RMAL Folkloric Recommendations
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Malpaso Dance Company Is Filled with Information and Ideas That Support the Performance and the Study Unit You Will Create with Your Teaching Artist
The Joyce Dance Education Program Resource and Reference Guide Photo by Laura Diffenderfer The Joyce’s School & Family Programs are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council; and made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Special support has been provided by Con Edison, The Walt Disney Company, A.L. and Jennie L. Luria Foundation, and May and Samuel Rudin Family Foundation, Inc. December 10, 2018 Dear Teachers, The resource and reference material in this guide for Malpaso Dance Company is filled with information and ideas that support the performance and the study unit you will create with your teaching artist. For this performance, Malpaso will present Ohad Naharin’s Tabla Rasa in its entirety. Tabula Rasa made its world premiere on the Pittsburgh Ballet Theatre on February 6, 1986. Thirty-two years after that first performance, on May 4, 2018, this seminal work premiered on Malpaso Dance Company in Cuba. Check out the link here for the mini-documentary on Ohad Naharin’s travels to Havana to work with Malpaso. This link can also be found in the Resources section of this study guide. A new work by company member Beatriz Garcia Diaz will also be on the program, set to music by the Italian composer Ezio Bosso. The title of this work is the Spanish word Ser, which translates to “being” in English. I love this quote by Kathleen Smith from NOW Magazine Toronto: "As the theatre begins to vibrate with accumulated energy, you get the feeling that they could dance just about any genre with jaw-dropping style. -
The Singer As Priestess
-, ' 11Ie Singer as Priestess: Interviews with Celina Gonzatez and Merceditas Valdes ".:" - , «1',..... .... .. (La Habana, 1993) Ivor Miller Celina Gonzalez: Queen of the Punto Cubano rummer Ivan Ayala) grew up in New York City listening to the music of Celina Gonzalez. * As Da child in the 1960s he was brought to Puerto Rican espiritista ceremonies, where instead of using drums, practitioners would play Celina's records to invoke the spirits. This is one way that Celina's music and the dedication of her followers have blasted through the U.S. embargo against Cuba that has deprived us of some of the planet's most potent music, art and literature for over 32 years. Ivan's experi ence shows the ingenuity of working people in maintaining human connections that are essential to them, in spite of governments that would keep them separate. Hailed as musical royalty in Colombia, Venezuela, Mexico, England and in Latin USA, Celina has, until very recently, been kept out of the U.S. n:tarket.2 Cuba has long been a mecca for African-derived religious and musical traditions, and Celina's music taps a deep source. It is at the same time popular and sacred, danceable and political. By using the ancient Spanish dicima song form to sing about the Yoruba deities (orichas), she has become a symbol of Cuban creole (criollo) traditions. A pantheon of orichas are worshipped in the Santeria religion, which is used by practitioners to protect humans from sickness and death, and to open the way for peace, stability, and success. During the 14 month period that I spent in Cuba from 1991-1994, I had often heard Celina's music on the radio, TV, and even at a concert/rally for the Young Communist League (UJC), where the chorus of "Long live Chango'" ("iQueviva Chango!") was chanted by thou Celina Gonzalez (r) and [dania Diaz (l) injront o/Celina's Santa sands of socialist Cuba's "New Men" at the Plaza of the Revolution.3 Celina is a major figure in Cuban music and cultural identity. -
HAVANA HOP Fulfills the Following Ohio and Atw Victoria Theatre Association
2015-2016 Resource Guide Written, Choreographed, and Performed by Paige Hernandez APRIL 27, 2016 9:30 & 11:30 A.M. • VICTORIA THEATRE The Frank M. FOUNDATION www.victoriatheatre.com Curriculum Connections You will find these icons listed in the resource guide next to the activities that indicate curricular elcome to the 2015-2016 Frank connections. Teachers and parents are encouraged to adapt all of the activities included in an M. Tait Foundation Discovery Series appropriate way for your students’ age and abilities. HAVANA HOP fulfills the following Ohio and atW Victoria Theatre Association. We are very National Education State Standards and Benchmarks for grades 2-8: excited to be your partner in providing English/Language Arts Standards Ohio Department of Education professional arts experiences to you and Grade 2- CCSS.ELA-Literacy.RL.2.2, CCSS.ELA-Literacy. your students! Drama/Theatre & Dance Standards RL.2.3, CCSS.ELA-Literacy.RL2.4, CCSS.ELA-Literacy. Drama/Theatre Standards RL2.5, CCSS.ELA-Literacy.RL2.6 I am excited for students in Dayton to Grade 2- 1CE-7CE, 1PR-3PR, 1RE-6RE Grade 3- CCSS.ELA-Literacy.RL.3.2, CCSS.ELA-Literacy. experience HAVANA HOP! Ms. Hernandez Grade 3- 1CE-5CE, 1PR-6PR, 1RE-5RE RL.3.3, CCSS.ELA-Literacy.RL.3.5, CCSS.ELA-Literacy. is a multifaceted artist, who is known Grade 4- 1CE-6CE, 1PR-7PR, 1RE-5RE RL.3.6 for her innovative fusion of poetry, hip Grade 5- 1CE-5CE, 1PR-5PR, 1RE-5RE Grade 4- CCSS.ELA-Literacy.RL.4.2, CCSS.ELA-Literacy. -
Paquito D' Rivera
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. PAQUITO D’RIVERA NEA Jazz Master (2005) Interviewee: Paquito D’ Rivera (June 4, 1948 - ) Interviewer: Willard Jenkins with recording engineer Ken Kimery Date: June 11, 2010 and June 12, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 68 pp. Willard: Please give us your full given name. Paquito: I was born Francisco Jesus Rivera Feguerez, but years later I changed to Paquito D’Rivera. Willard: Where did Paquito come from? Paquito: Paquito is the little for Francisco in Latin America. Tito, or Paquito Paco, it is a little word for Francisco. My father’s name was Francisco also, but, his little one was Tito, like Tito Puente. Willard: And what is your date of birth? Paquito: I was born June 4, 1948, in Havana, Cuba. Willard: What neighborhood in Havana were you born in? Paquito: I was born and raised very close, 10 blocks from the Tropicana Cabaret. The wonderful Tropicana Night-Club. So, the neighborhood was called Marinao. It was in the outskirts of Havana, one of the largest neighborhoods in Havana. As I said before, very close to Tropicana. My father used to import and distribute instruments and accessories of music. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Willard: And what were your parents’ names? Paquito: My father’s name was Paquito Francisco, and my mother was Maura Figuerez. Willard: Where are your parents from? Paquito: My mother is from the Riento Province, the city of Santiago de Cuba. -
Samples Can Be Auditioned At
No pianist has played on more records that all of postrevolutionary Cuba sang along with than Pupy. And at the same time, he's a direct link to that golden age of Arsenio and Chappotín. Ned Sublette author of Cuba and Its Music: From the First Drums to the Mambo El modo de interpretar de Pupy Pedroso constituye el crossover entre la música bailable contemporanea cubana y los esquemas tradicionales heredados de los grandes pianistas soneros de los cincuentas, en particular, de su padre, Nené, quien fuera una de las luminarias de la época. Su estilo inovador, su talento para componer y orquestar y su sagacidad para lograr la preferencia pública en un país tan competitivo como Cuba, lo situan en uno de los lugares mas destacados del ambiente musical de los últimos cuarenta anos. Definitivamente Pupy, junto a José Luis “Changuito” Quintana y Juan Formell, forma parte del nucleo generador del sonido Van Van, que por tanto tiempo ha satisfecho las exigencias de los “casineros” mas puristas. Juan de Marcos composer, tresero, leader of The Afro‐Cuban All‐Stars Pupy, es poseedor de un estilo peculiar a la hora de tocar el piano, tumbaos de gran fuerza cargados de un estilo sonero indiscutible hacen de Pupy uno de los pianistas de Son mas importantes de los últimos años.” Adalberto Álvarez pianist, composer, founder of Son 14 and Adalberto Álvarez y su Son Indiscutiblemente César, Pupy, Pedroso es uno de los grandes pianistas de la música cubana de todos los tiempos. Su nombre puede ocupar un merecido lugar junto al de Luis ‘Lilí’ Martínez Griñán o Antonio María Romeu, pues al igual que ellos hicieron anteriormente, él también transformó la sonoridad del piano dentro de las proyecciones estéticas por donde cursaba la más auténtica cubanía. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Introducing Leonardo Acosta, Music and Literary Critic
Vol. 5, No. 3, Spring 2008, 95-121 www.ncsu.edu/project/acontracorriente Introducing Leonardo Acosta, Music and Literary Critic Raúl A. Fernández University of California—Irvine Daniel Whitesell Irvine Valley College The recent awards bestowed on Leonardo Acosta, in particular Cuba’s Premio Nacional de Literatura (2006), come as no surprise to the authors of this article who have long been aware of the breadth and depth of Acosta’s essays on music and literature. To many, however, Acosta’s writing career has remained largely invisible. In part this is because Acosta’s major essays began to appear in the early 1980s when he was nearly fifty years old, a time by which most professional writers have established their careers; in part, because he had labored rather independently of any official Cuban institutions. As Acosta noted in his acceptance speech for the Premio Nacional de Literatura he had not been identified as “associated with any literary ‘group,’ or ‘revista,’ or ‘generation,’ or ‘cohort’. Neither had [he] participated in any aesthetic or ideological polemic affecting arts and letters…” His ‘invisibility” may also be in part because his writing has consisted primarily of ensayos, a genre Fernández 96 that attracts less attention from literary critics than poetry or prose narrative. Another contributing factor has been the diversity of the intellectual field Acosta defined for himself—he began as a professional musician, became a journalist, poet and short story writer for a decade, and then became a writer on music and literature. This career trajectory makes it difficult for any other single author to evaluate Acosta’s work as a whole. -
Percusión Latina
PERCUSIÓN LATINA Profesor: Pakito Baeza Este taller invita al oyente a estimular su imaginación con un tratamiento diferente de los temas musicales intentando que cada “taller-demostración” sea distinto del anterior Programa · Estudio de la Conga y Tumbadora, afro - Cubana Iniciación: (Golpes, posición de manos) Técnica: (Rudimentos, sonidos, control) Ritmos: Son, guaguanco, mambo, conga, pilón, mozambique , plena , bomba , montuno etc) · Estudio del Bongo Técnica: golpe, sujeción del bongo Patrón de " Martillo" en 4 x 4 Improvisación Ritmo: Patrón para la Salsa · Estudio del Timbal Técnica: Posición de manos y baquetas Cascaras, diferentes combinaciones. División mental o polirritmia con cencerros y campanas. Ritmos: So, Cha Cha Cha, mambo · Cajón Técnica y sonid: (golpes graves y secos) Ritmos del Perú ( guayno, landó ) Flamenco: Bulerias, alegrías, rumba, tangos Otros estilos: Funky, jazz, fusión · Percusiones menores Claves: patrón de clave en 4x4 Campana: de Bongosero en Son Maracas: Son, Sonidos, división Caxixi: técnica A Go Go: técnica y patrones Objetivos El objetivo es que el alumno, tenga una primera toma de contacto con la percusión latina y afro-cubana, para que a partir de este taller, pueda seguir profundizando en la música latina. En este periodo nos adentraremos en el estudio de los diversos patrones rítmicos que contienen los principales instrumentos de la percusión latina Congas, Bongos, Timbale, Maraca, Cajón, etc... ) y en el folklore percusivo de la música afro-cubana ( Son , Mambo , Songo, Guaguanco, Plena, etc) A partir de toda esta materia, pasaríamos a un siguiente curso más avanzado, donde empezaríamos a formarnos profesionalmente como músicos/ percusionistas. Dirigido a A todos l@s alum@s, tanto del colectivo universitario como a los que no, que tengan el interés por esta rama musical, que es la percusión latina. -
Redalyc."Somos Cubanos!"
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s. -
Updated Syllabus
USC Thornton School of Music Class name: Latin Percussion Class code: MUJZ 218 A/B Units: 2 Section: 44461 Room: CTV G128 Time: Fridays 10-11:50 AM Course Instructor: Aaron Serfaty Office: CTV G133 Office hours: By appointment only Email: [email protected] Phone number: 818-209-3973 This class focuses on popular rhythms of Cuba and their percussion instruments. There is a strong emphasis on proper hand technique and proper feel of the styles studied. Styles: Son, Son Montuno, Guaracha, Mambo, Mozambique, Conga de Comparsa, Guaguanco, Bembe, Pilon. Most of the styles are learned from the perspective of the congas with bongos, timbales, and güiro as accompaniment instruments. We will also study samba and samba reggae from Brazil. Grading is based on attendance (20%), performance and participation in class (20%), one concert report (20%), and one final exam (40%). Final exam will be taken according to the final exam schedule issued by the university. Practice: There are three congas in CTV G128 at all times available for practice. Once the class roster is finalized other congas can be checked out through the music operations office. Listening: There are many resources available. I suggest Spotify, Youtube and Pandora. This is a short list of names to look for: Ray Barretto, Giovanny Hidalgo, Miguel “Anga” Diaz, Jerry Gonzalez, Mongo Santamaria, Tito Puente, Changuito, Candido Camero. Week 1 Listening to Cuban and Puerto Rican music. Warm up routine. Basic conga sounds: open tone, Palm tone, muted tone, slap tone. Proper hand technique. Beginning marcha. Watch videos of Pedrito Martinez, Giovanni Hidalgo, and Ray Barretto. -
An Educator's Guide to They Are We
THEY A Film by Emma Christopher, Ph.D ARE WE VANDERBILT UNIVERSITY CENTER FOR LATIN AMERICAN STUDIES Table of Contents FILM SYNOPSIS ....................................................................................................................................................4 ABOUT THE DIRECTOR ....................................................................................................................................5 DIRECTORS NOTE ..............................................................................................................................................6 AFRICAN SLAVE TRADE IN LATIN AMERICA ...........................................................................................8 AFRO-CUBAN CULTURE AND INFLUENCE .............................................................................................14 LESSON PLANS ..................................................................................................................................................18 AFRO-CUBAN CULTURE .....................................................................................................................................18 AFRO-CUBAN AND AFRO-LATINO COMMUNITIES .............................................................................................20 AFRO-CUBAN MUSIC AND INFLUENCE ...............................................................................................................24 CONTEMPORARY AFRO-LATINOS IN LATIN AMERICA AND USA ........................................................................28 -
Volume 4 No. 4
Giiiro y Maraca Vol. 4, No. 4 Dec. 2000 A PUBLICATION OF THE SEGUNDA QUIMBAMBA FOLKLORIC CENTER, INC. Modesto Cepeda: 25 Afios Dedicando Su TITO PUENTE's BOMBA & PLENA Mtisica A La Escuela de Bomba y Plena RECORDINGS Rafael Cepeda Atiles. The career of El maestro, the greatest of all cantautor, Puerto Rican musicians folclorista y ended this year with the Modesto Cepeda de untimely death of el Santurce, Puerto rey, Tito Puente. Even Rico, acaba de the often-staid and grabar un proyecto always disconnected titulado "Antologia- organ of the que celebra 25 ahos mainstream press, The de su rmIsica de New York Times stood bomba y plena up and noticed the dedicada a su suerio passing of this musical hecho realidad, la legend by giving Tito Escuela de Bomba y Puente front page treatment and declaring, rightly so in Plena Rafael Cepeda Atiles. Es un acontecimiento this case, that Tito was as symbolic of New York City as importante en el desarrollo de nuestra cultura Yankee Stadium. I was impressed as were many new puertorriquena y merecedor de nuestras alabanzas. Yorkers who witnessed the incredible career of an icon, a Empezando con unos talleres en 1973 y llegando al maestro in every sense of the word, and a prolific edificio en Calle Union de Villa Palmeras, la Escuelita es recording artist and composer. Tito Puente was finally la cuna de grupos como Cimiento Puertorriquerio, Los getting some recognition in the latter years of his life, Cepeditas y otros que siempre cuentan con una including a Eubie Lifetime Achievement award presented representacion juvenil sin igual.