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Cavafy Song Bibliography Version2 1-15-20
C. P. Cavafy Music Resource Guide: Song and Music Settings of Cavafy’s Poetry Researched by Vassilis Lambropoulos Compiled by Peter Vorissis, Haris Missler, and Artemis Leontis* Modern Greek Program & C. P. Cavafy Professorship in Modern Greek Departments of Classical Studies and Comparative Literature University of Michigan Version 2: January 14, 2020 Please send additions and corrections to [email protected] * with gratitude to Dimitris Gousopoulos for major additions of the melopoiesis of Cavafy’s poetry in rock, pop, hip hop, metal, indie, and punk Cavafy Music Resource Guide 1 Cavafy Song Settings: A Music Resource Guide Adamopoulos, Loukas (Αδαμόπουλος, Λουκάς). 1981. «Επέστρεφε» (Come back). Κέρκυρα ’81: Αγώνες ελληνικού τραγουδιού—Τα 30 τραγούδια (Kerkyra ’81: Greek song contest). Αthens: Minos. Setting: «Επέστρεφε» (Come Back). Anabalon, Patricio. 2003. Itaca. Poetas griegas musicalizados. Santiago: Alerce Producciones Fonograficas S.A. Includes the songs “Itaca” (Ithaka), “Regresa” (Come back), “Una Noche/Las Ventanas” (One night / Windows). Anagnostatos, Yiannis (Αναγνωστάτος Γιάννης, also known as Lolek). 2010. «Κεριά». In the compilation Ποιήματα του Κ.Π. Καβάφη (Poems of C.P. Cavafy). Athens: Odos Panos 147 (January–March). (See “Lolek” below). Anestopoulos, Thanos (Ανεστόπουλος, Θάνος). 2001. «Κεριά» (Candles). In Οι ποιητές γυμνοί τραγουδάνε (Poets sing naked). Athens and Patra: Κονσερβοκούτι. For voice and electronic accompaniment or guitar. Composed and sung by Thanos Anestopoulos (Θάνος Ανεστόπουλος) under the pseudonym ΑΣΘΟΝ ΣΑΠΤΟΥΣ ΛΕΟΝΟΣ, an anagram of his name. First released as a cassette by the magazine «Κονσερβοκούτι» (Tin can, the magazine of OEN, Οργάνωση Επαναστατικής Νεολαίας, Organization of Revolutionary Youth). Setting: «Κεριά» (Candles). Angelakis, Manolis (Αγγελάκης, Μανώλης) & τα Θηρία (and the Beasts). -
47 JOSÉ MENESE Flamenco Singing: José Menese Guitar: Manolo Franco BELÉN LÓPEZ Belén López Company Song and Dance MADRID
SUMA FLAMENCA 2010 The Community of Madrid’s 5th Annual Flamenco Festival Press Pack JOSÉ MENESE BELÉN LÓPEZ Flamenco Singing: José Menese Belén López Company Guitar: Manolo Franco Song and Dance MADRID CENTRO CULTURAL PACO RABAL-PALOMERAS BAJAS (PACO RABAL-PALOMERAS BAJAS CULTURAL CENTER) FRIDAY, JULY 2ND AT 20:30 POR DERECHO (BY RIGHT) For Menese, Por derecho (By Right) means, “producing a cante (flamenco song) that is musically pure, with no additives.” Menese’s contribution to renovating and dignifying flamenco provoked sociological and cultural changes in the way this art form was perceived. The cultura jonda (“deep culture”) comes alive in his cante (flamenco singing). At the peak of his maturity as an artist, Menese has become the most authentic symbol of a decisive period in the history of flamenco art, one that began in the 1950’s and 60’s and was known as the flamenco renaissance. José Menese played a crucial role in this renaissance and he has been loyal to his lineage long enough that now, thirty years later, he has again become a point of reference for the new flamenco renaissance that fans of the purest cante (flamenco singing) are currently demanding. José Menese. He was born and raised in 1942 in La Puebla de Cazalla (Seville), where, from an early age, he first began to discover his love of cante (flamenco singing). In 1959, having sung at La Puebla and at El Café Central, Menese debuted at the Carretria de Osuna movie theater alongside Antonio Mairena himself. Menese moved to Madrid in the early 60’s, under the patronage of Francisco Moreno Beltrán (La Puebla’s lyricist). -
Negotiating the Self Through Flamenco Dance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
Kyle E. Jones Purdue University
No. 2, 2014 “SEARCHING AND SEARCHING WE HAVE COME TO FIND”: HISTORIES AND CIRCULATIONS OF HIP HOP IN PERU Kyle E. Jones Purdue University While ethnographic and historiographic research on hip hop has predominantly focused on large metropolises, less attention has been paid to smaller regional cities and the specific ways hip hop travels between urban locales. This paper examines the movements of youth and hip hop practices in Peru, tracing moments of exchange and interaction to contribute an alternative perspective for understanding how hip hop has taken shape across Peru. Such an approach extends the scholarship on hip hop’s socio-spatial dynamics and provides a rich lens through which to understand the ways particular hip hop practices and social forms emerge. Situating the experiences and recollections of hip hoppers from several cities in 1990s and 2000s Peru, while drawing parallels with other forms of expression, also illustrates how hip hop’s histories and circulations reflect longer-standing patterns of mobility, cultural appropriation, and the centrality of expressive forms in navigating changing circumstances of Peruvian urban life. Desde otras ciudades (Arequipa, Puno, Tacna, Cuzco, Canta, Huacho, Barranca, Trujillo, Huancayo, Piura, San Martín, etc.) hay muchísima historia más que contar. (From other cities (Arequipa, Puno, Tacna, Cuzco, Canta, Huacho, Barranca, Trujillo, Huancayo, Piura, San Martín, etc.) there’s so much more history to tell.) -Fakir Kumya Iskaywari, “Historia De HipHop En El Perú” http://alternativas.osu.edu 2, 2014 ISSN 2168-8451 2 kyle e. jones Introduction Analyses of hip hop’s historical contexts, shifts, and continuities have come to occupy a crucial dimension in its growing body of scholarship. -
Danc-Dance (Danc) 1
DANC-DANCE (DANC) 1 DANC 1131. Introduction to Ballroom Dance DANC-DANCE (DANC) 1 Credit (1) Introduction to ballroom dance for non dance majors. Students will learn DANC 1110G. Dance Appreciation basic ballroom technique and partnering work. May be repeated up to 2 3 Credits (3) credits. Restricted to Las Cruces campus only. This course introduces the student to the diverse elements that make up Learning Outcomes the world of dance, including a broad historic overview,roles of the dancer, 1. learn to dance Figures 1-7 in 3 American Style Ballroom dances choreographer and audience, and the evolution of the major genres. 2. develop rhythmic accuracy in movement Students will learn the fundamentals of dance technique, dance history, 3. develop the skills to adapt to a variety of dance partners and a variety of dance aesthetics. Restricted to: Main campus only. Learning Outcomes 4. develop adequate social and recreational dance skills 1. Explain a range of ideas about the place of dance in our society. 5. develop proper carriage, poise, and grace that pertain to Ballroom 2. Identify and apply critical analysis while looking at significant dance dance works in a range of styles. 6. learn to recognize Ballroom music and its application for the 3. Identify dance as an aesthetic and social practice and compare/ appropriate dances contrast dances across a range of historical periods and locations. 7. understand different possibilities for dance variations and their 4. Recognize dance as an embodied historical and cultural artifact, as applications to a variety of Ballroom dances well as a mode of nonverbal expression, within the human experience 8. -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
Córdoba Are Moorish Constructions That Have Been Restored and Used to Present Days
are in the middle of the river, the river Guadalquivir was used for drinking water, water for irrigation and it worked the watermills that ground flour and olives next to the city. The Routes mills are stepped, with their millponds still on the river, they Córdoba are Moorish constructions that have been restored and used to present days. By the city walls Different cultures have marked the city of Córdoba that was the the river. The Museum of Fine the foundations of the great Roman and Moorish capital city, the centre of Western Europe. Arts (34) is situated in the same waterwheel of the Albolafia, the Situated on the banks of the river Guadalquivir it welcomed great plaza del Potro, housed in the philosophers like the Roman Séneca, Averroes, Maimónides the ancient Hospital de la Caridad, Córdoba Jew, writers like Luis de Góngora, or painters like Julio Romero that the Christiina Monarchs de Torres. It has great monuments like the Mosque, the ruins founded. It still has beautiful of Medina Azahara and a beautiful Jewish quarter have all added wood panelled ceilings and to it being declared by the UNESCO to be a World Heritage Site. magnificent patios. It also has a collection of Renaissance shortly after taking the city. It is panels, three paintings of Practical city guide/ Map guide/ city Practical A trip through made up of three naves, with an Zurbaran and several canvases the mountains interesting wood panelled from the School of Murillo and ceiling in mudéjar style a Gothic the workshop of Ribera. At a Córdoba and the chapel, and beside the vestry a short distance from the plaza n impressive Moorish doom, the del Potro you come to the largest of the waterwheels that Hermitages only feature remaining from the rectangular plaza de la transported water. -
UNIVERSITY of CALIFORNIA SAN DIEGO Break Down Borders
UNIVERSITY OF CALIFORNIA SAN DIEGO Break Down Borders: Translocal Intimacies in Contemporary San Diego///Tijuana Border Activisms A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnic Studies by Leslie Quintanilla Committee in charge: Professor Fatima El-Tayeb, Chair Professor Kirstie Dorr Professor Yen Le Espiritu Professor Jillian Hernandez Professor Bradley Werner Professor K. Wayne Yang 2019 Copyright Leslie Quintanilla, 2019 All rights reserved. The Dissertation of Leslie Quintanilla is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Chair University of California San Diego 2019 iii TABLE OF CONTENTS Signature Page……………………………………….……….………..…….………….……..…………………………..iii Table of Contents………………………………………….…………..………..…….…………..……………………….iv List of Figures…………………………………………………………………………………….…………………………vi Acknowledgements…………….…………………………………………….…………….……..……………………...vii Curriculum Vitae………………………………………………………….…….……..………..……………………….….x Abstract of the Dissertation…………………………………………….……..……….……………………………...xv Introduction…………………………………………………………………………………………………………………...1 Chapter -
Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity. -
FALL 2009 87 Fugue, Hip Hop and Soap Opera
FALL 2009 87 Fugue, Hip Hop and Soap Opera: Transcultural Connections and Theatrical Experimentation in Twenty-First Century US Latina Playwriting Anne García-Romero A tension can exist between theatrical experimentation and commercial viability. If a playwright writes a play which challenges traditional notions of structure, character and language, will her play get produced? If her play solely adheres to hegemonic, dramaturgical norms, is it more likely to get produced? Early twenty-first century Latina playwrights are writing plays with fractured narratives, multi-cultural characters and linguistic hybridities. In this essay, through examining Elliot, A Soldier’s Fugue by Quiara Alegría Hudes, Tropic of X by Caridad Svich and Fuente by Cusi Cram, I propose that these playwrights’ theatrical experimentations, created by exploring and subverting diverse artistic models, reflect the dynamics of transculturation and that the resulting plays are not only commercially viable but vital to twenty-first century US theater. Hudes, a Yale-trained composer, utilizes compositional fugue structure in her play, Elliot, A Soldier’s Fugue as she delves into the life of a Puerto Rican veteran from Philadelphia confronting a second tour of duty in Iraq. A fugue consists of a composition for multiple voices or instruments in which “a subject is stated unaccompanied in a single voice (or instrument). Then a second voice enters with the answer…The original voice continues with the counterpoint against the answer. After this a third voice enters in turn with the subject again while the first two voices continue with counterpoint against it. Finally, a fourth voice enters, now with the answer, while all three of the other voices accompany it with counterpoint” (Verrall ix). -
Flamenco News
flamenco news Peña Flamenca de Londres • Summer 2017 • £3 contents saludos The Peña Flamenca de Londres provides a convivial meeting place for anyone interested in flamenco – dancers, singers, guitarists, aficionados and our many visitors. It follows the tradition of a typical Spanish peña flamenca in providing good flamenco at a reasonable price in a friendly atmosphere. We stage monthly professional shows eight times per 2. Editorial year with artists resident in the UK and those visiting from Spain. At our Members’ Nights (Juergas) three times a year anyone can perform with professional backing 3. 12-string guitar if required (or take the stage before a professional show) The Peña Flamenca de Londres was founded in 1984 and is run by an elected committee of 4. Brexit Chaos volunteers. It is honoured to have as joint Presidents world-renowned flamenco guitaristPaco Peña, and Maribel la Manchega, a favourite performer both in Spain and the UK. It has never 5. Rocio Molina been grant-aided or sponsored, resting solely on the hard work of the committee and its dedicated officers, and the support of members. For monthly updates join our email list: info@flamenco- 6. Paco Peña london.org.uk 7. Grief for Camaron location and dates Church Hall of the Church of the Holy Apostles, Cumberland Street (Lupus Street end) SW1V 8. Angela Rippon 4LY. Tube: Victoria or Pimlico. Buses C10, 360, 24. Dates: Second Sunday in month but not August. 9. Peña Feria how to join 10. Fernando Memorial Through the website, pick up a form at Admissions at peña, by post through our membership secretary, Piers Johnson, 57 Yarmouth Crescent, London N17 9PQ 12.