DOCSLIB.ORG

Centro Teaching Guide Memories on the Wall: Education and Enrichment Through Community Murals Developed by Raquel M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Centro Teaching Guide Memories on the Wall: Education and Enrichment Through Community Murals Developed by Raquel M 1 Centro Teaching Guide Memories on the Wall: Education and Enrichment through Community Murals Developed by Raquel M. Ortiz Rodríguez, PhD. 2 Table of Contents I. Introduction II. Discussion Questions and Learning Activities III. Vocabulary IV. María Domínguez Biographical Essay V. Background Historical Essays on Community Murals El Pueblo Cantor (1994), Nuestro Barrio (1998), and Baile Bomba (1983) VI. Teaching Resources for Memories on the Wall 3 I. Introduction Centro Teaching Guide Memories on the Wall: Education and Enrichment through Community Murals Developed by Raquel M. Ortiz Rodriguez, PhD. 5/23/13 This Centro teaching guide focuses on the documentary Memories on the Wall: Education and Enrichment through Community Murals. The documentary explores the creative process used by María Domínguez and students from I.S. 406 in conjunction with the exhibit Labor (September 27, 20011 to January 6, 2012, Hunter College East Harlem Art Gallery) to create a mural. This guide also looks at select community murals created and directed by Domínguez. It is one in a series of teaching guides on Puerto Ricans in the United States that the Center for Puerto Rican Studies makes available to middle and secondary school educators to promote a better understanding of the cultural, intellectual and economic contributions of U.S. Puerto Ricans in the public school curriculum. This guide contains: Background information on visual artist María Domínguez and essays on select community murals that she helped to design and create. An interdisciplinary, standards-based instructional unit that aligns with the new Core Standards and that may extend over a week or longer. Teaching resources that include primary and secondary sources accessible at Centro’s website and in its library and archival collection, including manuscripts, newspaper articles, photographs, audio recordings, film/video; and recommended readings appropriate for young adults are available through CUNY inter-library loans, the New York Public Library holdings and local bookstores. Formative assessments in the form of oral and written responses to prompts enable teachers to gauge their teaching effectiveness through students’ comments during and after each session, which allows teachers 4 to make timely adjustments as students move through the unit. Summative assessments enable teachers to evaluate both anticipated and unanticipated learning outcomes at the conclusion of this unit. It is expected that knowledge of the history and contributions of U.S. Puerto Ricans should, over time, create consciousness of the value of education, and the written and spoken word in particular, to improve the quality of life of U.S. Puerto Ricans. Two essential questions guide this unit: (1) How are community murals instruments of popular education that help transform our society? (2) How does studying community murals by María Domínguez help us to understand the personal and communal histories that are reflective of the experiences, accomplishment, struggles, and challenges of the Puerto Rican communities in New York City? References of resources available in print or online by and about community mural-making and María Domínguez. These resources are organized into 4 sections: (a) Books authored or edited by the individual; (b) Web-based resources; (c) Chapters in books, articles, book reviews; and (d) Archival collections containing resources on featured Puerto Ricans. There are sufficient examples in each category to enable teachers to select those resources that most closely fit their instructional goals and teaching styles. Learning Outcomes Students are expected to meet appropriate performance standards in the NYS Common Core English Language Arts Standards, Grades 6-12. Student work over time shows us whether students exceed, meet, or fall short of expected outcomes. Teachers are encouraged to collaborate with students in specifying acceptable levels of performance all agree serve as fair and valid indicators of what students should understand and demonstrate. Participating in creating indicators of what constitutes acceptable performance at each level helps students to take a more active role in their learning and in meeting expectations. 5 Specifically, students are expected to: Provide evidence of thoughtful reading and drawing conclusions from a range of texts of varying genres and increasing levels of intellectual and linguistic complexity. These texts may be documentaries, images of art, historical documents, personal essays, poetry, speeches, opinion pieces, power points, and articles produced for a broad audience/readership. Write routinely in response to prompts that have a specific purpose, such as to comment on and raise questions about instructional content and procedures, and to explain how community murals help us to understand the personal and communal histories that are reflective of the experiences, accomplishment, struggles, and challenges of the Puerto Rican communities in New York City . Emphasis will be on how well students integrate and evaluate information presented in diverse formats and media (e.g., in print, online, film), with written and verbal feedback. For grades 6-12, produce a well-documented and coherent final essay, (1-2 typed pages, 12 pt font, 1” margins) on a community mural created by María Domínguez (essays on El Pueblo Cantor, Baile Bomba, and Nuestro Barrio are included in this teaching guide). The teacher will guide this writing through examples modeled in class (e.g., timeline, essay organizer, drafts of select essays). Although the rubric for determining the extent to which the essay exceeds, meets or falls short of meeting assignment requirements and established conventions for language use will be developed in collaboration with students, students are expected to use evidence from the film, primary and secondary documents and class discussions to support their thesis/argument in a coherent, well- documented and interesting manner appropriate to a given or self- selected audience. 6 II. Discussion Questions Questions for discussion after viewing the documentary Grades 3-5: 1. What was your favorite part of the documentary? Your least favorite? 2. Which student did you enjoy listening to the most? 3. Who is María Domínguez? What does she do? Why? 4. What is identity? What is your identity? 5. What are symbols? Identify a symbol and explain what it stands for. 6. How is a community mural made? 7. How were resources available to you at the Center for Puerto Rican Studies used by the students of Global Tech Prep? Grades 6-8: 8. What was most appealing visually about the documentary? 9. What would you add to the documentary? 10. What did you learn about Puerto Rican history and culture? 11. What struggles regarding the Puerto Rican community are you familiar with? 12. Define the following concepts: Symbolism Community mural making Archives Grades 9-12: 13. How was research important to the mural making process shown in the documentary? 14. What types of resources were shown at the Archives? 15. How was the exhibit Labor used in conjunction with the mural project? 16. Who is Antonio Matorell? Juan Sanchez? Nitza Tufiño? Miguel Luciano? Melissa Calderón What were their works of art about? How did their artwork influence the mural created by the students? 17. What do you know about the nearly 600,000 Puerto Rican workers who, in the 1940s and 1950s migrated to the United States looking for work and a 7 better life? 18. Discuss the meaning of some of the images and information found on the website regarding the art exhibit Labor. http://centropr.hunter.cuny.edu/about/events/labor-art-exhibit-new-centro- library-archives-home Mural Activity Grades 3-5: After viewing and discussing the documentary have a discussion regarding the concept of symbols with the students. In the documentary María Domínguez and students form I.S. 406 explored symbols in regards to the art exhibit Labor. Then she and the students spoke of future careers. Labor was an art exhibition inspired by information in Centro Archives. The exhibit pays tribute to the nearly 600,000 Puerto Rican workers who, in the 1940s and 1950s migrated to the United States looking for work and a better life. Images and information on the exhibit Labor can be found at: http://centropr.hunter.cuny.edu/about/events/labor- art-exhibit-new-centro-library-archives-home Invite the students to brainstorm symbols that they identify with themselves. Encourage the students to explore the concepts of their families and their communities in regards to how they see themselves. Discuss the connection between personal and shared identities. Then invite the student to share what they would like to be in the future, and how these professions will enrich their communities. Have each student draw 3-5 symbols that represent their dreams and goals for themselves. Then invite the group to share their symbols. Have each student select one symbol and then color or draw this symbol as a stamp to incorporate into a bigger piece. As a group, have the students design, then, create, a mural design that showcases their stamps, that are symbols of their future plans for themselves. In 8 the documentary the students of I.S. 406 used an urban setting, reflecting El Barrio, and placed their stamps on windows of buildings. Encourage the students to think of their neighborhoods and images that are familiar to them. The theme of community and neighborhood should be incorporated into their design. The mural design can be done on a large sheet of paper or canvas and can be painted collectively. Ask the students to address the following in their design: o Community o Place o Labor Invite the students to incorporate their personal stamp into the bigger art piece. EXERCISES USING IMAGES OF MURALS After viewing and discussing the documentary select one of the murals in the documentary (essays on El Pueblo Cantor, Baile Bomba, and Nuestro Barrio are included in this teaching guide). Nuestro Barrio Grades 3-5: Have the students identify an image in the mural that María Domínguez created in the Puerto Rican community of El Barrio.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Redalyc.Latinoamérica Un Sendero Donde Duerme La Esperanza
    Revista de Investigación ISSN: 0798-0329 [email protected] Universidad Pedagógica Experimental Libertador Venezuela Lugo Rodríguez, Alexander Latinoamérica un sendero donde duerme la esperanza: Estudio de cinco canciones representativas Revista de Investigación, núm. 69, 2010, pp. 151-178 Universidad Pedagógica Experimental Libertador Caracas, Venezuela Disponible en: http://www.redalyc.org/articulo.oa?id=376140384007 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Latinoamérica un sendero donde duerme la esperanza: Estudio de cinco canciones representativas Latinoamérica un sendero donde duerme la esperanza: Estudio de cinco canciones representativas Latin America, a path where hope sleeps: A study of fi ve meaninful songs Alexander Lugo Rodríguez [email protected] Universidad Pedagógica Experimental Libertador Instituto Pedagógico de Caracas RESUMEN Se abordan canciones representativas de la latinoamericanidad, presentando una micro-biografía y algunos datos bibliográfi cos de sus autores. Se muestra una revisión de la propuesta interpretativa de Paul Ricoeur, procurando explicar estas canciones desde la producción del signifi cado metafórico en el lenguaje, así como, el análisis musical de las canciones. Paralelamente se hace una vinculación del lenguaje común extraído de las canciones seleccionadas con las creaciones del cantautor venezolano Alí Primera, con la intención de generalizar la visión de un mundo de vida latinoamericano. Se revisaron más de doscientas (200) canciones de: Rafael Hernández, Atahualpa Yupanqui, Otilio Galíndez, Rubén Blades, Juan Luis Guerra y Alí Primera, con el fi n de establecer como la canción popular simboliza una forma de ver y de sentir una realidad en un momento histórico determinado.
    [Show full text]
  • New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community
    Copyright by Tara Elgin Hurst 2010 The Report Committee for Tara Elgin Hurst Certifies that this is the approved version of the following report: A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community Approved by Supervising Committee: __________________________ Robin Moore, Supervisor __________________________ Stephen Slawek A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community By Tara Elgin Hurst, B.A. Masters Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin August 2010 Acknowledgements For my children Kathryn and Peter. Special thanks to Robin Moore, Stephen Slawek and Michael Seamus O‘Brian. iv Abstract A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community Tara Elgin Hurst, M.Music The University of Texas at Austin, 2010 Supervisor: Robin D. Moore Commonly known as nueva canciόn in Puerto Rico or nueva trova in Cuba, ―new song‖ is a 60-year-old genre, a musical form resonant with political overtones. This thesis examines the life and music of Lourdes Pérez, a Puerto Rican singer working in the nueva canciόn tradition. Pérez, who has lived in the U.S. for 20 years, is dedicated through her compositions to create a ―newer song,‖ a form of socially engaged music based on artists of the past but addressing contemporary issues.
    [Show full text]
  • “Lamento Borincano”--Canario Y Su Grupo (1930) Added to the National Registry: 2017 Essay by Mario C
    “Lamento Borincano”--Canario y Su Grupo (1930) Added to the National Registry: 2017 Essay by Mario C. Cancel-Bigay (guest post)* Carnario y Su Grupo On “Lamento borincano” and Its Many Lives According to Rafael Hernández Marín (1891-1965), the Afro-Puerto Rican composer of “Lamento borincano,” it was on a cold December day in 1929, as he reminisced with some friends about the warmth of his homeland of Puerto Rico in a Harlem restaurant, when he approached an “almost-falling-apart-piano in a corner” and began to “spontaneously” compose the famous bolero (qtd. in Glasser 1995: 163-164). A few months later, on July 14th 1930, “Lamento borincano” was recorded for the first time by Canario y Su Grupo for RCA Victor in New York City. The song not only became a hit and an unofficial anthem for Puerto Ricans from the island and the diaspora but, being his first recording, it also helped to launch the career of lead singer Pedro Ortiz Dávila--“Davilita”--who was 18 at the time. Manuel “Canario” Jiménez, for his part, leader of Canario y Su Grupo, already had vast experience recording. In time, he would become a renowned performer and composer of plena music, an Afro-Puerto Rican genre with Anglo-Caribbean influences born around the beginning of the 20th century in Ponce, Puerto Rico. The instrumentation of the song was simple: it included guitars, maracas— a legacy of Puerto Rico’s original inhabitants, the Taínos—and claves, the wooden sticks so emblematic of Afro-Cuban music. Curiously, the version recorded by Canario y Su Grupo was “incomplete” insofar as it lacked one of the song’s stanzas (Malavet Vega 2015: 40-41).
    [Show full text]
  • From Puerto Rico to France to the South Bronx: Rafael Hernández and His Legacy in the Bronx
    Volume XLVIII Numbers 1 & 2 Spring / Fall 2011 EDITORIAL BOARD Dr. Peter Derrick, Editor Dr. Elizabeth Beirne Dr. Gary Hermalyn Mr. Patrick Logan Ms. Kathleen A. McAuley Ms. Catherine Pellicano Copyright 2011 by The Bronx County Historical Society, Incorporated. The Bronx County Historical Society Journal is published by The Bronx County Historical Society, Incorporated. All correspondence should be addressed to 3309 Bainbridge Avenue, The Bronx, N.Y. 10467. Articles appearing in this Journal are abstracted and indexed in America: History and Life, PERiodical Source Index and Recent Scholarship Online. The Journal and its editors disclaim responsibility for statements made by contributors. ISSN 0007-2249 Microfilm and Microfiche issue and article copies are available through University Microfilms International 300 North Zeeb Road, Ann Arbor, Michigan 48106. The Bronx County Historical Journal articles can also be found on EBSCO host research databases. Visit our website www.bronxhistoricalsociety.org 1 FROM PUERTO RICO TO FRANCE TO THE SOUTH BRONX: RAFAEL HERNÁNDEZ AND HIS LEGACY IN THE BRONX by Elena Martínez Rafael Hernández was a prolific composer of the popular music of his day, such as boleros (romantic ballads) and guarachas (up-tempo humorous anecdotal songs), styles that originated in Cuba. He took those genres and created melodies and lyrics that pertained to his homeland, thereby giving them a distinct Puerto Rican voice. Today he is considered not just the greatest Puerto Rican composer, but one of the best in Latin America, because many of his songs, such as the anthem, Lamento Borincano, a lament about a poor farmer who can’t sell his goods, resonated throughout the region.
    [Show full text]
  • Roy Brown & El Topo
    Press contact: Blanca Lasalle – [email protected] 212-684-6001 ROY BROWN & EL TOPO BELOVED PUERTO RICAN FOLK SINGERS TO PLAY CONCERT AT THE HOSTOS CENTER FOR THE ARTS & CULTURE COMMEMORATING THE 50TH ANNIVERSARY OF THE PASSING OF DON PEDRO ALBIZU CAMPOS SATURDAY, APRIL 25, 2015 / 7:30 p.m. Tickets: Orch: $35 / Mezz: $25 / Students and Under 18: $17, $12 (April 5, 2015 (Bronx, NY) – The Hostos Center for the Arts & Culture presents two of Puerto Rico’s most beloved folk singers and the voices that marked a generation – Roy Brown and Antonio Cabán Vale “El Topo”. After more than decade away from New York City stages, the duo comes for a special concert commemorating the 50th anniversary of the passing of the revered political leader and champion of the Puerto Rican independence movement, Don Pedro Albizu Campos. Roy Brown and El Topo will perform in the Main Theater at the Hostos Center at Hostos Community College on Saturday, April 25 at 7:30 p.m. Tickets are $35 for orchestra; $25 for mezzanine; and $17 and $12 for students and under 18, available through the Hostos Center Box Office, open Mon. – Fri. 1 PM to 4 PM, on line at www.hostoscenter.org or can be purchased by calling (718) 518-4455. Tickets will also be available on the day of performance beginning at 5:30 PM. Hostos Center thanks New York Assemblyman Jose Rivera for his support of this important event. Many Puerto Ricans, both on the island and on the mainland United States, consider Roy Brown and El Topo to be the most important Puerto Rican exponents of the nueva canción latinoamericana movement.
    [Show full text]
  • Young Lords/Puerto Rican Radical Nationalists During the Late 20Th Century
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Puerto Rico En Mi Corázon: Young Lords/Puerto Rican Radical Nationalists During the Late 20th Century Permalink https://escholarship.org/uc/item/1jk3960d Author Arguello, Martha Mercedes Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Puerto Rico En Mi Corazón: Young Lords/Puerto Rican Radical Nationalists During the Late 20th Century DISSERTATION Submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in History by Martha Mercedes Argüello Dissertation Committee: Professor Winston A. James, Chair Professor Vicky Lynn Ruiz Associate Professor Lauren Robin Derby 2015 ©2015 Martha Mercedes Argüello TABLE OF CONTENTS Page LIST OF TABLES ii ACKNOWLEDGEMENTS iii CURRICULUM VITAE vi ABSTRACT OF DISSERTATION vii INTRODUCTION 1 CHAPTER 1: La Isla 20 CHAPTER 2: Migration, Labor, Transnational Politics 60 CHAPTER 3: Chicago: Rising Up Poor, Rising Up Angry 102 CHAPTER 4: New York and Beyond 146 CHAPTER 5: The Young Lords Movement Dreams, Demands, Platform and Vision 181 CONCLUSION: Pa’lante 216 BIBLIOGRAPHY 219 i LIST OF TABLES Page Table 2.1 Puerto Rican Population, States: New York, Illinois, 1950-1970 94 Table 2.2 Puerto Rican Population, Increase States: New York, Illinois 95 ii ACKNOWLEDGEMENTS This dissertation represents a long journey of discovery and development, one that allowed me to become immersed in histories that profoundly impacted me. Its completion would not have been possible without the support of many. The process has been long and often challenging. However, I was continually reminded of the reason that I embarked on this journey, namely, that the stories and histories of the people who surrounded me, are indeed important.
    [Show full text]
  • View Centro's Film List
    About Our 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 those produced by the film industry in Puerto Rico. Presently we house over 500 titles, both in DVD and VHS format. The collection is circulating and is made available for teaching, study and 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 from the collection may be borrowed by college professors, elementary and secondary 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: 362 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=556 (As of 9/9/16) 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 identification and sign contract which specifies obligations and responsibilities while the film(s) is in your possession.
    [Show full text]
  • October 2015
    A Cultural Publication for Puerto Ricans From the editor . Rafael Hernández (October 24, 1892 December 11, 1965), is considered by many to be the greatest composer of Puerto Rican music. Hernández (birth name: Rafael Hernández Marín) was born in the town of Aguadilla, Puerto Rico, into a poor family. As a child, he learned the craft of cigar making, from which he made a modest living. He also grew to love music and asked his parents to permit him to become a full-time music student. When he was 12 years old, Hernández studied music in San Juan, under the guidance of music professors Jose Ruellan Lequenica and Jesús Figueroa. He learned to play many musical instruments, among them the YOUR AD clarinet, tuba, violin, piano and guitar. However, according to many Puerto Rican music historians, it was when he learned how to write music that his life and the history of Puerto Rican music would change forever. FITS HERE In 1937, Hernández Marin wrote "Preciosa", while in Mexico. Years later, in 1947, he returned to Puerto Rico and became orchestra director at the government-owned WIPR Radio. His music became an important part of Puerto Rican culture. Hernandez formed Cuarteto Victoria with Pedro Ortiz Dávila, Rafael Rodríguez, and Franciso López Cruz with whom he recorded the song. A Puerto Rican group led by Manuel Index Page A. Jiménez (“Canario”) recorded Hernández’s Preciosa, which, together Credits 2 with Lamento Borincano became unofficial national anthems of Puerto Rico. Restaurant Review 2 Visit Puerto Rico/Trivia, Refranes 3 Yo sé lo que son los encantos, de mi Borinquen hermosa Taínos - Calendar - Don Guillo 4 por eso la quiero yo tanto y siempre la llamaré preciosa Diego el Tavernero 5 Primos/Nicaragua 6 Isla del Caribe Isla del Caribe, Food Blogs – Velez/Jaime in the Kitchen 7 Borinquen.
    [Show full text]
  • Nueva York (1613-1945)
    Nueva York (1613-1945) Large Print Exhibition Text Labels English PLEASE RETURN WHEN YOU ARE FINISHED 2 Nueva York (1613-1945) Today's "Nueva York," the city's massive and diverse constellation of Spanish-speaking residents, is a relatively recent phenomenon. It began with the surge of new arrivals from Puerto Rico in the 1940s, and expanded in size and composition over roughly the last half century. But long before that, around the time of the American Revolution, a stream of Spanish-speaking immigrants began trickling into the city. Over the 19th and 20th centuries, that stream evolved into an ample river, fed by a network of Latin American and Spanish tributaries. And then, after World War II, it widened out into a mighty delta. Contemporary Nueva York thus has deep roots in the city—a history not of decades but of centuries. Yet the city's relationship with the Spanish-speaking world goes back even farther than the Revolution, back to its very beginnings. And the interactions among Spain, Latin America, and New York had a much bigger influence on shaping the wider city's development than is generally realized. They left a major mark on contemporary New York's commercial, cultural, manufacturing, and financial arrangements. Nueva York (1613-1945) brings these two story lines together for the first time. 3 Gallery 1: Empires and Revolutions: 1613–1825 Labels begin with painting of King Philip IV and continue clockwise through the gallery King Philip IV and the Spanish Empire From 1621 to 1665, Philip IV ruled over an empire that stretched from Spain to the Philippines.
    [Show full text]
  • Preciosa: the People, History, and Music of Puerto Rico
    Proceedings of the May 2010 Conference of the Global Awareness Society International in San Juan, Puerto Rico Preciosa: The People, History, and Music of Puerto Rico Dr. Mark U. Reimer [email protected] Christopher Newport University Introduction Puerto Rico is a land rich in culture, natural beauty, tradition, and, diversity. From music indigenous to the island’s original habitants to rapper Daddy Yankee, Puerto Rican artists have been influenced by Europe, Africa, Cuba, the United States, and more. Puerto Rico is one of 7,000 tropical islands, the largest of which is Cuba, that form the West Indies and belongs to the group of islands called the Greater Antilles. Three quarters of the island is hilly or mountainous, and the trade winds from the northeast keep it an average of 82 degrees in the summer and in the mid-70s in the winter. The island experiences rain throughout the year, with the heaviest rains occurring between May and December, and only one third of Puerto Rico has soil considered to be of good quality. There are over 200 species of birds, the water is bright blue, and the marine life includes colorful tropical fish.1 With a population of nearly four million, Puerto Ricans are predominantly Roman Catholics, and God is worshipped in large public demonstrations, such as fiestas, processions, and celebrations of saints’ days. There is a close relationship with the Virgin Mary, and saints are regarded as friends. Children usually get their Christmas toys on Epiphany, January 6th, celebrating the visitation of the Three Wise Men.2 Spiritualism and folk religions also remain an important part of Puerto Rican spiritual life.3 In their daily diet, Puerto Ricans consume shellfish and other kinds of seafood, rice, red beans, tostones or mofongo made from plantain, and bread.
    [Show full text]
  • UNIVERSIDAD DE SALAMANCA FACULTAD DE CIENCIAS SOCIALES DEPARTAMENTO DE SOCIOLOGÍA Y COMUNICACIÓN EL ARTE DE LA IDENTIDAD Tesis
    UNIVERSIDAD DE SALAMANCA FACULTAD DE CIENCIAS SOCIALES DEPARTAMENTO DE SOCIOLOGÍA Y COMUNICACIÓN EL ARTE DE LA IDENTIDAD Tesis presentada por Raquel M. Ortiz Rodríguez para la obtención del grado de Doctor, bajo la dirección del Profesor Doctor José A. González Alcantud. Salamanca, marzo de 2008 El arte de la identidad. Una critica del imaginario del jibarismo puertorriqueño a través de la literatura, la música y obras de arte. iii A Wilkins, por su solidaridad; a Sofía, por su alegría; y a César Ernesto, por su amor sin condiciones. v La doctoranda desea expresar su agradecimiento al Dr. José Antonio González Alcantud, por su sabiduría, generosidad y apoyo intelectual; a la Dra. Maritza Stanchi y al Dr. Alfonso R. Latoni, por su desinteresada defensa del derecho de la mujer a la educación y al desarrollo profesional; al Dr. Ángel Espina Barrio, por su compromiso con una Antropología Social Iberoamericana; a Alejandro Torres, por sus comentarios, cuestionamientos y correcciones; a María Domínguez, por compartir conmigo sobre su quehacer cultural; a mis padres, Sonia y Roque Ortiz y a mi abuela, Virginia González de Rodríguez, por su confianza en mí; a mis amigos Alakesha Murry, Enid Bonner, Iveliesse Malavé, Linda Leconte, Nelson Colón y Sunil Ramchandani, por apoyarme ciento por ciento en mi aventura académica; y a mi esposo, por ser amigo, compañero de estudios, defensor, etcétera. vii ÍNDICE INTRODUCCIÓN . 1 Justificación y significado del proyecto . 2 Metodología y diseño experimental . 7 Marco teórico . 10 Sinopsis de la investigación . 17 1. HISTORIA LARGA DE UNA MANIPULACIÓN: ANTECEDENTES Y DESARROLLO DEL JIBARISMO PUERTORRIQUEÑO . 21 1.1 ¿Qué es el Caribe? .
    [Show full text]