El Corazón De Cuba Educational Program Curriculum
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A Comparative Case Study of the Political Economy of Music in Cuba and Argentina by Paul Ruffner Honors Capstone Prof
Music, Money, and the Man: A Comparative Case Study of the Political Economy of Music in Cuba and Argentina By Paul Ruffner Honors Capstone Prof. Clarence Lusane May 4, 2009 Political economy is an interpretive framework which has been applied to many different areas in a wide range of societies. Music, however, is an area which has received remarkably little attention; this is especially surprising given the fact that music from various historical periods contains political messages. An American need only be reminded of songs such as Billy Holliday’s “Strange Fruit” or the general sentiments of the punk movement of the 1970s and 80s to realize that American music is not immune to this phenomenon. Cuba and Argentina are two countries with remarkably different historical experiences and economic structures, yet both have experience with vibrant traditions of music which contains political messages, which will hereafter be referred to as political music. That being said, important differences exist with respect to both the politics and economics of the music industries in the two countries. Whereas Cuban music as a general rule makes commentaries on specific historical events and political situations, its Argentine counterpart is much more metaphorical in its lyrics, and much more rhythmically and structurally influenced by American popular music. These and other differences can largely be explained as resulting from the relations between the community of musicians and the state, more specifically state structure and ideological affiliation in both cases, with the addition of direct state control over the music industry in the Cuban case, whereas the Argentine music industry is dominated largely by multinational concerns in a liberal democratic state. -
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. -
Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture
Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández University of Wisconsin-Eau Claire Occasional Paper #97 c/o Center for Latin American and Caribbean Studies University of Wisconsin-Milwaukee PO Box 413 Milwaukee, WI 53201 http://www4.uwm.edu/clacs/ [email protected] Fernández 1 Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández The genre most frequently mentioned in U.S. university textbooks and anthologies when discussing Cuba’s recent musical production is the nueva trova , which developed soon after Fidel Castro came to power. The first edition of Más allá de las palabras (2004), to cite just one example of an intermediate Spanish language textbook, uses the trovistas Pablo Milanés and Silvio Rodríguez as examples of “contemporary” Cuban musical artists (204). Books on Cuba aimed at monolingual English speakers also depend largely on the nueva trova when attempting to present Cuba’s current musical production. The Cuba Reader: History, Culture, Politics (2003), an anthology of texts dating back to Columbus, uses samples from Silvio Rodríguez’s music on two occasions, in a chapter dedicated to the international aspects and impact of the Cuban Revolution and once again in a chapter dedicated to Cuba after the fall of the Soviet Union. Without discounting the artistic merit and endurance of the nueva trova or the numerous trovistas , the use of this music (the heyday of which was primarily in the 1960s to early 1980s) as a cultural marker for Cuban culture today seems distinctly anachronistic. It would be analogous to using music from World War II era United States to describe the events and sentiments of the 1960s. -
Books and Articles in Spanish
Books and Articles in Spanish GENERAL Chedia k, Nat 1998 Diccionario de Jazz Latino. Madrid: Fundación Autor. Molina, Antonio J. 1998 150 años de zarzuela en Puerto Rico y Cuba. San Juan, Puerto Rico: Ramallos Bros Printing, Inc. Pérez P erazz o, Alberto 1988 Ritmo afrohispano antillano 18651965. Caracas: Publicaciones Almacenadoras. Trapero, Marcelino 1996 El libro de la décima: La poesía improvisada en el mundo hispánico. Universidad de las Palmas de Gran Canaria, Cabildo Insular de Gran Canaria, Unelco, Las Palmas de Gran Canaria. CUBA Acosta, Leonardo 1982 Música y descolonización. México, D.F.: presencia latinoamericana. 1983 Del tambor al sintetizador. La Habana: Editorial Letras Cubanas. 2004 Otra visión de la música popular cubana. Havana: Letras Cubanas. Altmann, Thomas 1998 Cantos lucumí a los orichas. Hamburg: Oché. Ardévol, José 1966 Música y revolución. Havana: UNEAC. Bigott, Luis A ntonio 1993 Historia del bolero cubano (18831950). Caracas: Ediciones Los Heraldos Negros. Carbonell, José Manuel 1928 Las bellas artes en Cuba. Recopilación dirigida, prologada y anotada por José Manuel Carbonell y Rivero. La Habana : Imprenta El Siglo XX. Carpentier, Alejo 1946 La música en Cuba. México D.F.: Fondo de Cultura Económica. Casaus , Vícto r and Luis Rogelio Nogueras 1984 Silvio: que levante la mano la guitarra. Havana: Letras Cubanas. Castellanos, I sabel, 1939‐ 1983 Elegua quiere tambo : cosmovision religiosa afrocubana en las canciones populares, 2da ed. Cali, Colombia: Castillo Faíld e, Osvaldo 1964 Miguel Faílde, creador musical del danzón. La Habana: Editora del Consejo Nacional de Cultura. Collazo , Bobb y 1987 La última noche que pasé contigo: 40 años de la farándula cubana. -
Recorrido 1 La Habana Vieja, Las Plazas Históricas Y Sus Entornos (Zona Central Y Norte)
Recorrido 1 La Habana Vieja, las plazas históricas www.recorridosporlahabana.com y sus entornos (zona central y norte) 1 Recorrido No. 1: La Habana Vieja, las plazas históricas y sus entornos (zona central y norte) Hora de inicio sugerida: 9:00 a.m. Hora aproximada de fin del recorrido: 6:00 p.m. Como la inmensa mayoría de los visitantes acceden a La Habana Vieja desde el Paseo del Prado (Paseo de José Martí), y muy puntualmente desde el Parque Central, de manera práctica hemos tomado al Prado como punto de partida. Capitolio Nacional (1) – Prado entre San José y Dragones. Iniciamos el recorrido en este monumental edificio ubicado en la acera del Paseo del Prado perteneciente a Centro Habana. De fachada neoclásica, fue construido entre 1926 y 1929 para acoger al Congreso de la República. Una imponente escalinata de 55 peldaños, flanqueada por dos estatuas de bronce, el Trabajo y la Virtud Tutelar, obras del italiano Angelo Zanelli, conduce al pórtico de ingreso. En el interior bajo el domo, del mismo autor, se halla La República, que en su momento fue la segunda estatua bajo techo más grande del mundo. Custodiado por La República, un diamante empotrado en el piso de mármol marca el kilómetro cero de la carretera central. No se debe dejar de conocer el majestuoso Salón de los Pasos Perdidos (50 metros de largo, 14,5 de ancho y 20 de puntal). En la acera opuesta, a escasos metros de un extremo del Capitolio, se encuentra el Parque Central (2) – calles Prado, Zulueta, Neptuno y San José, considerado como la principal “puerta de entrada” a La Habana Vieja. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011. -
Cuban Rare Books in the Harold and Mary Jean Hanson Rare Books Collection
Cuban Rare Books in the Harold and Mary Jean Hanson Rare Books Collection This bibliography includes titles published in Cuba from early imprints to present. As we are constantly adding early and contemporary imprints, this list should not be taken as a comprehensive list. Please consult with George A. Smathers Libraries online catalog to be sure newly acquired books are included. It is our intent to update this list quarterly when new books and materials are purchased. The list is not in any order. You will need to use your browser's Find function to locate particular items. Eventually, these titles will receive full cataloging and a Library of Congress classification number. You need to check the online catalog for the correct call number. If you have any questions, please contact the Latin American Collection. Author: Asociación de Dependientes del Comercio de la Habana Title: Memoria de los trabajos llevados a cabo por la Directiva durante al año de 1893 a 1894 y 2o semestre del año de 1894: aprobada por la Directiva en sesión extraordinaria de 19 de enero de 1895 Asociación de Dependientes del Comercio de la Habana. Published: Habana: P. Fernández y Cía., 1895. Description: 46 p., [4] fold. leaves of plates : ill.; 23 cm. Notes The illustrations consist of tables recording statistical specifics of the association's activities. Location: UF SMATHERS, Special Coll Rare Books (Non-Circulating) -- HV160.H3A75 1895 Title: Barquitos del San Juan : la revista de los niños. Published: Matanzas, Cuba: Ediciones Vigía, [199-] Description: v.: ill. (some col.) ; 20-29 cm. Frequency: Irregular Alternate title: Revista de los niños Notes: Each no. -
The Nueva Trova: Frank Delgado and Survival of a Critical Voice Lauren E
CHAPTER 4 The Nueva Trova: Frank Delgado and Survival of a Critical Voice Lauren E. Shaw The nueva trova is not a genre or an artistic school. Rather, it is a musical movement that is not characterized by a particular style. As a movement, it belongs more to a certain ideology and way of life than to a certain time period. The musical forms it encompasses are many: bolero, guaguancó, guajira, guaracha, danzón, son and ballad. Some troubadours even include reggae and rap into their repertory. It is the ballad, however, that is used most frequently due to its flexibility of form that can accommodate more adeptly to lyrics. The nueva trova emerged in Cuba at the end of the sixties with singer- songwriters Silvio Rodríguez and Pablo Milanés as its two-main founders. It has come to be associated with the ideological, historical and social-political context of the Cuban Revolution. In fact, in the last few decades, its songs have conveyed the impact of socialism on the island. Although it is part of the world-wide movement of protest songs in the sixties, the nueva trova is unique, due to the political situation in Cuba. Some of the foremost artists taking part in this international song form are: Pete Seeger, Bob Dylan and Joan Baez in the United States; Violeta Parra and Víctor Jara in Chile; Mercedes Sosa in Argentina; Oscar Chávez and Amparo Ochoa in México; Roy Brown in Puerto Rico and Joan Manuel Ser- rat, Paco Ibáñez, Luis Llac and Raimón in Spain. Insisting on social justice, these artists strove to raise consciousness and to speak out against oppressive social and political systems. -
Centro De Estudios Martianos, 2006 ISSN: 0864-1358 ISBN: 959-271-029-5
Director: Rolando González Patricio Coordinadora: Carmen Suárez León Edición: Ela López Ugarte Diseño de perfil: Ernesto Joan Realización de cubierta: Nidia Fernández Pérez Composición: Beatriz Pérez Rodríguez © Centro de Estudios Martianos, 2006 ISSN: 0864-1358 ISBN: 959-271-029-5 Cada trabajo expresa la opinión de su autor. El Anuario del Centro de Estudios Martianos se reserva el derecho de expresar sus propios criterios en notas editoriales CENTRO DE ESTUDIOS MARTIANOS Presidente honorario: Cintio Vitier Director: Rolando González Patricio Vicedirectores: Alejandro Sebazco Pernas Renio Díaz Triana Directora de Publicaciones: Mabel Suárez Ibarra CENTRO DE E STUDIOS MARTIANOS Calzada 807, esquina a 4, Vedado, C.P. 10400, La Habana, Cuba Fax: (537) 8333721 E-mail: [email protected] [email protected] SUMARIO El trabajo de la Edición Crítica…/ 4 Otros textos de José Martí Dos poemas martianos / 5 LOURDES OCAMPO ANDINA Nota / 5 [Un rapsoda del aire, condenado] / 5 [En una jaula de hierro] / 6 Sobre la edición crítica de las obras martianas PEDRO PABLO RODRÍGUEZ Investigación y edición: un coloquio / 7 RODOLFO SARRACINO La información electrónica y la edición crítica de las Obras completas de José Martí / 9 MAYRA BEATRIZ MARTÍNEZ Editar in situ y editar al editor: reflexiones en torno a dos experiencias alternativas / 19 LOURDES OCAMPO ANDINA La poesía de José Martí. El problema editorial / 26 Homenaje a Manuel Pedro González y José Olivio Jiménez IVAN A. SCHULMAN Recordando a dos maestros modernos / 41 CARLOS JAVIER MORALES La obra martiana de José Olivio Jiménez / 45 DIONISIO CAÑAS A José Olivio Jiménez / 52 CARIDAD ATENCIO Algo sobre el camino y la vida a propósito de José Olivio Jiménez / 56 Estudios y aproximaciones CINTIO VITIER José Martí contra el ALCA / 59 MIRLA ALCIBÍADES Martí, Venezuela y Latinoamérica / 63 LUIS ENRIQUE RAMOS GUADALUPE De la sombra al sol. -
Un Arquitecto Español Desconocido: Calixto De Loira Y Cardoso
UN ARQUITECTO ESPAÑOL DESCONOCIDO: CALIXTO DE LOIRA Y CARDOSO. Biografía, formación académica y trayectoria profesional MARTHA ELIZABETH LAGUNA ENRIQUE Universidad de Salamanca RESUMEN. El presente artículo está dedicado al estudio de la bio- grafía y la obra del arquitecto gallego afincado en Cuba Calixto de Loira y Cardoso, titulado por la Real Academia de Bellas Artes de San Fernando de Madrid en 1867, figura que ha sido insuficientemente analizada tanto en España como en Cuba. Su temprana muerte, ocurrida en La Habana a la edad de treinta y dos años, truncó su desarrollo profesional y artístico, im- pidiéndole concluir su obra cumbre, el Cementerio de Colón de La Habana. Este campo santo, declarado Monumento Nacional en 1987, constituye uno de los ejemplos más destacados del arte funerario en América y se honra con la presencia de obras de gran valor y estilos artísticos diver- sos, suscritas por arquitectos y escultores -nacionales e internacionales- de gran renombre. ABSTRACT. This article is dedicated to the study of the biography and the work of the Galician architect who resided in Cuba, Calixto de Loira y Cardoso, a graduate of the Real Academia de Bellas Artes de San Fernando, Madrid (1867), a figure that hasn´t been sufficiently analyzed in Spain and Cuba. His early death occurred in Havana at the age of thirty two, and truncated his professional and artistic development, preventing him from concluding his greatest work, the Colon Cemetery of Havana. This graveyard, declared a national monument in 1987, constitutes one of the most distinguished examples of funeral art in the Americas, and is graced by the presence of valuable works of diverse artistic styles, signed by natio- nal and international architects and sculptors of great renown. -
PRISMA DE AMORES Latin Suite for Orchestra & Orchestral Program
199 Pemberton St. • Cambridge, MA 02140 • 617.492.1515 phone • 617.649.0299 fax PRISMA DE AMORES Latin Suite for Orchestra & Orchestral Program Description Fall 2009 marks Sol y Canto’s 15th anniversary and founders Brian and Rosi Amador’s 25th year as Latin music ambassadors. Latin music ensemble Sol y Canto and their 2001 Boston Celebrity Series-commissioned Latin suite, “Prisma de amores” has been presented with orchestras including the Springfield Symphony Orchestra, and the Boston Modern Orchestra, to name a few. Mr. Amador was the first Latino composer to be commissioned by the Boston Celebrity Series. SOL Y CANTO BIOGRAPHY Sol y Canto is an award-winning national touring ensemble with a long track record of presenting original as well as traditional and popular music in Latin American and Caribbean musical genres. They have brought audiences to their feet from the Kennedy Center and White House to the Vancouver Folk Festival, Boston’s Symphony Hall and the Museo de Arte in San Juan, Puerto Rico, amongst others. Recent highlights for Sol y Canto include performances at the Smithsonian Center in Washington, D.C., the Kimmel Center in Philadelphia,.They tour performing arts centers, concert series, and festivals, and offer concerts, master classes, and a variety of educational programs for adult and family audiences. PRISMA DE AMORES “…The [Latin suite] performances were infectious, and the pieces displayed Amador’s generous melodic gift, his rhythmic spark, and a sensitive attunement to the shifting moods of the text…” –Richard Dyer, The Boston Globe “I have heard nothing but raves from everyone, especially our new works funder.