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Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 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 Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference. -
Abstract Since 2016, the Commonwealth of Puerto Rico Has Experienced a Period of Political Challenges Along with a Severe Economic Austerity
Revista [IN]Genios, Vol. 7, Núm. 1, pp.1-16 (diciembre, 2020) ISSN#: 2374-2747 Universidad de Puerto Rico, Río Piedras © 2020, Copyright. Todos los derechos están reservados. ISLAND ARTSCAPE OF BANKRUPTCY: A NARRATIVE PHOTO-ESSAY OF SAN JUAN’S POLITICAL STREET ART OF RESISTANCE Medio: Fotografía Andrea D. Rivera Martínez Departamento de Psicología Facultad de Ciencias Sociales, UPR RP Recibido: 15/09/2020; Revisado: 16/11/2020; Aceptado: 29/11/2020 Abstract Since 2016, the Commonwealth of Puerto Rico has experienced a period of political challenges along with a severe economic austerity. Given the unpromising projections, voices of resistance, anger, frustration, uncertainty, and hope are becoming increasingly visible on the island’s cities’ walls and spaces. Thus, based on the current situation of fiscal crisis, this visual essay narrates and documents the continuum of interpretations and opinions regarding the Puerto Rico Oversight, Management, and Economic Stability Act (PROMESA) inscribed in the urban fabric over the past five years from now. Keywords: street art, bankruptcy, fiscal crisis, austerity, Puerto Rico Resumen Desde el 2016, el Estado Libre Asociado de Puerto Rico experimenta un período de desafíos políticos junto con una severa austeridad económica. Dadas las proyecciones, las voces de resistencia, ira, frustración, incertidumbre y esperanza son cada vez más visibles en las paredes y espacios de las ciudades de la isla. Por tanto, dada la situación actual de crisis fiscal, este ensayo visual narra y documenta el continuo de interpretaciones y opiniones sobre la Ley de Supervisión, Gestión y Estabilidad Económica de Puerto Rico (PROMESA) inscritas en el tejido urbano durante los últimos cinco años. -
View Centro's Film List
About the Centro Film Collection The Centro Library and Archives houses one of the most extensive collections of films documenting the Puerto Rican experience. The collection includes documentaries, public service news programs; Hollywood produced feature films, as well as cinema films produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. Films from the collection may be borrowed, and are available for teaching, study, as well as for entertainment purposes with due consideration for copyright and intellectual property laws. Film Lending Policy Our policy requires that films be picked-up at our facility, we do not mail out. Films maybe borrowed by college professors, as well as public school teachers for classroom presentations during the school year. We also lend to student clubs and community-based organizations. For individuals conducting personal research, or for students who need to view films for class assignments, we ask that they call and make an appointment for viewing the film(s) at our facilities. Overview of collections: 366 documentary/special programs 67 feature films 11 Banco Popular programs on Puerto Rican Music 2 films (rough-cut copies) Roz Payne Archives 95 copies of WNBC Visiones programs 20 titles of WNET Realidades programs Total # of titles=559 (As of 9/2019) 1 Procedures for Borrowing Films 1. Reserve films one week in advance. 2. A maximum of 2 FILMS may be borrowed at a time. 3. Pick-up film(s) at the Centro Library and Archives with proper ID, and sign contract which specifies obligations and responsibilities while the film(s) is in your possession. -
Categorización De Las Aves De La Argentina
Categorización de las Aves de la Argentina SEGÚN SU ESTADO DE CONSERVACIÓN Informe del Ministerio de Ambiente y Desarrollo Sustentable de la Nación y de Aves Argentinas Ilustración: Leonardo González Galli - Gallito de arena AUTORIDADES Presidente de la Nación Mauricio Macri Ministro de Ambiente y Desarrollo Sustentable Sergio Bergman Jefa de Gabinete de Asesores Patricia Holzman Secretario de Política Ambiental, Cambio Climático y Desarrollo Sustentable Diego Moreno Subsecretaría de Planificación y Ordenamiento Ambiental del Territorio Dolores María Duverges Director Nacional de Biodiversidad y Recursos Hídricos Javier Garcia Espil Director de la Dirección de Fauna Silvestre y Conservación de la Biodiversidad Santiago D'Alessio 2 Indice CONTENIDO PRÓLOGO............................................................................................................................................5 INTRODUCCIÓN...................................................................................................................................7 METODOLOGÍA...................................................................................................................................9 2.1 Procedimientos generales y cambio de metodología...............................................9 2.2 Alcance geográfico para la recategorización.............................................................9 2.3 Elaboración de la matriz de especies y selección de especies para evaluar.........10 2.4. Proceso de evaluación y categorización de especies y justificación -
Calle 13? Lee El Siguiente Texto Para Descubrir Un Poco Más Sobre Ellos Y Luego Responde a Las Preguntas Del Ejercicio 1
Federico Escudero Álvarez 0 ¿Conoces la banda puertorriqueña Calle 13? Lee el siguiente texto para descubrir un poco más sobre ellos y luego responde a las preguntas del ejercicio 1. Calle 13 Calle 13 es una banda de música de Puerto Rico, encabezada1 por René Pérez Joglar, (Residente), y su hermano Eduardo Cabra Martínez (Visitante). René es escritor y vocalista, y Eduardo es compositor, director musical y multiinstrumentista. Su hermana Ileana Cabra Joglar, (PG-13), es la voz femenina del grupo. Los apodos de Residente y Visitante vienen de la identificación que tenían que dar al guardia de seguridad para entrar a su casa, ubicada2 en la Calle 13, en un pueblo del área metropolitana de San Juan de Puerto Rico. En cuanto a PG-13, fue sugerido por uno de sus primos, ya que ella era menor de edad cuando comenzó con el grupo. Calle 13 no pertenece a ningún género musical específico. Desde sus comienzos han tratado de encasillarlos3 pero la banda se caracteriza por su eclecticismo4. En sus trabajos se pueden percibir influencias del rock, rap, ska5, merengue6, bossa-nova7, música balcánica, folklore latinoamericano, cumbia colombiana8, cumbia villera de Argentina9, salsa y muchos más. La banda también es conocida por sus letras en las que se combinan la sátira, el humor –a veces negro- y mensajes de contenido social. Calle 13 ha ganado un total de 19 Premios Grammy Latinos y dos Premios Grammy, batiendo el récord de premios ganados en la historia de los Grammy Latinos. 1 Encabezada: dirigida. 2 Ubicada: situada. 3 Encasillar: clasificar a alguien con criterios simplificadores. -
Local Information Sources Received the Most Attention from Puerto Ricans During the Aftermath of Hurricane Mar´Ia
Local information sources received the most attention from Puerto Ricans during the aftermath of Hurricane Mar´ıa Benjam´ınFreixas Emery,1, ∗ Meredith T. Niles,2, y Christopher M. Danforth,1, z and Peter Sheridan Dodds1, x 1Vermont Complex Systems Center, Computational Story Lab, The Vermont Advanced Computing Core, Department of Mathematics & Statistics, The University of Vermont, Burlington, VT 05405, United States. 2Department of Nutrition and Food Sciences, The University of Vermont, Burlington, VT 05405, United States (Dated: July 20, 2020) In September 2017, Hurricane Mar´ıamade landfall across the Caribbean region as a category 4 storm. In the aftermath, many residents of Puerto Rico were without power or clean running water for nearly a year. Using both English and Spanish tweets from September 16 to October 15 2017, we investigate discussion of Mar´ıaboth on and off the island, constructing a proxy for the temporal network of communication between victims of the hurricane and others. We use information theoretic tools to compare the lexical divergence of different subgroups within the network. Lastly, we quantify temporal changes in user prominence throughout the event. We find at the global level that Spanish tweets more often contained messages of hope and a focus on those helping. At the local level, we find that information propagating among Puerto Ricans most often originated from sources local to the island, such as journalists and politicians. Critically, content from these accounts overshadows content from celebrities, global news networks, and the like for the large majority of the time period studied. Our findings reveal insight into ways social media campaigns could be deployed to disseminate relief information during similar events in the future. -
An Inconceivable Indigeneity: the Historical, Cultural, and Interactional Dimensions of Puerto Rican Taíno Activism
An Inconceivable Indigeneity: The Historical, Cultural, and Interactional Dimensions of Puerto Rican Taíno Activism by Sherina Feliciano-Santos A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in the University of Michigan 2011 Doctoral Committee: Associate Professor Barbra A. Meek, Chair Professor Bruce Mannheim Professor Judith T. Irvine Professor Ruth Behar Associate Professor Lawrence M. La Fountain-Stokes © Sherina Feliciano-Santos 2011 DEDICATION Para Mami y Daddy Por el apoyo incondicional y por siempre creer en mi, aún cuando a mi misma se me hacía díficil. Por ser modelos de humanidad e integridad. Por ser mis padres, los quiero. También a Abuelito, Porque fuiste ejemplo y siempre te llevaré conmigo. ii ACKNOWLEDGEMENTS Five years ago, in a meeting to talk about my final paper proposal on Jibaridad in Puerto Rico, Tom Trautmann asked if there were any indigenous movements in the Island. After a responding with a resolute ―NO,‖ I thought about it and remembered that the prior summer I had read an article in a newspaper about a group of people claiming to be Taíno protesting the management of the Caguana ceremonial site in Utuado, PR. It was this question and my own response to it, which led to the questions that would ultimately inform this dissertation project. For asking that initial question, I want to thank Tom Trautmann. Barb Meek has been an exceptional teacher, mentor, advisor, and friend. During my many years at Michigan, Barb guided me in thinking about language, indigeneity, field methods, and analysis. I feel deeply fortunate to have had her exceptional input and her unwavering support throughout my graduate student career. -
Cuban Music Teaching Unit
Thesis Advisor: Frank Martignetti THE MUSIC AND DANCE OF CUBA: by Melissa Salguero Music Education Program Submitted in partial fulfillment of the requirements for the degree Master of Science in Elementary Education in the School of Education University of Bridgeport 2015 © 2015 by Melissa Salguero Salguero 2 Abstract (Table of Contents) This unit is designed for 5th grade students. There are 7 lessons in this unit. Concept areas of rhythm, melody, form, and timbre are used throughout the unit. Skills developed over the 7 lessons are singing, moving, listening, playing instruments, reading/writing music notation, and creating original music. Lesson plans are intended for class periods of approximately 45-50 minutes. Teachers will need to adapt the lessons to fit their school’s resources and the particular needs of their students. This unit focuses on two distinct genres of Cuban music: Son and Danzón. Through a variety of activities students will learn the distinct sound, form, dance, rhythms and instrumentation that help define these two genres. Students will also learn about how historical events have shaped Cuban music. Salguero 3 Table of Contents: Abstract……………………………………………..…………………………..2 Introduction……………………………………….……………………………4 Research…………………………………………..……………………………5 The Cuban Musical Heritage……………….……………………………5 The Discovery of Cuba…….……………………………………………..5 Indigenous Music…...…………………………………………………….6 European Influences……………………………………………….……..6 African Influences………………………………………………………...7 Historical Influences……………………….……………………………..7 -
LA VOZ DEL PUEBLO El Impacto Que Los Géneros Urbanos Están Tomando En La Actualidad Es Bastante Significativo Para La Sociedad
LA VOZ DEL PUEBLO El impacto que los géneros urbanos están tomando en la actualidad es bastante significativo para la sociedad que se está construyendo, incluso son movimientos que en su mayoría defienden un propósito, manteniendo ideales firmes y concisos; en este momento pueda que sean subestimados pero en masa son constructores de paz, considerable para la problemática actual que Colombia vive. Aquí se pretende analizar con detalle las letras de Calle 13 (C13) y sus álbumes más pertinentes relacionados con las problemáticas sociales más relevantes del país (violencia, inseguridad, maltrato, falta de educación, corrupción) por lo cual, se harán analogías y comparaciones que permitan identificar el movimiento Multiviral1 que Calle 13 impuso en Latinoamérica e inevitablemente en Colombia, para ello se mencionaran datos verídicos que corroboran la analogía y así mismo el aporte implícito de C13 a la construcción de cultura y paz social. Ahora veamos, C13 es una banda puertorriqueña encabezada por René Pérez Joglar, alias Residente y su hermanastro Eduardo Cabra Martínez alias Visitante2. La banda se caracteriza por su estilo musical a quien ellos definen como “transexual” como él lo afirma “es más que una mezcla de un género musical”3 es reconocida por sus letras satíricas, comentarios sociales sobre temas de cultura, política latinoamericana y actualidad mundial. Para hablar de temas tan controversiales es esencial el conocimiento de Pérez R.4, que los fundamentos y 1 Es el quinto álbum de estudio del grupo puertorriqueño Calle 13, lanzado el 28 de febrero de 2014 bajo el sello independiente El Abismo. 2 Era la forma de identificación cuando pasaban de subsección en el barrio El Conquistador de Trujillo alto. -
Redalyc.Música: Spanish Caribbean Music in New York City
Caribbean Studies ISSN: 0008-6533 [email protected] Instituto de Estudios del Caribe Puerto Rico Moore, Robin Música: Spanish Caribbean Music in New York City Caribbean Studies, vol. 36, núm. 2, julio-diciembre, 2008, pp. 241-244 Instituto de Estudios del Caribe San Juan, Puerto Rico Available in: http://www.redalyc.org/articulo.oa?id=39215107022 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 WATCHING THE CARIBBEAN...PART II 241 Música: Spanish Caribbean Music in New York City Robin Moore University of Texas at Austin [email protected] Música. Produced by Gustavo A. Paredes, Jr. Directed by John D. Wise. NEP Productions, 1984. 59 minutes. espite its vague title, the orientation of Gustavo Paredes’ film Dis fairly specific: it focuses on the history and development of Latin jazz in New York City, and on the social meanings of Latin dance music to the Spanish-speaking immigrant community there through various decades. Intended for a general audience, the documentary considers the lives and artistic contributions of key individuals involved with music making in New York since the 1930s, a number of whom are interviewed directly by the filmmakers. The documentary includes an effective mix of performance footage, voice-over commentary, interviews with performers, with musicologists and sociologists, and period images from past decades that bring to life the context in which Latin jazz and salsa dance music developed. -
The Spirit of Dancehall: Embodying a New Nomos in Jamaica Khytie K
The Spirit of Dancehall: embodying a new nomos in Jamaica Khytie K. Brown Transition, Issue 125, 2017, pp. 17-31 (Article) Published by Indiana University Press For additional information about this article https://muse.jhu.edu/article/686008 Access provided by Harvard University (20 Feb 2018 17:21 GMT) The Spirit of Dancehall embodying a new nomos in Jamaica Khytie K. Brown As we approached the vicinity of the tent we heard the wailing voices, dominated by church women, singing old Jamaican spirituals. The heart beat riddim of the drums pulsed and reverberated, giving life to the chorus. “Alleluia!” “Praise God!” Indecipherable glossolalia punctu- ated the emphatic praise. The sounds were foreboding. Even at eleven years old, I held firmly to the disciplining of my body that my Catholic primary school so carefully cultivated. As people around me praised God and yelled obscenely in unknown tongues, giving their bodies over to the spirit in ecstatic dancing, marching, and rolling, it was imperative that I remained in control of my body. What if I too was suddenly overtaken by the spirit? It was par- ticularly disconcerting as I was not con- It was imperative that vinced that there was a qualitative difference between being “inna di spirit I remained in control [of God]” and possessed by other kinds of my body. What if of spirits. I too was suddenly In another ritual space, in the open air, lacking the shelter of a tent, heavy overtaken by the spirit? bass booms from sound boxes. The seis- mic tremors radiate from the center and can be felt early into the Kingston morning. -
Cricket As a Diasporic Resource for Caribbean-Canadians by Janelle Beatrice Joseph a Thesis Submitted in Conformity with the Re
Cricket as a Diasporic Resource for Caribbean-Canadians by Janelle Beatrice Joseph A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Exercise Sciences University of Toronto © Janelle Beatrice Joseph 2010 Cricket as a Diasporic Resource for Caribbean-Canadians Janelle Beatrice Joseph Doctor of Philosophy Graduate Department of Exercise Sciences University of Toronto 2010 Abstract The diasporic resources and transnational flows of the Black diaspora have increasingly been of concern to scholars. However, the making of the Black diaspora in Canada has often been overlooked, and the use of sport to connect migrants to the homeland has been virtually ignored. This study uses African, Black and Caribbean diaspora lenses to examine the ways that first generation Caribbean-Canadians use cricket to maintain their association with people, places, spaces, and memories of home. In this multi-sited ethnography I examine a group I call the Mavericks Cricket and Social Club (MCSC), an assembly of first generation migrants from the Anglo-Caribbean. My objective to “follow the people” took me to parties, fundraising dances, banquets, and cricket games throughout the Greater Toronto Area on weekends from early May to late September in 2008 and 2009. I also traveled with approximately 30 MCSC members to observe and participate in tours and tournaments in Barbados, England, and St. Lucia and conducted 29 in- depth, semi-structured interviews with male players and male and female supporters. I found that the Caribbean diaspora is maintained through liming (hanging out) at cricket matches and social events. Speaking in their native Patois language, eating traditional Caribbean foods, and consuming alcohol are significant means of creating spaces in which Caribbean- Canadians can network with other members of the diaspora.