, youth and adults was assumed by our country in the World Education Forum in Dakar (2000), where there were established six objectives aiming to meet the learning needs of all children, youth and adults by 2015. The priority activities of EFA are related to early childhood education, high quality universal primary education, education for youth and adults, literacy, gender equality and quality of education.
    [Show full text]
  • C 1992-219 a Nahuatl Interpretation of the Conquest
    In: Amaryll Chanady, Latin American Identity and Constructions of Difference, University of Minnesota Press, Minneapolis, Vol. 10, 1994, pp. 104-129. Chapter 6 A Nahuatl Interpretation of the Conquest: From the "Parousia" of the Gods to the "Invasion" Enrique Dussel (translated by Amaryll Chanady) In teteu inan in tetu ita, in Huehueteutl [Mother of the gods, Father of the gods, the Old God], lying on the navel of the Earth, enclosed in a refuge of turquoises. He who lives in the waters the color of a blue bird, he who is surrounded by clouds, the Old God, he who lives in the shadows of the realm of the dead, the lord of fire and time. -Song to Ometeótl, the originary being of the Aztec Tlamatinime1 I would like to examine the "meaning of 1492," which is nothing else but "the first experience of modem Europeans," from the perspective of the "world" of the Aztecs, as the conquest in the literal sense of the term started in Mexico. In some cases I will refer to other cultures in order to suggest additional interpreta- tions, although I am aware that these are only a few of the many possible examples, and that they are a mere "indication" of the problematic. Also, in the desire to continue an intercultural dia- logue initiated in Freiburg with Karl-Otto Apel in 1989, I will re- fer primarily to the existence of reflexive abstract thought on our continent.2 The tlamatini In nomadic societies (of the first level) or societies of rural plant- ers (like the Guaranis), social differentiation was not developed sufficiently to identify a function akin to that of the "philoso- pher", although in urban society this social figure acquires a dis- tinct profile.3 As we can read in Garcilaso de la Vega's Comenta- rios reales de los Incas: 104 105 Demás de adorar al Sol por dios visible, a quien ofrecieron sacrificios e hicieron grandes fiestas,..
    [Show full text]
  • Following Hit Trail
    August 4, 1962 50 Cents B1ILLE31:1A11:11111 IN/R..11910 WEEK Music -Phonograph Merchandising Radio -Tv Programming Coin Machine Operating Teen -Angle Albums MUSICBILLBOARD WEEK PAGE ONE RECORDS PAGE ONE RECORD Following Hit Trail SINGLES ALBUMS Blazed by Singles The slight pickup in LP sales which started in mid -July continued last week, sparked mainly by hit LP's with pop * NATIONAL BREAKOUTS * NATIONAL BREAKOUTS artists and a number of movie sound tracks. Though this was true in most markets there were a number of areas where LP SHE'S NOT YOU, ElvisPresley, RCA Victor MONO sales were still sluggish. Where LP business ranged from good 8041 to strong it was the fast sales pace of the hit items, especially ROSES ARE RED, Bobby Vinton, Epic LN 24020 the newer LP's, that created most of thetraffic.Hit LP's appear to be jumping to the top of charts at a much faster rate than they used to, and grabbing sales immediate?), upon STEREO release instead of after a month or two on the market. More and more the LP business, according to dealers,is following * REGIONAL BREAKOUTS No Breakouts This Week. the hit trend of the singles record market, perhaps because so These new records, not yet on BMW's Hot 100, have many of the new albums are teen -oriented. been reported getting strong sales action by dealers Meanwhile, singles business continued to flow its happy in major market(s)listedinparenthesis. way, with dealers and rackers reporting that this summer's 45 * NEW ACTION LP'S sales are the best in the last three summers.
    [Show full text]
  • CALLAO, PERU Onboard: 1800 Saturday November 26
    Arrive: 0800 Tuesday November 22 CALLAO, PERU Onboard: 1800 Saturday November 26 Brief Overview: A traveler’s paradise, the warm arms of Peru envelope some of the world’s most timeless traditions and greatest ancient treasures! From its immense biodiversity, the breathtaking beauty of the Andes Mountains (the longest in the world!) and the Sacred Valley, to relics of the Incan Empire, like Machu Picchu, and the rich cultural diversity that populates the country today – Peru has an experience for everyone. Located in the Lima Metropolitan Area, the port of Callao is just a stone’s throw away from the dazzling sights and sounds of Peru’s capital and largest city, Lima. With its colorful buildings teeming with colonial architecture and verdant coastline cliffs, this vibrant city makes for a home-away-from-home during your port stay in Peru. Nearby: Explore Lima’s most iconic neighborhoods - Miraflores and Barranco – by foot, bike (PER 104-201 Biking Lima), and even Segway (PER 121-101 Lima by Segway). Be sure to hit up one of the local markets (PER 114-201 Culinary Lima) and try out Peruvian fare – you can’t go wrong with picarones (fried pumpkin dough with anis seeds and honey - pictured above), cuy (guinea pig), or huge ears of roast corn! Worth the travel: Cusco, the former capital of Incan civilization, is a short flight from Lima. From this ancient city, you can access a multitude of Andean wonders. Explore the ruins of the famed Machu Picchu, the city of Ollantaytambo – which still thrives to this day, Lake Titcaca and its many islands, and the culture of the Quechua people.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]