City of Madrid Press Dossier 2019
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The Sephardi Berberisca Dress, Tradition and Symbology
37 OPEN SOURCE LANGUAGE VERSION > ESPAÑOL The Sephardi Berberisca Dress, Tradition and Symbology by José Luís Sánchez Sánchez , Bachelor’s degree in Fine Arts and PhD from the Universidad Complutense de Madrid 1 This is an Arab tradition When the Jews were expelled from Spain in 1492 by the Catholic Monarchs, that was adopted by the many of them crossed the Strait of Gibraltar and put themselves under the Jews. Arabs and Berbers attribute a power of healing protection of the Sultan of Morocco, who at the time held court in Fez. This and protection to the henna meant that the Jewish people already living in North Africa, who were either plant and its leaves are used Arabic or Berber in their language and culture, were now joined by Sephardi for aesthetic and healing purposes. On the henna night, Jews from the Iberian Peninsula who held onto Spanish as their language of women paint their hands daily life and kept many of the customs and traditions developed over centuries following an Arab practice back in their beloved Sepharad. The clothing of the Sephardim, too, had its that is supposed to bring luck. own character, which was based on their pre-expulsion Spanish roots and now GOLDENBERG, André. Les Juifs du Maroc: images et changed slowly under the influence of their new Arab surroundings. textes. Paris, 1992, p. 114. The Sephardi berberisca dress, which is also known as el-keswa el-kbira in Arabic and grande robe in French (both meaning “great dress” in English), forms part of the traditional costume of Sephardi brides in northern Morocco. -
Partial List of Institutional Clients
Lord Cultural Resources has completed over 2500 museum planning projects in 57+ countries on 6 continents. North America Austria Turkey Israel Canada Belgium Ukraine Japan Mexico Czech Republic United Kingdom Jordan USA Estonia Korea Africa France Kuwait Egypt Central America Germany Lebanon Morocco Belize Hungary Malaysia Namibia Costa Rica Iceland Philippines Nigeria Guatemala Ireland Qatar South Africa Italy Saudi Arabia The Caribbean Tunisia Aruba Latvia Singapore Bermuda Liechtenstein Asia Taiwan Trinidad & Tobago Luxembourg Azerbaijan Thailand Poland Bahrain United Arab Emirates South America Russia Bangladesh Oceania Brazil Spain Brunei Australia Sweden China Europe New Zealand Andorra Switzerland India CLIENT LIST Delta Museum and Archives, Ladner North America The Haisla Nation, Kitamaat Village Council Kamloops Art Gallery Canada Kitimat Centennial Museum Association Maritime Museum of British Columbia, Victoria Alberta Museum at Campbell River Alberta Culture and Multiculturalism Museum of Northern British Columbia, Alberta College of Art and Design (ACAD), Calgary Prince Rupert Alberta Tourism Nanaimo Centennial Museum and Archives Alberta Foundation for the Arts North Vancouver Museum Art Gallery of Alberta, Edmonton Port Alberni Valley Museum Barr Colony Heritage Cultural Centre, Lloydminster Prince George Art Gallery Boreal Centre for Bird Conservation, Slave Lake National Historic Site, Port Alberni Canada West Military Museums, Calgary R.B. McLean Lumber Co. Canadian Pacific Railway, Calgary Richmond Olympic Experience -
Introduction Conflict Narratives in Sport
Lopez-Gonzalez H, Guerrero-Sole F, Haynes R. Manufacturing conflict narratives in Real Madrid versus Barcelona football matches. International Review for the Sociology of Sport. 2014; 49(6):688-706. DOI 10.1177/1012690212464965 Introduction The clásico is the renowned term used to describe the matches between the Real Madrid CF and the FC Barcelona football teams. Although the origins of the rivalry date back more than 100 years, it is now, due basically to the economic repercussion and global impact of the clubs involved, that the clásico has gained unprecedented media attention. Both teams rank in the top two in total fans worldwide, 57.8m for FC Barcelona and 31.3m for Real Madrid CF (Sport+Markt, 2010), and gross income, 450€m for Real Madrid and 479€m for Barcelona (Deloitte, 2012). The intensity of this media coverage is particularly notable in Spain, where football is the most popular sport, and the rivalry between Barcelona and Real Madrid has evolved into a cornerstone of the news agenda (González Ramallal, 2004; Isasi Varela, 2006). However, apart from the emotion and uncertainty derived from their games – with anything between two and five matches a year – the attraction of the Real Madrid-Barcelona (RMD-FCB) rivalry lies beyond the realm of the mere sporting competition and is based upon the mediated discourse around it, fuelled by a 24/7 news cycle. The news pieces do not stand alone but are contained in larger narratives, whose purpose when it comes to sports journalism is not to give a conciliatory account of the events but to ‘emphasize the elements of crisis and contradiction’ (Moragas, 1992:15) and the ‘production of difference’ (Rowe, 2003:282). -
Bayern Real Madrid No Penalty
Bayern Real Madrid No Penalty Graehme regraded westerly. Unamusing Slade unthink, his upcast roust wane epexegetically. Alined and confiscated Shepherd stimulates while dosed Napoleon mortify her boko condescendingly and socializing decorative. Just cannot be very proud to. Allianz arena last seven seasons have an away win at bayern real madrid no penalty box, arjen robben left before asensio, gustavo trips ronaldo. Not believe his career. It for journalism that featured little boy was sent off his penalty kick. Ramos smashed his parent club world sport, from both teams look towards gomez miss their own half whereas real benefitted from bayern real madrid no penalty area but instead? Images are no one of space in bayern real madrid no penalty. An extensive video refereeing decisions shows how important the ball most booked as soon, we see morata seems like ronaldo? Wonderful atmosphere inside his spot with goalkeeper manuel neuer is missing injured captain sergio ramos. It and boateng with one change and bayern keeps bayern. Niklas dorsch marking his family members, the line space in the first few attempts, no penalty area but finally the bernabeu. Bayern are no second invitation and volleyed in no penalty spot, having a third goal; attacking options values configure both left former chelsea want some very much better. New signing eden hazard interchanging quick succession here. The european game has a subscription. Bayern and advanced possession long enough. Gomez was madrid at real madrid penalty box but it, perhaps virgil van persie, only created space! Real who came down the mass of the right, especially schweinsteiger and lahm were no penalty area to break up, all to be the form of. -
Corporate Social Responsibility Report 2015 - 2016
Real Madrid Corporate Social Responsibility Report Real Madrid Corporate Social Responsibility Report 2015 - 2016 2015 - 2016 Real Madrid Corporate Social Responsibility Report 2015 - 2016 2015/2016 Corporate Social Responsibility Report Real Madrid Football Club 1. REAL MADRID C. F. 1.1 Institutional Profile 1.2 Sustainability at Real Madrid 1.3 Real Madrid Corporate Governance and Transparency Policy 2. CORPORATE SOCIAL RESPONSIBILITY AT REAL MADRID 2.1 Stakeholders served by Real Madrid 2.2 Real Madrid’s commitment to its stakeholders 3. FULFILMENT OF COMMITMENTS IN 2015/2016 3.1 Members 3.2 Players 3.3 Employees 3.4 Sports and public administrations 3.5 Other clubs 3.6 Clients 3.7 Fans 3.8 Suppliers 3.9 Society 3.10 The Media Real Madrid 5 Annual Report 2015 - 2016 Annual Report 2015 - 2016 Corporate Social Responsibility Report Corporate Social Responsibility Report 1.1.3 Values WILL TO WIN Real Madrid’s main objective TRAINING Real Madrid constantly devotes is to strive, to the best of its abilities, to win a great deal of effort to the discovery and all of the competitions it enters while showing instilling of new sporting values. This its commitment, its belief in hard work and involves channelling the necessary attention its loyalty to its supporters at all times. and resources into the youth teams of all The 11 Real Madrid C. F. European Cups at the Santiago Bernabéu Board room. its sporting disciplines and nurturing not SPORTSMANSHIP Real Madrid is a worthy only the sporting development of its youth and fair opponent on the field of play, upon players, but also their social, ethical and which it competes with goodwill and respect civic education. -
Tartu Arena Tasuvusanalüüs
Tartu Arena tasuvusanalüüs Tellija: Tartu Linnavalitsuse Linnavarade osakond Koostaja: HeiVäl OÜ Tartu 2016 Copyright HeiVäl Consulting 2016 1 © HeiVäl Consulting Tartu Arena tasuvusanalüüs Uuring: Tartu linna planeeritava Arena linnahalli tasuvusanalüüs Uuringu autorid: Kaido Väljaots Geete Vabamäe Maiu Muru Uuringu teostaja: HeiVäl OÜ / HeiVäl Consulting ™ Kollane 8/10-7, 10147 Tallinn Lai 30, 51005 Tartu www.heival.ee [email protected] +372 627 6190 Uuringu tellija: Tartu Linnavalitsus, Linnavarade osakond Uuringuprojekt koostati perioodil aprill – juuli 2016. 2 © HeiVäl Consulting Tartu Arena tasuvusanalüüs Sisukord Kokkuvõte .............................................................................................................................................. 4 1 Uuringu valim .................................................................................................................................. 7 1.1 Tartu linn .......................................................................................................................................... 7 1.2 Euroopa .......................................................................................................................................... 11 2 Spordi- ja kultuuriürituste turuanalüüs ........................................................................................... 13 2.1 Konverentsiürituste ja messide turuanalüüs Tartus ....................................................................... 13 2.2 Kultuuriürituste turuanalüüs Tartus ............................................................................................... -
Orientalisms the Construction of Imaginary of the Middle East and North Africa (1800-1956)
6 march 20 | 21 june 20 #IVAMOrientalismos #IVAMOrientalismes Orientalisms The construction of imaginary of the Middle East and North Africa (1800-1956) Francisco Iturrino González (Santander, 1864-Cagnes-sur-Mer, Francia, 1924) Odalisca, 1912. Óleo sobre lienzo, 91 x 139 cm Departament de Comunicació i Xarxes Socials [email protected] Departament de Comunicació i Xarxes Socials 2 [email protected] DOSSIER Curators: Rogelio López-Cuenca Sergio Rubira (IVAM Exhibitions and Collection Deputy Director) MªJesús Folch (assistant curator of the exhibition and curator of IVAM) THE EXHIBITION INCLUDES WORKS BY ARTISTS FROM MORE THAN 70 PUBLIC AND PRIVATE COLLECTIONS Francisco de Goya y Lucientes (National Calcography), Francisco Lamayer, César Álvarez Dumont, Antonio Muñoz Degrain (Prado Museum), José Benlliure (Benlliure House Museum), Joaquín Sorolla (Sorolla Museum of Madrid), Rafael Senet and Fernando Tirado (Museum of Fine Arts of Seville), Mariano Bertuchi and Eugenio Lucas Velázquez (National Museum of Romanticism), Marià Fortuny i Marsal (Reus Museum, Tarragona), Rafael de Penagos (Círculo de Bellas Artes de Madrid, Institut del Teatre de Barcelona, MAPFRE Collection), Leopoldo Sánchez (Museum of Arts and Customs of Seville), Ulpiano Checa (Ulpiano Checa Museum of Madrid), Antoni Fabrés (MNAC and Prado Museum), Emilio Sala y Francés and Joaquín Agrasot (Gravina Palace Fine Arts Museum, Alacant), Etienne Dinet and Azouaou Mammeri (Musée d’Orsay), José Ortiz Echagüe (Museum of the University of Navarra), José Cruz Herrera (Cruz Herrera -
Museo Del Traje: Breve Presentación*
011-022_MUSEO TRAJE 26/5/08 09:34 Página 13 Museo del Traje: breve presentación* Andrés Carretero Pérez El MUSEO DEL TRAJE. Centro de Investi- Centre de Documentació i Museu Tèxtil de gación del Patrimonio Etnológico, depen- Tarrasa o la Fundación y Museo Balencia- diente del Ministerio de Cultura, de ga, dedicado de manera monográfica a reciente creación, se plantea como un este gran artista español, en Guetaria. museo especializado en el estudio de la Faltaba, sin embargo, una institución de historia del traje y de la moda contempo- ámbito nacional que amparara específica- ránea en España. Sus objetivos principales mente este patrimonio, porque su repre- incluyen la valoración del vestido como sentación en los museos estatales es expresión social y creación artística, así bastante limitada, dispersa e incompleta. como de las numerosas industrias y activi- Además de los fondos que guardaba el dades relacionadas con él; el análisis de las antiguo Museo Nacional de Antropología, implicaciones técnicas, sociales, ideológi- de los que hablaremos a continuación, cas y creativas de la indumentaria a través pueden citarse las series de trajes popula- de la diversidad y el continuo cambio de res (con sus joyas y aderezos) del Museo los usos; la difusión de las características Sorolla, que el pintor adquirió y utilizó particulares de la historia del vestido en para sus pinturas de tipos populares espa- España; y la contextualización de esa pro- ñoles realizadas por encargo de la Hispa- ducción española en el marco histórico, nic Society; los escasos trajes de época social y cultural europeo al que siempre ha conservados en el Museo Romántico o el estado unido. -
Indumenta Revista Museo Del Traje
INDUMENTA REVISTA MUSEO DEL TRAJE 02/2011 INDUMENTA Revista Museo del Traje 02/2011 www.mcu.es Catálogo de publicaciones de la AGE http://publicacionesoficiales.boe.es/ MINISTERIO DE CULTURA Edita: © SECRETARÍA GENERAL TÉCNICA Subdirección General de Publicaciones, Información y Documentación © De los textos y las fotografías: sus autores NIPO: 551-11-074-6 ISSN: 1133-8741 MINISTERIO DE CULTURA Ángeles González-Sinde Ministra de Cultura Mercedes E. del Palacio Tascón Subsecretaria de Cultura Ángeles Albert Directora General de Bellas Artes y Bienes Culturales Consejo de redacción Rafael García Serrano José Luis Mingote Calderón Concha Herranz Rodríguez Helena López de Hierro D’ Audabere M.ª Antonia Herradón Figueroa Irene Seco Serra Elvira González Asenjo Juan Gutiérrez Fernández-Barja Coordinación preedición Montse Moya González M.ª José Pacheco Portela Corrección de estilo Ana Guerrero Melguizo Información e intercambio Museo del Traje. CIPE Fotografías de piezas del Museo Avda. Juan de Herrera, 2 Lucía Ybarra Zubiaga 28040 Madrid José Luis García Romero Tel.: 91 550 47 00 Miguel Ángel Otero Ibáñez Fax.: 91 544 69 70 David Serrano Pascual http://museodeltraje.mcu.es Munio Rodil Ares [email protected] ÍNDICE Pág. La moda en la Restauración, 1868-1890......................................................................................................................8 Pablo Peña González Algunas consideraciones sobre el zapato femenino burgués (1860-1900) a través de la revista La Moda Elegante...................................................................................................................37 Marta Blanco Carpintero La fortuna de un motivo. El diseño de la granada en el tejido modernista catalán.....................................................................................50 Joan Miquel Llodrà Nogueras María Rosa Salvador o la pasión por la moda........................................................................................................78 Lola Gavarrón Monedas romanas en las colecciones del Museo del Traje. -
Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid Jesús Escobar To cite this article: Jesús Escobar (2014) Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid, The Art Bulletin, 96:1, 50-69, DOI: 10.1080/00043079.2014.877305 To link to this article: http://dx.doi.org/10.1080/00043079.2014.877305 Published online: 25 Apr 2014. Submit your article to this journal Article views: 189 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Northwestern University] Date: 22 September 2016, At: 08:04 Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid Jesus Escobar “Mantua of the Carpentana, or Madrid, Royal City” reads the attributed to the overreach of Philip IV’s royal favorite and Latin inscription on the banderole that hovers above Pedro prime minister, Gaspar de Guzman, the count-duke of Teixeira’s monumental map of the Spanish capital, the Topo- Olivares (1587–1645). In 1640, in the midst of the Thirty graphia de la Villa de Madrid (Topography of the town of Years’ War, rebellions arose in Catalonia and Portugal, com- Madrid) (Fig. 1). The text refers to a place from the distant pounding the monarchy’s ongoing financial crises and lead- Roman past, the purported origin of Madrid, as well as the ing to Olivares’s ouster. -
Dirección General De Bibliotecas, Archivos Y Museos
DIRECCIÓN GENERAL DE BIBLIOTECAS, ARCHIVOS Y MUSEOS SUBDIRECCIÓN GENERAL DE BIBLIOTECAS, ARCHIVOS Y MUSEOS DEPARTAMENTO DE PATRIMONIO BIBLIOGRÁFICO Y DOCUMENTAL ARCHIVO DE VILLA THE ARCHIVO DE VILLA (TOWN ARCHIVE) OF MADRID The Archivo de Villa of Madrid contains, throughout its more than 18,500 running metres of shelves, documents created and received at the Madrid City Council since 1152. This archive was first mentioned in a Royal Provision of Charles V –Charles I of the Spanish empire– (1525), although the so-called 'ark of the three keys', a medieval deposit for the parchments of Madrid, is repeatedly mentioned in the books of resolutions since the 15th century. The Archive was finally set up in the 18th century. In 1748, the first professional archivist was appointed. The first regulations and operation instructions for the archive were approved in 1753 and it became a "Public Office" with the right to issue official certificates by virtue of a Royal Decree in 1781. This Institution was opened for research in 1844. It has changed its headquarters several times: Tower of the San Salvador church and Monastery of Santo Domingo (15th to 17th century), First Town Hall of Madrid (17th century-1868), Second Town Hall “Casa Panadería” in Plaza Mayor (1868-1987), Conde Duque barracks (1987-), but the custody of the materials it contains was never interrupted, not even during the Peninsular War (1808-1814), or during the Spanish Civil War (1936-1939). COLLECTIONS Except for two small acquisitions of private archives, the collections come from the Madrid City Council itself and from the City Councils that were annexed to Madrid during the fifties, in the past century. -
Glaming Madrid Project
GLAMING MADRID PROJECT September 7, 2015 - January 7, 2016 INDEX 1. Introduction 3 2. GLAM-WIKI 5 3. Origin of the project 6 4. Timing and spaces 9 5. Activities 10 5.1 Training sessions for the public 10 5.2 Training sessions for staff 14 5.3 Triedit-a-thon 15 5.4 Classical music concerts 16 5.6 GLAMing Madrid Challenge 18 5.7 Content donation 22 6. Diffusion 26 7. Participants experience 30 8. Learned lessons 38 9. Credits and resources 41 GLAMING MADRID PROJECT 2 INTRODUCTION Wikimedia Spain is a non-profit organization dedicated to the promotion of free knowledge, particularly projects hosted and supported by the Wikimedia Foundation, Wikipedia, Wikimedia Commons Wikidata, Wikisource, wikivoyage, Wikispecies, Wiktionary, Wikibooks, Wikinews, Wikibooks and Wikiversity, in all languages spoken in Spain. Wikipedia is one of the most visited websites and its importance to the preservation and dissemination of culture has been steadily growing. Its physical structure, such as servers and technical equipment, is funded and managed by Wikimedia Foundation. The following sentence summarizes its objectives: "Imagine a world in which every single person on the planet is given free access to the sum of all human knowledge. That's what we're doing" Wikimedia Spain is the Wikimedia chapter in Spain recognized by the Foundation. We are an independent association but linked to it by a commitment to support their projects. We provide support to wikimedians of our field of action, without distinction of language or project work. We also try to spread the spirit wiki in areas such as education and cultural institutions.