Facultad Latinoamericana De Ciencias Sociales, FLACSO Ecuador Departamento De Antropología, Historia Y Humanidades Convocatoria 2014-2016

Total Page:16

File Type:pdf, Size:1020Kb

Facultad Latinoamericana De Ciencias Sociales, FLACSO Ecuador Departamento De Antropología, Historia Y Humanidades Convocatoria 2014-2016 www.flacsoandes.edu.ec Facultad Latinoamericana de Ciencias Sociales, FLACSO Ecuador Departamento de Antropología, Historia y Humanidades Convocatoria 2014-2016 Tesis para obtener el título de maestría en Antropología Éxito, orgullo y vergüenza. Los usos de la cultura auténtica en la disputa por la música folclórica andina Adriana Soledad Aguilar Molina Asesor: Alfredo Santillán Lectoras: Mercedes Prieto y Alicia Torres Quito, mayo 2019 I Dedicatoria A mi familia, por ser la luz que guía mis pasos y no dejarme vencer en cada tropiezo A mi Jatari, el pequeño ser que me recuerda lo que realmente importa en esta vida Y a mi abuelita María Piedad, quien desde el cielo a todos nos cuida II Epígrafe “En el Conservatorio debía enseñarse música ecuatoriana, pero los eruditos que han estado al frente, tampoco se han acordado de la música nacional. Esto es por una cuestión social, porque se piensa que los que tocan música ecuatoriana son chagras, indígenas, entonces les dejan a un lado”. Gonzalo Benítez (1915-2005) Músico y compositor ecuatoriano III Tabla de contenidos Resumen ................................................................................................................................ VIII Agradecimientos ....................................................................................................................... IX Introducción ............................................................................................................................... 1 Capítulo 1 ................................................................................................................................... 6 La negociación de las identidades en la música folclórica ......................................................... 6 1. Prácticas culturales y representaciones sociales ................................................................. 6 1.1. La invención del “folclor” ........................................................................................... 8 1.2. El relato de “autenticidad” ......................................................................................... 11 1.3. La puesta en escena “étnica” ..................................................................................... 13 2. Problema de investigación ................................................................................................ 16 3. Trabajo de campo y análisis de datos ............................................................................... 20 Capítulo 2 ................................................................................................................................. 24 Los “folclores” de la música ecuatoriana ................................................................................. 24 1. Las representaciones del “indio” poscolonial ................................................................... 24 1.1. En la música “nacional”: La vasija de barro .............................................................. 25 1.2. En la música “protesta”: Cuando el indio llora ......................................................... 33 2. La música “indígena” ........................................................................................................ 39 3. La música “folclórica andina” .......................................................................................... 41 Capítulo 3 ................................................................................................................................. 43 El éxito de la música folclórica andina .................................................................................... 43 1. El modelo de negocio de Corporación Canela .................................................................. 43 1.1. La fan y los “hits folclóricos” .................................................................................... 49 1.2. Los covers y los imitadores ....................................................................................... 59 1.3. El “boom” de Los Kjarkas ......................................................................................... 65 2. El “folclor” como recurso económico ............................................................................... 68 Capítulo 4 ................................................................................................................................. 70 El “patrimonio” como recurso político .................................................................................... 70 1. Otavalo y los músicos “kichwas” ..................................................................................... 71 2. Otras formas de gestión de la música ............................................................................... 75 2.1. El orgullo de “la matriz auténtica” ............................................................................ 82 2.2. “Mestizos” versus “indígenas” .................................................................................. 86 3. Música “de indios” ............................................................................................................ 89 Conclusiones ............................................................................................................................ 94 IV Abreviaturas ............................................................................................................................. 98 Glosario .................................................................................................................................... 99 Lista de referencias ................................................................................................................. 100 V Ilustraciones Figura 1. 1. Clúster industria fonográfica ecuatoriana, 2013 ................................................... 19 Figura 2. 1. Ejemplos de canciones indigenistas en la música nacional ecuatoriana ............... 32 Figura 2. 2. Ejemplos de canciones indigenistas en la música protesta ecuatoriana ................ 38 Figura 2. 3. Discursos de la primera música indígena ecuatoriana .......................................... 40 Figura 2. 4. Distinción étnica y de clase en la música nacional ecuatoriana, 2013 ................. 42 Figura 3. 1. Grupos "folclóricos" contratados en Cantos de Libertad, 2006-2018 .................. 47 Figura 3. 2. Hits de Cantos de Libertad, 2015-2018 ................................................................ 58 Figura 3. 3. Primeros hits de Los Kjarkas ................................................................................ 68 Tabla 2. 1. Primeras radioemisoras ecuatorianas ..................................................................... 26 VI Resumen Mediante el uso del método etnográfico, es decir, a través de la aplicación de técnicas como la observación participante y la entrevista cualitativa semi estructurada, se exploran las negociaciones de identidad de lo que en Quito, y hasta el momento, se conoce como música “folclórica andina”. Para ello se enlaza la información y los datos extraídos en varios conciertos y/o espectáculos realizados en Quito, Sangolquí y Otavalo entre los años 2015 y 2017, con los relatos de las personas encargadas de organizarlos y difundirlos; y también de presentarse en ellos: una productora, un locutor de radio, dos gestores culturales, el propietario de un bar; y los músicos chilenos, bolivianos y ecuatorianos. Así, desde una mirada amplia esta investigación propone que las ideas del “folclor” y del “patrimonio” hacen referencia a los mismos y supuestos “saberes tradicionales” de las naciones latinoamericanas, en este caso, las músicas y las danzas de los pueblos “indígenas” y “mestizos” de la región andina. Sin embargo, el uso económico de las músicas y las danzas folclóricas de países como Bolivia, Ecuador, Perú y Chile, por parte de una corporación de empresas, lo aleja parcialmente de esta definición esencialista de la cultura, y se apega a la idea de que de ellas interesa su rentabilidad como objeto de un mercado musical competitivo. De esta manera, sólo importa “el éxito” de la cultura andina. Por otro lado, el uso político del patrimonio, o las músicas y las danzas de los pueblos y nacionalidades indígenas del Ecuador, por parte de ciertos gestores culturales locales, tiene que ver no sólo con la idea de que estos “son los saberes tradicionales” del país, sino que colocarlos en los escenarios responde a un proceso de “investigación” y de “rescate” de las “raíces culturales auténticas” de los ecuatorianos. En esa medida, desde la estética se combate el éxito de otros países en la música y la danza folclórica, como Bolivia. Pero esta disputa estética se transforma en una frontera étnica -territorialmente visible-, entre la música de los “indígenas” de Otavalo y la música de los “mestizos” de Quito. La música “kichwa” como parte de un discurso que reclama con “orgullo” el reconocimiento de “un pasado” -que se refleja por ejemplo en el uso de una vestimenta-, intentaría subvertir el síntoma de “vergüenza” de verse como “indio”, representación colonial -que en apariencia- pervive entre los ecuatorianos. VIII Agradecimientos Mi profundo y sincero agradecimiento a las personas que, conociéndome y sin conocerme, me abrieron las puertas de sus lugares de trabajo y hogares para brindarme parte de su tiempo en responder a las inquietudes de esta investigación: a la productora, al locutor, a los gestores culturales, al empresario y a los músicos. De la misma manera agradezco el apoyo y la paciencia de mi asesor,
Recommended publications
  • Los Kjarkas Historia Jamás Contada
    LOS KJARKAS: LA HISTORIA NO CONTADA LOS KJARKAS Actual formación de Los Kjarkas Introducción: Los más grandes de entre los grandes, los músicos andinos que han llevado al folklore latinoamericano a lo más alto, son sin duda alguna Los Kjarkas, un grupo que revolucionó el arte musical andino hace ya casi 50 años y que a lo largo de toda una vida nos han deleitado con impagables obras maestras con mayúsculas. Y es que todo en Los Kjarkas es grandioso: grandes músicos, grandes composiciones y una gran historia, por él han pasado intérpretes y compositores de gran calibre, manteniendo siempre un núcleo familiar en torno a la familia Hermosa. Sin embargo, no todo ha sido alegría, comprensión u honestidad dentro del grupo. En muchos foros, entrevistas o videos, se habla sobre la historia de los Kjarkas, pero se ha omitido gran parte de esta historia, historia que leerás hoy día. Es esta pues, la historia oculta de Los Kjarkas. LOS KJARKAS: LA HISTORIA NO CONTADA Advertencias: - Si eres una persona conservadora, un fanático a morir de Los Kjarkas, que los ve como “ídolos”, que no podrían hacer malo, y no deseas “tener” una mala imagen de ellos, te pido que dejes de leer este artículo, porque podrías cambiar de mirada y llevarte un gran disgusto. - Durante la historia, se nombrarán a otros grupos, que son necesarios de nombrar para poder entender la historia de Los Kjarkas. LOS KJARKAS: LA HISTORIA NO CONTADA Etimología del nombre: Sobre el nombre “Kjarkas” no hay nada dicho ciertamente. Se manejan dos significados y orígenes que se contradicen.
    [Show full text]
  • C:\010 MWP-Sonderausgaben (C)\D
    Dancando Lambada Hintergründe von S. Radic "Dançando Lambada" is a song of the French- Brazilian group Kaoma with the Brazilian singer Loalwa Braz. It was the second single from Kaomas debut album Worldbeat and followed the world hit "Lambada". Released in October 1989, the album peaked in 4th place in France, 6th in Switzerland and 11th in Ireland, but could not continue the success of the previous hit single. A dub version of "Lambada" was available on the 12" and CD maxi. In 1976 Aurino Quirino Gonçalves released a song under his Lambada-Original is the title of a million-seller stage name Pinduca under the title "Lambada of the international group Kaoma from 1989, (Sambão)" as the sixth title on his LP "No embalo which has triggered a dance wave with the of carimbó and sirimbó vol. 5". Another Brazilian dance of the same name. The song Lambada record entitled "Lambada das Quebradas" was is actually a plagiarism, because music and then released in 1978, and at the end of 1980 parts of the lyrics go back to the original title several dance halls were finally created in Rio de "Llorando se fue" ("Crying she went") of the Janeiro and other Brazilian cities under the name Bolivian folklore group Los Kjarkas from the "Lambateria". Márcia Ferreira then remembered Municipio Cochabamba. She had recorded this forgotten Bolivian song in 1986 and recorded the song composed by Ulises Hermosa and a legal Portuguese cover version for the Brazilian his brother Gonzalo Hermosa-Gonzalez, to market under the title Chorando se foi (same which they dance Saya in Bolivia, for their meaning as the Spanish original) with Portuguese 1981 LP Canto a la mujer de mi pueblo, text; but even this version remained without great released by EMI.
    [Show full text]
  • INSTRUMENTAL ENSEMBLE Catalog Addendum
    HAL LEONARD INSTRUMENTAL2012 ENSEMBLE catalog addendum Concert Band • Marching Band • Jazz Ensemble • Orchestra • Essential Elements • Rubank • Methods This brochure details products which have been created since publishing the 2011-2012 Hal Leonard Instrumental Ensemble Catalog. Please see this catalog, HL 90008184, for a complete listing of titles available, or visit our website at www.halleonard.com 1033585 Addendum.indd 1 5/18/12 2:31 PM 2 MARCHING BAND Inv. No. Title (Arranger) Series/Grade Price Inv. No. Title (Arranger) Series/Grade Price _____ 40004100 30-Second Blasters _____ 03745581 Kernkraft 400 (arr. Jay Dawson/Jim Reed) ......APCMB3 ......... $60.00 (arr. Paul Lavender/Will Rapp) ..CNTMB3 ......... $55.00 _____ 03745577 Afro Blue _____ 03745573 Kickbutt Cadences Vol. 2 (arr. Paul Murtha/Will Rapp)......ESPRT2 .......... $55.00 (Will Rapp) ................................ESPRT3 .......... $45.00 _____ 40004084 Americano (arr. Tom Wallace/ _____ 03745569 The Lady Is a Tramp Tony McCutchen) ......................APCMB3 ......... $60.00 (arr. Paul Murtha/Will Rapp)......PFELT4 ........... $65.00 _____ 40004080 Blackbird/Yesterday _____ 40004076 Magical Mystery Tour/Lady Madonna (arr. Tom Wallace) .....................APCMB3 ......... $80.00 (arr. Tom Wallace) .....................APCMB3 ......... $80.00 _____ 40004102 Bully(arr. Tom Wallace/ _____ 03745579 Misirlou (arr. Tim Waters) ...........ESPRT2 .......... $55.00 Tony McCutchen) ......................APCMB3 ......... $60.00 _____ 40004094 Moves like Jagger (arr. Tom Wallace/ _____ 03745563 Captain America March Tony McCutchen) ......................APCMB3 ......... $60.00 (arr. Paul Murtha) ......................PFELT3 ........... $65.00 _____ 40004096 On the Floor (arr. Tom Wallace/ _____ 03745567 Come Fly with Me (arr. Paul Murtha/ Tony McCutchen) ......................APCMB3 ......... $70.00 Will Rapp) ..................................PFELT4 ........... $65.00 _____ 03745565 Party Rock Anthem _____ 03745601 Crocodile Rock (arr.
    [Show full text]
  • The Global Charango
    The Global Charango by Heather Horak A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2020 Heather Horak i Abstract Has the charango, a folkloric instrument deeply rooted in South American contexts, “gone global”? If so, how has this impacted its music and meaning? The charango, a small and iconic guitar-like chordophone from Andes mountains areas, has circulated far beyond these homelands in the last fifty to seventy years. Yet it remains primarily tied to traditional and folkloric musics, despite its dispersion into new contexts. An important driver has been the international flow of pan-Andean music that had formative hubs in Central and Western Europe through transnational cosmopolitan processes in the 1970s and 1980s. Through ethnographies of twenty-eight diverse subjects living in European fields (in Austria, France, Belgium, Germany, Spain, Portugal, Switzerland, Croatia, and Iceland) I examine the dynamic intersections of the instrument in the contemporary musical and cultural lives of these Latin American and European players. Through their stories, I draw out the shifting discourses and projections of meaning that the charango has been given over time, including its real and imagined associations with indigineity from various positions. Initial chapters tie together relevant historical developments, discourses (including the “origins” debate) and vernacular associations as an informative backdrop to the collected ethnographies, which expose the fluidity of the instrument’s meaning that has been determined primarily by human proponents and their social (and political) processes.
    [Show full text]
  • Performing Blackness in the Danza De Caporales
    Roper, Danielle. 2019. Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales. Latin American Research Review 54(2), pp. 381–397. DOI: https://doi.org/10.25222/larr.300 OTHER ARTS AND HUMANITIES Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales Danielle Roper University of Chicago, US [email protected] This study assesses the deployment of blackface in a performance of the Danza de Caporales at La Fiesta de la Virgen de la Candelaria in Puno, Peru, by the performance troupe Sambos Illimani con Sentimiento y Devoción. Since blackface is so widely associated with the nineteenth- century US blackface minstrel tradition, this article develops the concept of “hemispheric blackface” to expand common understandings of the form. It historicizes Sambos’ deployment of blackface within an Andean performance tradition known as the Tundique, and then traces the way multiple hemispheric performance traditions can converge in a single blackface act. It underscores the amorphous nature of blackface itself and critically assesses its role in producing anti-blackness in the performance. Este ensayo analiza el uso de “blackface” (literalmente, cara negra: término que designa el uso de maquillaje negro cubriendo un rostro de piel más pálida) en la Danza de Caporales puesta en escena por el grupo Sambos Illimani con Sentimiento y Devoción que tuvo lugar en la fiesta de la Virgen de la Candelaria en Puno, Perú. Ya que el “blackface” es frecuentemente asociado a una tradición estadounidense del siglo XIX, este artículo desarrolla el concepto de “hemispheric blackface” (cara-negra hemisférica) para dar cuenta de elementos comunes en este género escénico.
    [Show full text]
  • Social TV Fernsehprogramm Und Online-Interaktion- Was Steckt Wirklich Hinter Dem Social TV Boom
    Social TV Fernsehprogramm und Online-Interaktion- was steckt wirklich hinter dem Social TV Boom Berlin, 21. Februar 2013 Goldmedia Custom Research GmbH Dr. Florian Kerkau Oranienburger Str. 27, 10117 Berlin, Germany Tel. +49 30-246 266-0, Fax +49 30-246 266-66 [email protected] Was ist dran, am „New TV“? Revolution oder Ritual 2 20.521.618 TV-Sendungen im deutschen Fernsehen 1.240.945 Follower deutscher Fernsehsender Basis: 145 offizielle deutsche Sendungsprofile und alle deutschen Fernsehsenderaccounts bei Twitter 3 Social TV: Motivation der Nutzer Zuschauer nutzen Social Media beim Fernsehen, um… …die Aufmerksamkeit von anderen Menschen zu erlangen …sich selbst gegenüber Anderen aufzuwerten …nach ergänzenden Informationen zu suchen …TV - Inhalte zu beeinflussen …weiter zu diskutieren, zu analysieren oder etwas Kurioses zu lesen Quelle: Goldmedia 2012 / Ericsson Consumer Lab August 2012 4 Social TV: Bedeutung für das Fernsehen? Besonders 15-17jährige sind im Social TV aktiv Age 15-17 Age 18-34 Research Services 2012,Services Durch Social Media macht Fernsehen 20% and mehr Spaß Multicultural 14% Content 28% Durch Social Media vergesse ich nicht Market Inc. & , Multiplatform meine Lieblingsshow zu schauen 19% Asociates Durch Social Media entdecke ich 30% Horowitz neue TV-Sendungen 24% aus AuszugQuelle: 0% 5% 10% 15% 20% 25% 30% 35% Weltweit nutzen 62% aller 16-59-jährigen Internetnutzer TV und Social Media Quelle: Ericsson Consumer Lab August 2012 5 77 Prozent der Onliner nutzen das Internet während des Fernsehens Welcher der
    [Show full text]
  • Sprungbrett Oder Krise? Das Erlebnis Castingshow-Teilnahme
    Sprungbrett oder Krise? 48 Maya Götz, Christine Bulla, Caroline Mendel Sprungbrett oder Krise? Das Erlebnis Castingshow-Teilnahme Landesanstalt für Medien Nordrhein-Westfalen (LfM) Zollhof 2 40221 Düsseldorf Postfach 103443 40025 Düsseldorf Telefon V 021 1/77007-0 Telefax V 021 1/72 71 70 E-Mail V [email protected] LfM-Dokumentation Internet V http://www.lfm-nrw.de ISBN 978-3-940929-28-0 Band 48 Sprungbrett oder Krise? Das Erlebnis Castingshow-Teilnahme Sprungbrett oder Krise? Das Erlebnis Castingshow-Teilnahme Eine Befragung von ehemaligen TeilnehmerInnen an Musik-Castingshows Maya Götz, Christine Bulla, Caroline Mendel Ein Kooperationsprojekt des Internationalen Zentralinstituts für das Jugend- und Bildungsfernsehen (IZI) und der Landesanstalt für Medien Nordrhein-Westfalen (LfM) Impressum Herausgeber: Landesanstalt für Medien Nordrhein-Westfalen (LfM) Zollhof 2, 40221 Düsseldorf www.lfm-nrw.de ISBN 978-3-940929-28-0 Bereich Kommunikation Verantwortlich: Dr. Peter Widlok Redaktion: Regina Großefeste Bereich Medienkompetenz und Bürgermedien Verantwortlich: Mechthild Appelhoff Redaktion: Dr. Meike Isenberg Titelbild: Collage © Wild GbR Lektorat: Viola Rohmann M. A. Gestaltung: disegno visuelle kommunikation, Wuppertal Druck: Börje Halm, Wuppertal April 2013, Auflage: 1.000 Exemplare Nichtkommerzielle Vervielfältigung und Verbreitung ist ausdrücklich erlaubt unter Angabe der Quelle Landesanstalt für Medien Nordrhein-Westfalen (LfM) und der Webseite www.lfm-nrw.de Inhaltsverzeichnis Vorwort 8 Zusammenfassung 9 Einleitung 11 1 Das System Castingshow
    [Show full text]
  • Spanish 7780.22 Revised 6-15-15.Pdf
    COURSE REQUEST Last Updated: Vankeerbergen,Bernadette 7780.22 - Status: PENDING Chantal 06/15/2015 Term Information Effective Term Autumn 2015 General Information Course Bulletin Listing/Subject Area Spanish Fiscal Unit/Academic Org Spanish & Portuguese - D0596 College/Academic Group Arts and Sciences Level/Career Graduate Course Number/Catalog 7780.22 Course Title Andean Music Ensemble Transcript Abbreviation AndeanMusEnsemble Course Description In this course students learn to play and perform music from Bolivia, Peru, Ecuador, Chile, Colombia and Argentina. The course explores various musical genres within the Andean region. Students study techniques and methods for playing Andean instruments and learn to sing in Spanish, Quechua and Aymara. Cross-listed with Music 7780.22. Semester Credit Hours/Units Variable: Min 0.5 Max 1 Offering Information Length Of Course 14 Week, 7 Week, 12 Week (May + Summer) Flexibly Scheduled Course Never Does any section of this course have a distance No education component? Grading Basis Letter Grade Repeatable Yes Allow Multiple Enrollments in Term Yes Max Credit Hours/Units Allowed 10 Max Completions Allowed 10 Course Components Lecture Grade Roster Component Lecture Credit Available by Exam No Admission Condition Course No Off Campus Never Campus of Offering Columbus Prerequisites and Exclusions Prerequisites/Corequisites Exclusions Cross-Listings Cross-Listings Cross-listed in Music Subject/CIP Code Subject/CIP Code 16.0905 Subsidy Level Doctoral Course 7780.22 - Page 1 COURSE REQUEST Last Updated: Vankeerbergen,Bernadette 7780.22 - Status: PENDING Chantal 06/15/2015 Intended Rank Masters, Doctoral, Professional Requirement/Elective Designation The course is an elective (for this or other units) or is a service course for other units Course Details Course goals or learning • To become familiar with a range of Andean music genres through an applied approach to music performance.
    [Show full text]
  • A Great Year How Many RTL Group’S Channels Increased Their Market Position in 2011
    12 January 2012 week 02 A great year How many RTL Group’s channels increased their market position in 2011 Luxembourg Germany RTL Group to exit Greek RTL Television presents broadcasting market fi fth ‘Commit Award’ France United States Nicolas de Tavernost on M6’s Melanie Amaro wins performance in 2011 The X Factor US week 02 the RTL Group intranet Cover: Montage with channels’ ratings increases year-on-year (in per cent). 2 week 02 the RTL Group intranet Winner of the year RTL Group’s fl agship channels in Germany and the Netherlands increased their audience shares once more in 2011. Other profi t centres recorded strong performances as well. Luxembourg - 12 January 2012 In 2011, almost all of RTL Group’s families of channels and fl agship channels were once again able to increase their – already good – ratings. RTL Television in Germany recorded its best yearly average since 1997. M6 was the only major channel in France to increase its audience shares year-on-year. In the Netherlands, RTL 4 had its best ratings in 14 years, while RTL Belgium remained the leading family of channels in the country with audience shares stable at 35 per cent. Despite the ongoing fragmentation in Croatia, RTL Hrvatska was able to increase its combined audience share both in prime time and all day. In Hungary, RTL Klub not only was the leading channel but also broadcast all of the 100 most-watched programmes in 2011. Alpha in Ich bin ein Star – Holt mich hier raus! Greece continued to increase audience shares, Vox closed the year 2011 with an average while Grupo Antena 3 in Spain increased its market share of 7.3 per cent in its target combined audience share by 1.5 percentage audience of 14- to 49-year-old viewers.
    [Show full text]
  • Summary of the Workshop “Rethinking Creativity, Recognition and Indigeneity”1
    SUMMARY OF THE WORKSHOP “RETHINKING CREATIVITY, RECOGNITION AND INDIGENEITY”1 Coroico, July 17-20, 2012 INTRODUCTION The Alta-PI Working Group (Alternatives to Intellectual Property) began with the premise that certain puzzles at the intersection of creativity, recognition, and indigeneity remain unsolved. How should creativity be recognized? How should such recognition be taken into consideration when dealing with communities and collectivities of creators and custodians of knowledge? Many people around the world have addressed these questions either by implementing a form of intellectual property rights or by framing the creative work as intangible heritage. The project organizers believe that Bolivian civil society could occupy a unique position for beginning to untangle the complex socio-political knots that have increasingly conflated culture with property. By international standards, a very high percentage of Bolivians identify themselves or are identified by others as indigenous, and since the beginning of the 21st century, the country has undergone a series of major transformations, including the creation of a new constitution (2009) that significantly expanded indigenous rights. In this context, Alta-PI proposes facilitating broad civil society discussions about creativity, recognition, and indigeneity, hoping that from Bolivia innovative proposals might emerge that can stimulate the international debates around these issues. 1 This workshop and the dissemination of its results have been made possible by a National Science Foundation grant (#1156260, Michelle Bigenho—PI, Henry Stobart—Co-PI). In addition, the workshop organizing team included Juan Carlos Cordero, Bernardo Rozo, and Phoebe Smolin. The ideas expressed here do not represent or reflect those of the National Science Foundation.
    [Show full text]
  • No.52 That Unforgettable Song and What It Means to Me
    No. 52 October, 2006 ᷼඙࿖㓙੤ᵹදળ Minato International Association ⋡ᰴ 䊶 Contents 䊶 Ⳃᔩ 䉰䉡䉴 䊶 䉡䉞䊮䊄⠡⸶⠪⚫੺ 䋺 ᧘᳓ ............................................................................................ 2 South Wind Translator and editorial staff member: Li Shui ................................................. 3 Njफ亢nj㓪䕥ҎਬПҟ㒡ĩ㗏䆥Ꮉ԰㗙ᴢ∈ ................................................................... 3 ᗐ䈇಴䈱᱌䈮ᕁ䈉䈖䈫 ................................................................................................................. 4 Thoughts from songs in Memories....................................................................................... 4 㗕℠䅽៥ᛇ䍋ⱘ .............................................................................................................. 5 ਁ࿖྾ᣇ౎ᣇ㩷㩿㪈㪀 䇸㪠㩾㫄㩷㫋㪿㪼㩷㪢㫀㫅㪾㩷㫆㪽㩷㫋㪿㪼㩷㪥㫀㪾㪿㫋㩷㪫㫀㫄㪼㩷㪮㫆㫉㫃㪻㩸㩸䇹 ......................................................... 6 Every Direction of the World (1) “I’m the King of the Night Time World!! ............................. 7 ϛ೑ಯ䴶ܿᮍ , PWKH.LQJRIWKH1LJKW7LPH:RUOG.................................. 7 ᔓ䉏䉌䉏䈭䈇᱌䈫ᗐ䈇಴ ............................................................................................................ 8 Memorable songs and memories I can’t forget. ................................................................... 9 ᖬϡњⱘ℠᳆੠ಲᖚ ....................................................................................................... 10 ᔓ䉏䉌䉏䈭䈇᱌䈫ᕁ䈇಴ ............................................................................................................ 11 I’ll never forget that
    [Show full text]
  • Share to Stay Number One the RTL Group Finance Meeting 2012
    28 June 2012 week 26 Share to stay number one The RTL Group Finance Meeting 2012 Luxembourg France / Spain IP Network publishes Fun Radio International Television expands to Spain Key Facts Germany Spain A new jury for Antena 3 is Spain’s most Das Supertalent responsible TV channel week 26 Cover: Elmar Heggen, Chief Financial Offi cer of RTL Group 2 week 26 Shared finance, fun and strategy Around 100 fi nance executives from across RTL Group met in Jodoigne, Belgium, for the Finance Meeting 2012, hosted by Elmar Heggen, CFO and Head of the Corporate Centre of RTL Group. Over two days, the participants shared fi nance-related experience and know-how, networked and gained insights into the review of RTL Group’s corporate strategy, which was presented by the Group’s Co-CEOs Anke Schäferkordt and Guillaume de Posch. Luxembourg - 28 June 2012 Elmar Heggen kicking off the Finance Meeting 2012 in Jodoigne, Belgium After a welcome dinner with speeches from The leitmotif of the meeting clearly extended Elmar Heggen and Philippe Delusinne, CEO beyond the various presentations: networking of RTL Belgium, the packed agenda began and enjoying time together was never easier with a series of presentations on topics such than at the meeting’s impressive venue, the as investment decision processes, risk Grande Abbaye de La Ramée, situated in the management, incentive systems, compliance idyllic Belgian countryside. The site provided lots policies and future challenges in connection of cozy sitting rooms and living areas for informal with the International Financial Reporting exchanges and plenty of opportunities for joint Standards (IFRS).
    [Show full text]