El Bilingüismo En El Estado De Nuevo México: Pasado Y Presente
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La Revolución Sin Fronteras. El Partido Liberal Mexicano Y Las Relaciones
SEMINARIOS La Revolución COLECCIÓN sin frontera El Partido Liberal Mexicano y las relaciones entre el movimiento obrero de México y el de Estados Unidos. 1900-1923 Javier Torres Parés La Revolución sin frontera COLECCIÓN SEMINARIOS FFL UNAM SEMINARIOS LA REVOLUCIÓN SIN FRONTERA El Partido Liberal Mexicano y las relaciones entre el movimiento obrero de México y el de Estados Unidos. 1900-1923 SEMINARIOS JAVIER TORRES PARÉS LA REVOLUCIÓN SIN FRONTERA El Partido Liberal Mexicano y las relaciones entre el movimiento obrero de México y el de Estados Unidos. 1900-1923 UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO FACULTAD DE FILOSOFÍA Y LETRAS Primera edición: 1990 Segunda edición: 2011 Tercera edición (revisada y corregida): 2014 1 de junio de 2014 DR © 2011. UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO Ciudad Universitaria, Delegación Coyoacán, C. P. 04510, México, D. F. ISBN 978-607-02-5465-9 Prohibida la reproducción total o parcial por cualquier medio sin autorización escrita del titular de los derechos patrimoniales. Impreso y hecho en México INTRODUCCIÓN El movimiento obrero de México, en su proceso de formación, esta- bleció múltiples vínculos con el proletariado de Estados Unidos. La participación de los trabajadores en la Revolución mexicana refleja la intensidad que alcanzó ese contacto. A través de la actividad del Partido Liberal Mexicano (PLM) la dimensión internacional de la experiencia obrera en esos años adquirió algunas de sus manifesta- ciones más ricas. Este aspecto de la historia del proletariado es el que se propone abordar el presente libro. Desde esta perspectiva es po- sible observar el desarrollo de importantes procesos sociales escasa- mente estudiados hasta ahora. -
EL RÍO D O-Your-Own-Exhibition Kit
EL RÍO D o-Your-Own-Exhibition Kit © 2003 Center for Folklife and Cultural Heritage Smithsonian Institution, Washington, DC Teacher’s Guide Writers: Olivia Cadaval, Cynthia Vidaurri, and Nilda Villalta Editor: Carla Borden Copy Editor: Arlene Reiniger Education Specialist: Betty Belanus Education Consultants: Jill Bryson,Tehani Collazo, and Sarah Field Intern: Catherine Fitzgerald The “El Río Do-Your-Own-Exhibition” Kit has been produced by the Smithsonian Center for Folklife and Cultural Heritage and supported by funds from the Smithsonian Latino Initiatives Fund, the Smithsonian Special Exhibition Fund, the Rockefeller Foundation, and the Houston Endowment, Inc. Table of Contents Teacher’s Preface to the Teachers Guide Unit 1 Introduction Unit 2 El Río Story Unit 3 Where We Live: People and Geography Unit 4 How and What We Know:Traditional Knowledge Unit 5 Who We Are: Cultural Identity Unit 6 How We Work: Sustainable Development Unit 7 Bringing It All Together Additional El Río Six-part Videotape Materials —Part 1 Ranching:Work —Part 2 Ranching: Crafts and Foodways —Part 3 Shrimping —Part 4 Piñata-making —Part 5 Conjunto Music —Part 6 Fiesta of San Lorenzo in Bernalillo, New Mexico EL RÍO DO-YOUR-OWN-EXHIBITION KIT Exhibition Exhibition Sample 1 El Río Exhibition Floor Plan for Smithsonian Institution Samples List Exhibition Sample 2 El Río Exhibition Introduction Panel Exhibition Sample 3 El Río Exhibition Sample Panel Exhibition Sample 4 Exhibit Objects Exhibition Sample 5 People and Place Introduction Exhibition Sample 6 People and -
71 B Di.Spora-Vol.II (2) 3As..Indd
De la “no intervención” a la institucionalización: la evolución de las relaciones Estado-diáspora en el caso mexicano* Alexandra Délano HASTA FINALES de los años ochenta, en términos generales, la posición del gobierno mexicano sobre la administración de los flujos migratorios consistía en garantizar la protección de los derechos de la población mexicana en Estados Unidos y asegurar que se mantuviera la “válvula de escape” a las presiones económicas y políticas del país. Parte de las con- diciones necesarias para lograr estos objetivos dependían de la estabilidad de la relación con Estados Unidos y de las percepciones del tema migra- torio como un problema en la agenda bilateral. Con el fin de mantener el statu quo “desventajoso pero familiar” (Ronfeldt y Sereseres, 1983: 89) y evitar tensiones en la relación bilateral, el gobierno mexicano desarrolló sus acciones de protección consular y sus relaciones con la comunidad mexicana en el exterior bajo los límites de la “no intervención” –lo cual se interpretaba como ejercer la responsabilidad de protección consular sin cuestionar los procesos legales estadounidenses ni fomentar la movi- lización política de la comunidad migrante, no organizar actividades de cabildeo y no participar en discusiones sobre las leyes migratorias de Estados Unidos (Cardoso, 1979; Zazueta, 1983; Rico, 1999). A su vez, evitó vincular la migración a otros temas para no “contaminar” la agenda bilateral. En el ámbito nacional, la discusión pública sobre estos temas era limitada y el gobierno respondía a las críticas de grupos nacio- nalistas y de oposición con una retórica basada en la idea de disuadir la emigración, promover el retorno de los migrantes y mantener sus lazos con la “patria perdida”. -
July 9 - 15, 2021
CALENDAR LISTING GUIDELINES • Submit Pasa Week calendar events via email to [email protected] at least two weeks prior to the event date. • Provide the following: event title, date, time, venue, brief description, ticket prices, contact phone number, and web address. • Inclusion of free listings is dependent on space availability. ARTS AND ENTERTAINMENT CALENDAR CALENDAR COMPILED BY PAMELA BEACH July 9 - 15, 2021 FRIDAY 7/9 SATURDAY 7/10 Gallery Openings Gallery Openings Ellsworth Gallery Encaustic Art Institute 215 E. Palace Ave., 505-989-7900 505-424-6487, eainm.com/2021-global-warming- D1 & D2: Re-Connection, ceramics by Doug Black is-real-exhibit and paintings/sculpture by Doug Coffin; Global Warming is REAL, virtual group show reception 5-7 p.m. of encaustic-wax works; through Aug. 27. Horndeski Contemporary Santa Fe Opera season opener 703 Canyon Rd., 505-231-3731 or 505-438-0484 The Marriage of Figaro Music Paintings, narrative paintings by Gregory 301 Opera Dr., 800-280-4654, 505-986-5900 Horndeski; through Aug. 28; reception 5-8 p.m. Mozart’s comic opera of intrigue, misunderstand- Manitou Galleries ings, and forgiveness; 8:30 p.m.; $36-$278, simulcast 225-B Canyon Rd., 505-986-0440 $50-$125; santafeopera.org/operas-and-ticketing. Creatures and Critters, works by painter Amy Lay And, Wednesday, July 14. (See stories, Pages 24-32) and sculptor Paul Rhymer; through Aug. 7. Classical Music McLarry Fine Art 225 Canyon Rd., 505-988-1161 Chatter (In) SITE SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 The Good Earth, landscapes by Peter Hagen; through July 23; reception 5-7 p.m. -
Further Readings
Further Readings Core Essay The American Latino (Stephen J. Pitti) Acosta‐Belén, Edna and Carlos E. Santiago. Puerto Ricans in the United States: A Contemporary Portrait. Latinos, Exploring Diversity and Change. Boulder, CO: Lynne Rienner Publishers, 2006. Alvarez, Luis. The Power of the Zoot: Youth Culture and Resistance During World War II. Berkeley: University of California Press, 2008. Amezcua, Mike. “The Second City Anew: Mexicans, Urban Culture, and Migration in the Transformation of Chicago, 1940‐1965.” PhD diss., Yale University, 2011. Blackwelder, Julia Kirk. Women of the Depression: Caste and Culture in San Antonio, 19291939. College Station: Texas A&M University Press, 1984. Buitron, Richard A. The Quest for Tejano Identity in San Antonio, Texas, 19132000. New York: Routledge, 2004. Burgos, Adrián. Playing America’s Game: Baseball, Latinos, and the Color Line. Berkeley: University of California Press, 2007. Burt, Kenneth C. The Search for a Civic Voice: California Latino Politics. Claremont, CA: Regina Books, 2007. Candelario, Ginetta E. B. Black Behind the Ears: Dominican Racial Identity from Museums to Beauty Shops. Durham, NC: Duke University Press, 2007. Capo, Julio. “It’s Not Queer to Be Gay: Miami and the Emergence of the Gay Rights Movement, 1945‐ 1995.” PhD diss., Florida International University, 2011. Casas, Maria Raquél. Married to a Daughter of the Land: SpanishMexican Women and Interethnic Marriage in California, 18201880. Reno: University of Nevada Press, 2007. Castañeda, Antonia I. “Presidarias Y Pobladoras: Spanish‐Mexican Women in Frontier Monterey, Alta California, 1770‐1821.” PhD diss., Stanford University, 1990. Chávez‐García, Miroslava. Negotiating Conquest: Gender and Power in California, 1770s to 1880s. -
Published in Enduring Legacies, University of Colorado Press, 2010
56 Published in Enduring Legacies, University of Colorado Press, 2010 Not for distribution without permission of Publisher and Author © Copyright 2010 Lorenzo A. Trujillo Music of the Rio Grande of Colorado and New Mexico Lorenzo A. Trujillo University of Colorado, Boulder A Journey in Time: Past – Present – Future Traditional Río Grande Chicano/Hispanoi music and dance in Colorado and New Mexico are influenced from many cultures of the world. Indigenous peoples, European settlers, and recent Mexican and Latino immigrants have all created a unique expression in music and dance among the Río Grande peoples. This article provides an insight into the many influences in the traditions, old and new, that we hear and see. More importantly, it presents common themes of culture transmission through many generations. The music and dance of Hispano populations of Colorado and New Mexico have developed over the last 600 plus years. The evolution begins and moves through various hallmark periods in time: the medieval period (1100 – 1400), the conquest of Mexico (1500 – 1600), the early explorations into New Mexico and Colorado (1700- 1800), the early 1900’s into the last half of the 1900’s, to today. Medieval Period – Renaissance 57 Spain is a county of many influences: Celt-Iberians, Iberians, Greeks, Phoenicians, Carthaginians, Romans, Jews, Visigoths, Moors and Arabs.ii From 711 until 1492, Spain was under the tremendous influence of the Moors and Arabs. Moorish and Arabic influences are very evident today in the architecture, music, dance and general culture of Spain as it has evolved into Hispano-America. Ceramic tiles, the flair for clicking the heels in a flamenco type rhythm, the syncopation of beats, and the sense of honor, pride, and the importance of the caballoiii, all bring to life the influence of the Moors and Arabs. -
New Mexico Musician Vol 40 No 1
New Mexico Musician Volume 40 | Number 1 Article 1 9-1-1992 New Mexico Musician Vol 40 No 1 Follow this and additional works at: https://digitalrepository.unm.edu/nm_musician Part of the Music Education Commons Recommended Citation . "New Mexico Musician Vol 40 No 1." New Mexico Musician 40, 1 (1992). https://digitalrepository.unm.edu/nm_musician/vol40/ iss1/1 This Full Issue is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Musician by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. @-lff FALL 199� inJ.jrr Inside: All-State Audition Information The Revised NMMEA Handbook NMMEA's Award Winners OFFICIAL PUBLICATION NEW MEXICO MUSIC EDUCATORS ASSOCIATION Volume XL WHEN??? FALL Band, Orchestra, Choir and Guitar Camps WINTER Christmas Concert Preparation SPRING Festival and Concert Preparation SUMMER Ten Weeks Music Camp Students Age 8 through 14 WHY??? Our clinicians and instrumental specialists teach sec tionals to prepare for your concert or festival. We accomplish in depth teaching in a woodland setting that combines music & outdoor recreation which in spires esprit-de-corps. WHO??? Cleveland Mid-School Band Jal High School Band Taos High School Band Grants NM Mid-School Band Los Alamos Mid-School Band Espanola High School Band Espanola Mid-School Band Lincoln Mid-School Band Las Cruces Mid-Schools Band Truman Mid-School Band Ruidoso Mid-School Band Mora High School Band Hayes Mid-School Band Clayton Schools Band Los Lunas Mid-School Band HUMMINGBIRD Jemez High School Band Highland High School Choir Socorro Mid-School Choir SUMMER MUSIC Jemez High School Choir and RECREATION CAMP Albq. -
Inside This Issue Icon of New Mexico, the American West, Articulated These Connections So Beautifully
Newsletter of the New Mexico Humanities Council Spring/Summer 2009 “If the landscape gave birth to American And while Ghost Ranch is one vehicle to help better understand New Mexicans’ identity, the West reaffirmed that existence.” attachment to place (and therefore get us closer to answering the RFP’s questions about “identity”) When we read that sentence in NMHC’s Mexico Press in July 2009. NMHC has we also know that if our project succeeds it request for proposals addressing the topic, contributed meaningfully to an important will be because so many visitors will leave the “What Does It Mean to Be a New Mexican?”, project, and we, in turn, will help further the exhibition thinking about their own deeply we immediately saw that our project was a council’s intent to explore “What it means to personal attachments to place. In short, our perfect fit. be a New Mexican.” exhibition’s educational promise is in uncovering In helping develop and deliver the multitude of personal narratives about special “Ghost Ranch and the Faraway places that provoke, inspire, and enlighten. Nearby,” we are working with a Ghost Ranch and the Faraway Nearby, the variety of humanities scholars, exhibition, will be presented at the Albuquerque artists, curators, and cultural Museum of Art and History from July 12 practitioners (for instance, through September 28, 2009, with the first Albuquerque Museum’s director, public slide-illustrated lecture on Sunday July 12 Cathy Wright and educational at 1 pm. The second presentation will be Friday curator, Elizabeth Becker have been July 17 at 6 pm at the new auditorium at the New key to developing the educational Mexico History Museum in Santa Fe, with three components of the exhibition). -
The Chicanos: As We See Ourselves
The Chicanos: As We See Ourselves Item Type book; text Publisher University of Arizona Press (Tucson, AZ) Rights Copyright © 1979 by The Arizona Board of Regents. The text of this book is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License (CC BY- NC-ND 4.0), https://creativecommons.org/licenses/by-nc-nd/4.0/. Download date 04/10/2021 03:12:25 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10150/632291 As We See Ourselves As~ See Ourselves Arnulfo D. Trejo, editor Fausto Avendano Sylvia Alicia Gonzales Roberto R. Bacalski-Marttnez Manuel H. Guerra David Ballesteros Guillermo Lux Jose Antonio Burciaga Martha A. Ramos Rudolph 0. de la Garza Reyes Ramos Ester Gallegos y Chavez Carlos G. Velez-I. Maurilio E. Vigil The University of Arizona Press Tucson & London About the Editor . ARNULFO D. TREJO, professor of library science at the University of Arizona, is author of Diccionario etimológico latinoamericano del léxico de la delincuencia and Bibliografía Chicana: A Guide to Information Sources. He has also edited Quién es Quién: a Who’s Who of Spanish Heritage Librarians in the United States. He received an M.A. in Spanish languge and literature from the Universidad de las Américas, Mexico; an M.A. in Library Science from Kent State University, and a Ph.D. from the Universidad Nacional Autónoma de México, Mexico. He was born in Durango, Mexico, in 1922, and grew up in Tucson, Arizona. He has published articles in both English and Spanish in various professional journals. -
Galloway's Alabado and the Musical Traditions of the Penitentes
JAMES (SANTA FE) GALLOWAY’S ALABADO AND THE MUSICAL TRADITIONS OF THE PENITENTES Rebecca Weidman-Winter, B. M., M. M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2011 APPROVED: Terri Sundberg, Major Professor Bernardo Illari, Committee Member Kathleen Reynolds, Committee Member John Holt, Chair of the Division of Instrumental Studies Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Weidman-Winter, Rebecca. James (Santa Fe) Galloway’s Alabado and the Musical Traditions of the Penitentes. Doctor of Musical Arts (Performance), December 2011, 55 pp., 1 table, 37 musical examples, references, 39 titles. This dissertation explores the musical traditions of the Penitentes of New Mexico and how these traditions influenced James (Santa Fe) Galloway’s Alabado for soprano, alto flute, and piano. Due to geographical isolation and religious seclusion the music of the Penitential Brotherhood is not well known outside of these New Mexican communities. The focus of this study, as pertaining to the music of the Penitentes, is the alabado “Por el rastro de la cruz,” and the pito, a handmade wooden flute. Included in this paper are transcriptions of pito melodies performed by Vicente Padilla, Cleofes Vigil, Emilio Ortiz, and Reginald Fisher, which have been transcribed by John Donald Robb, William R. Fisher, Reginald Fisher, and Rebecca Weidman- Winter. Few resources are available on Galloway or Alabado, an unpublished work, yet the popularity of this piece is apparent from the regular performances at the National Flute Association Conventions and by flutists throughout the United States. -
El Camino Real De Tierra Adentro Archival Study
El Camino Real de Tierra Adentro As Revealed Through the Written Record: A Guide to Sources of Information for One of the Great Trails of North America Prepared for: The New Mexico Spaceport Authority (NMSA) Las Cruces and Truth or Consequences, New Mexico The Federal Aviation Administration (FAA), Office of Commercial Space Transportation Compiled by: Jemez Mountains Research Center, LLC Santa Fe, New Mexico Contributors: Kristen Reynolds, Elizabeth A. Oster, Michael L. Elliott, David Reynolds, Maby Medrano Enríquez, and José Luis Punzo Díaz December, 2020 El Camino Real de Tierra Adentro As Revealed Through the Written Record: A Guide to Sources of Information for One of the Great Trails of North America Table of Contents 1. Introduction and Statement of Purpose .................................................................................................. 1 • Introduction .............................................................................................................................................. 1 • Scope and Organization ....................................................................................................................... 2 • El Camino Real de Tierra Adentro: Terminology and Nomenclature ............................... 4 2. History of El Camino Real de Tierra Adentro; National Historic Trail Status........................... 6 3. A Guide to Sources of Information for El Camino Real de Tierra Adentro .............................. 16 • 3.1. Archives and Repositories ....................................................................................................... -
New Mexico's Las Gorras Blancas and the Fight for the Las Vegas Land
“Retribution Will Be Their Reward”: New Mexico’s Las Gorras Blancas and the Fight for the Las Vegas Land Grant Commons David Correia From February 1889 until the summer of 1891 a clandestine group of night riders known as Las Gorras Blancas (the White Caps) clashed with commercial ranchers, land speculators, and the Atchison, Topeka, and Santa Fe Railroad in the northwest- ern grasslands of New Mexico. The White Caps cut hundreds of miles of fences that enclosed thousands of acres of what commercial ranchers and land speculators con- sidered among the best ranching lands in the territory. The fence- cutting campaign comprised nearly eighty separate attacks in an eighteen- month period. The midnight raids targeted the commercial ranchers and merchants, newly arrived following the U.S.- Mexican War (1846 – 48), and the timber and tie operators who fueled local railroad expansion. The targets were among the wealthiest and most politically pow- erful figures in New Mexico — ranchers, merchants, and politicians — who amassed great fortunes appropriating local common property resources. At the center of the struggle was the commons of the Town of Las Vegas Land Grant, a community land grant created by Mexico before the area became U.S. territory. Mexico had distributed the Town of Las Vegas Land Grant to sub- sistence settlers in the 1830s and reserved the bulk of the more than five hundred Radical History Review Issue 108 (Fall 2010) d o i 10.1215/01636545-2010-003 © 2010 by MARHO: The Radical Historians’ Organization, Inc. 49 50 Radical History Review thousand – acre grant for the collective management and use of land grant mem- bers.