DOCSLIB.ORG

Cantares De Vuelta-Abajo / Recopilados Por Un Guajiro. Habana : La Propaganda Literaria, 1875 [I.E

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cantares De Vuelta-Abajo / Recopilados Por Un Guajiro. Habana : La Propaganda Literaria, 1875 [I.E Cantares de Vuelta-Abajo / recopilados por un Guajiro. Habana : La Propaganda Literaria, 1875 [i.e. 1876] https://hdl.handle.net/2027/hvd.32044048086417 Public Domain, Google-digitized http://www.hathitrust.org/access_use#pd-google We have determined this work to be in the public domain, meaning that it is not subject to copyright. Users are free to copy, use, and redistribute the work in part or in whole. It is possible that current copyright holders, heirs or the estate of the authors of individual portions of the work, such as illustrations or photographs, assert copyrights over these portions. Depending on the nature of subsequent use that is made, additional rights may need to be obtained independently of anything we can address. The digital images and OCR of this work were produced by Google, Inc. (indicated by a watermark on each page in the PageTurner). Google requests that the images and OCR not be re-hosted, redistributed or used commercially. The images are provided for educational, scholarly, non-commercial purposes. - . - Lomas de Vueita Abajo Cuau 1375 499 3 SAL .12 SAL499 . 3 . 12 barvard College Library ARVARDAS VERICDIANAS ECCLE RISTO TASH CHR OVESIAE KEMIA ANT FROM THE FUND FOR A PROFESSORSHIP OF LATIN AMERICAN- HISTORY AND ECONOMICS Established 1913 Biblioteca de " La Propaganda Literaria ." CANTARES DE VUELTA -ABAJO RECOPILADOS POR UN GUAJIRO . PRIMER CUADERNO. of PRIMER CUADERNO . SE ( SEGUNDAEDICION. ) HABANA . - LA PROPAGANDA LITERARIA . : - - IMPRENTA LIBRERIA PAPELERIA . , , O ' Reilly Calle de núm 54 . 1876 . FLORESTA HISPANO -AMERICANA. Primorosa coleccion de letras caprichosas , ó sea doce grandes pliegos de dibujos litografiados . - Contiene multitud de abece . darios , elegantes cifras, escudos , medallones , cenefas, guirnaldas, , festones, orlas , grecas , etc ., etc . debidas al lápiz de los más dis , tinguidos dibujantes de Madrid . Se han publicado tres volúmenes , y que se venden juntos á $ 8 00 separados á $ 3 - 00 uno . ALMANAQUE DE “ JUAN PALOMO . ” , , y Años de 1870 1871 1872 1873 . Cada año lo constituye un volúmen de unas 100 páginas , , , , en cuarto á dos columnas edicion elegante con artículos ver , , , , , , ; sos · epígramas biografías novelas cuentos despropósitos etc . y y todo guisado condimentado por los redactores corresponsa , les de Juan Palomo é ilustrado con chistosas caricaturas de , , y actualidad por Landaluze Cisneros Ortego . Los pocos ejem , , plares que sobraron dedicados á la venta pública ó sea á los , no suscritores á dicho periódico se venden á 50 cents . papel en , y la Habana 60 en el interior de la isla 75 en el exterior . Los , , - 50 . $ 3 cuatro encuadernados en un tomo RECIBOS TALONARIOS PARA ALQUILERES DE CASAS . Comprenden los claros indispensables para colocar con perfecta , , claridad el nombre del inquilino la cantidad importe del alquiler , , , , y calle número de la casa dia del vencimiento fiador fecha fir , , , , y ma etc . en el talon las naturales correspondencias en extracto y sitio para las observaciones que pudiesen ocurrir . — Se hallan en cuadern ados á la holandesa : cada libreta contiene 100 recibos en y buen papel clara impresion . , Precio de un ejemplar en billetes . $ 2 - 50 - 00 25 . Por . docenas . Todas estas obras se hallan de venta en La Propaganda Litera , , y ria O ' Reilly 54 entre Hahana Compostela . Biblioteca de " La Propaganda Literaria .” CANTARES DE VUELTA -ABAJO . RECOPILADOS POR UN GUAJIRO. PRIMER CUADERNO . (SEGUNDA EDICION .) . HABANA. LA PROPAGANDA LITERARIA ' Imprenta . - Libreria . - Papeleria . Calle de O - Reilly N . 54 . - 1875 . SALU99, 3 . 12 fitb Vinot , ELSARY Tarikh ProL ori ft . APR 3 1925 Es propiedad de LA PROPAGANDA LITERARIA , casa editorial , HABANA . DOS PALABRAS . · Al dar á luz la primera edicion de este libro, en 1871 , le prece . dieron estas líneas : " Todos los pueblos tienen su poesía especial , que es el sello dis ; tintivo del carácter ,de la manera de ser de sus habitantes poesía en y y que se sintetizan sus pensamientos aspiraciones las costumbres que les distinguen . , , y El de Cuba no podia exceptuarse no se ha exceptuado do® esta regla . , , El guajiro ese tipo de nuestros campos que aún se conserva en , toda su pureza en la Vuelta - Abajo vá desapareciendo de los de , , y y partamentos Central Oriental del territorio de las Villas don - ; de existía el guajiro es la representacion genuina del pueblo de , , y y Cuba en sus campos las décimas que acompañado del tiplo , , del güiro entona son asimismo los cantos populares del país . , , El sentimiento que es el alma de la poesía lo poses en alto gra , y do el guajiro se revela en esos cantares que expresan sus impre . , , , , , siones sus amores su constancia sus celos su afan el deseo que y lo anima la esperanza risueña con que se hace superior á las con trariedades . Quien no ha recorrido estos campos en esos dias de biechadada ; , quien no le ha paz que el génio de la discordia turbado ha visto , , caballero sobre su yegua baya ó sobre su potro alczan con el ma , , , chete al cinto las espuelas de plata el calzon de campana la ca , , misa por fuera el ancho sombrero de yarey sombreando su rostro , terciado el pañuelo á manera de banda llevando en la siniestra , , , mano el gallo giro si vá á la valla ó el tabaco en la boca si busca ; , y á su amada ó se dirige á un guateque quien no le ha visto así no ha escuchado esas décimas que el guajiro conserva en la memo ria ó que compone con esa facilidad inherente a las imaginaciones , , tropicales ese no conoce de seguro las costumbres del país ni pue de apreciar su poesía . , , Para él, para que las conozca publicamos hoy estas décimas re , y cogidas en los campos por uno que se llama tambien guajiro asi mismo para que el campesino cubano pueda adquirir un caudal de , cantares con que aumente su coleccion para cuyo efecto se inclu Jen tambien en este cuaderno algunas poesías inéditas . Recopiladas están por quien las ba oido cantar en nuestras saba y nas se ha impregnado en su poesía . , , , y - Un guajiro las ha cantado otro guajiro que las aprendió las dá á luz . , , Bien sabemos al publicar los CANTARES DE VUELTA - ABAJO que ; hay entre estas décimas algunas de autores conocidos pero en la imposibilidad de averiguar los nombres de todos , y de darlas tales , , como las han escrito pues que el tiempo suele ir adulterándolas las ofrecemos sin ese requisito . , Ni una palabra diremos acerca do su mérito porque eso compete al público juzgarlo . , , • Sólo para concluir agregaremos que el presente cuaderno será , , , el primero de los que nos proponemos publicar si como esperamos , y encuentra en todos la aceptacion que reclamamos para él que en , nuestro concepto merece . " , Nuestra prediccion se ha cumplido de tal manera que hace más , de un año se ba agotado la edicion de 8 000 ejemplares que la , y constituyó numerosos pedidos nos impulsaban á dar á luz la se , , y gunda edicion que ahora ' aparece continuar la série de cuader ya y nos que tenemos preparados el segundo de los cuales se halla en prensa . , , tan lisonjero de Exito nos exime nuevas explicaciones en este instante . , y El público ha y su fallado fallo nos satisface lisonjea . EL GUAJIRO ESPAÑOL , III. Nací en Cuba , por fortuna , En Cuba nací, y no miento perlas preciosas , concha de si digo que es mi aureola ; y sus brisas deliciosas pero la sangre española mecieron mi tierna cuna; | hervir en mis venas siento ; la luz de su blanca luna, sangre 'de gran valimento , de su sol los resplandores , pues fundo mi orgullo en ella ; sus pájaros y sus flores que España es mi pátria bella , ! , dieron a mi fantasía sus hijos, hermanos son cuanto amor, fuego y poesía y ella es, en conclusion , tiene esta tierra de amores . de mi esperanza la estrella . II. IV . puede Y en Cuba no ser Tírele como á tirano , que tanto bueno se acabe . su enemigo más constante , , iel buen cubano no sabe, que yo entusiasta incesante que querer ; no sabe más ! llamo al español mi hermano , de Pueden solo aborrecer no procedo africano , aquellos que en mil pedazos , no es delmal mi inteligencia , de lo sagrado los lazos adoro del bien la ciencia ; quebrantar ; y se atrevan á esto á España lo concedo , , pero yo .. ¡sólo sé amar así renegar no puedo I de procedencia . y abrir á la paz los brazos ! mi noble ; CANTOS DE UN VEGUERO . con llevaderos trabajos verás volar los guanajos , I. , descendiendo hácia el batey De mi vega los encantos porque del alto mainey , , . en gajos te darán criolla hermosa duermen los verdes de rosa , suaves céfiros . Vi , y : música flores cantos Verás vacas y terneros y placeres cuantos , tendrás y bellos pavos reales , ofrece naturaleza , y entre sombríos cocales la impureza ; distante de , bueyes chivos y carneros engañador , de esa mundo y por los vastos potreros y el el donde vicio horror , las guineas á millares y manchan virtud belleza . bajo verdes limonares II. los tomeguines cantando , y á las abejas labrando rio Verás un tranquilo . , entre campesinas flores en sus ricos colmenares , quo aroman con sus olores VI . mi alegre é inculto asilo Verás ligeras palomas , . el . Oirás el cándido estilo batey atravesar , de las vegueras cubanas cansadas de revolar : que en las risueñas mañanas por las empinadas lomas , cantan llenas de placer y entre las verdes aromas , al ver al alba romper las pintadas codornices , y y perdices entre záfiros grana . las sabrosas que por las alturas , III . cruzan las espesuras Verás los ardientes patos buscando , solitarias y felices de la al resplandor luna . - - bañándose en la laguna VII , un con extremosos conatos : Verás cielo sereno , y y de verás los perros gatos lleno de luz amor , la el labor jugando en colgadizo fecundando , y de campo su piso tan ameno en alineado este una linda conejera , que está plenamento lleno , , y , y hortalizas un jardin bella habanera de menestras precisas en cuyas .
Load more

Recommended publications
  • Beyond Salsa Bass the Cuban Timba Revolution
    BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering..........................................................................................................................................
    [Show full text]
  • Beyond Salsa for Ensemble a Guide to the Modern Cuban Rhythm Section
    BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio .......................................................................................................................................
    [Show full text]
  • Creolizing Contradance in the Caribbean
    Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean.
    [Show full text]
  • A La Cubana: Enrique Granados's Cuban Connection
    UC Riverside Diagonal: An Ibero-American Music Review Title A la cubana: Enrique Granados’s Cuban Connection Permalink https://escholarship.org/uc/item/90b4c4cb Journal Diagonal: An Ibero-American Music Review, 2(1) ISSN 2470-4199 Author de la Torre, Ricardo Publication Date 2017 DOI 10.5070/D82135893 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California A la cubana: Enrique Granados’s Cuban Connection RICARDO DE LA TORRE Abstract Cuba exerted a particular fascination on several generations of Spanish composers. Enrique Granados, himself of Cuban ancestry, was no exception. Even though he never set foot on the island—unlike his friend Isaac Albéniz—his acquaintance with the music of Cuba became manifest in the piano piece A la cubana, his only work with overt references to that country. This article proposes an examination of A la cubana that accounts for the textural and harmonic characteristics of the second part of the piece as a vehicle for Granados to pay homage to the piano danzas of Cuban composer Ignacio Cervantes. Also discussed are similarities between A la cubana and one of Albéniz’s own piano pieces of Caribbean inspiration as well as the context in which the music of then colonial Cuba interacted with that of Spain during Granados’s youth, paying special attention to the relationship between Havana and Catalonia. Keywords: Granados, Ignacio Cervantes, Havana, Catalonia, Isaac Albéniz, Cuban-Spanish musical relations Resumen Varias generaciones de compositores españoles sintieron una fascinación particular por Cuba. Enrique Granados, de ascendencia cubana, no fue la excepción.
    [Show full text]
  • Building Bridges of Learning and Understanding: a Collection Of
    DOCUMENT RESUME ED 328 636 UD 027 886 AUTHOR Perez-Selles, Marla E., Ed.; And Others TITLE Building aridges of Learning and Understanding: A Collection of Classroom Activities on Puerto Rican Culture. INSTITUTION NETWORK, Inc., Andover, MA.; Regional Laboratory for Educational Improvement of the Northeast & Islands, Andover, MA. SPONS AGENCY Office of Educational Research and Improvement (ED) Washington, DC. PUB DATE 90 CONTRACT 400-86-0005 NOTE 140p. AVAILABLE FROMThe Regional Laboratory for Educational Improvement of the Northeast and Islands and New England Center for Equity Assistance, a Project of The NETWORK, Inc., 300 Brickstone Square, Suite 900, Andover. MA 01810 ($12.95 + $2.50 shipping; order no. 9072). PUB TYPE Guidt:3 - Classroom Use - Guides (For Teachers) (052) -- Collected Works - General (020) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Class Activities; *Cultural Background; Elementary Education; Folk Culture; Geography; Latin American History; *Learning Activities; *Lesson Plans; Migration; Multicultural Edumtion; *Puerto Rican Culture; *Puerto Ricans; Sym'oolism ABSTRACT This collection of 35 self-contained teaching activities about Puerto Rican culture for elementary school students is designed for teachers who wish to incorporate multicultural concepts into their curriculum or make their teaching more relevant to Puerto Rican students. All lesson plans and student worksheets needed for immediate classroom use are included. Section I, "here and There: Location and Migration," explores the geography, climate, and location of Puerto Rico as well as issues that surround why people move from place to place. Section II, "Puerto Rico: A Blend of Cultures," highlights some of the history of the island, from the indigenous Taino Indians to the arrival of the Spanish to stories of several heroes from diverse backgrounds.
    [Show full text]
  • Redalyc.Salsa Music As Expressive Liberation
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 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 Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization.
    [Show full text]
  • Introduction to Afro-Caribbean Performance
    By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Introduction to Afro-Caribbean Performance Claves Africa Bembe/Abakúa 1 Caribbean Islands 2 Son Clave 3-2 (A) 3 Rumba Clave 3-2 (B) 4 2 Introduction to the Afro-Cuban Performance Brazil 5 Bossa Nova 6 North America 7 New Orleans 7.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Percussion “Son” Conga 1 Fingers Fingers Fingers Palm Abajo (down) basic pattern normally played in soft and quiet sections, introductions, solo beginnings, etc. 2 2.1 4 Introduction to the Afro-Cuban Performance Arriba (up) variation of the basic pattern usually played at strong sections, climax, etc. 3 3.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Timbal Abajo (down) 1 1.1 Arriba (up) 2 2.1 6 Introduction to the Afro-Cuban Performance Bongó Abajo (down) 1 1.1 Arriba (up) 2 2.1 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com Percussion to Drums Abajo (down) 1 1.1 Arriva (up) 2 2.1 8 Introduction to the Afro-Cuban Performance Bass 1 1.1 2 2.1 3 (Mambo) By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 3.1 (Mambo) 2 chords per measure 4 10 Introduction to the Afro-Cuban Performance Piano Piano voicings featuring 3rds and 7ths 1 Dm7 G7 CΔ è Dm7 G7 CΔ Piano Montuno Rebeca Mauleon 1 1.1 2 By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 2.1 Luis Marin 3 3.1 Piano, Tres Cubano and Guitar 4 4.1 12 Introduction to the Afro-Cuban Performance 2 chords per measure 5 Melody By Professor Tonatiuh Vázquez Vilchis – tonatiuhvazquez.com 14 Introduction to the Afro-Cuban Performance Some Latino-American Rhythms/Styles Brazil Argentina Peru Venezuela Samba Tango Lando Joropo Bossa Nova Chacarera Festejo Merengue Venezolano Baião Zamba Marinera Gaita Partido Alto Vals Chorinho Colombia Panama Puerto Rico Rep.
    [Show full text]
  • Ralph Irizarry
    Ralph Irizarry Ralph Irizarry, recognized worldwide as an excellent percussionist, first fell in love with the timbal at an early age when his father coincidentally brought home a set received as payment for a debt. A self- taught musician, Irizarry has developed a highly efficient and personalized style of playing while leaving an enduring mark on the artists with whom he has collaborated. His love for the instrument evolved into a full- fledged passion that has fueled his career since 1970. Irizarry admits, without reservation, that this passion has been all consuming since he was a youngster, and is the same passion that he infuses now into his music. Born in New York’s Spanish Harlem, Ralph Irizarry’s family first moved to Brooklyn and then briefly to Queens, before finally relocating in Puerto Rico in 1970. There, he spent three years immersed in music and gained the knowledge and experience that eventually granted him the opportunity to join Ponce’s La Terrífica, as well as sitting in with such prestigious aggregations as El Gran Combo and Sonora Ponceña. In 1974, Ralph Irizarry returned to New York City to pursue a career as a professional musician. After playing and recording with local groups for almost four years, his big break finally came when Ray Barretto invited him to join his top-ranked orchestra and shortly afterward, they were in studio recording the first of six productions. In April of 1983, Rubén Blades sought out Irizarry to join in the formation of Seís Del Solar. This association lasted for fourteen years and consisted of intense performing and traveling as well as the production of eight recordings.
    [Show full text]
  • Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 ¡Casinando!: Identity, Meaning, and the Kinesthetic Language of Cuban Casino Dancing Brian Martinez Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC ¡CASINANDO! IDENTITY, MEANING, AND THE KINESTHETIC LANGUAGE OF CUBAN CASINO DANCING By BRIAN MARTINEZ A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2012 Brian Martinez defended this thesis on March 26, 2012. The members of the supervisory committee were: Frank Gunderson Professor Directing Thesis Michael Bakan Committee Member Charles Brewer Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For my father, mother, and brother, for all of your unfailing love and support iii TABLE OF CONTENTS LIST OF TABLES....................................................................................................................... vi LIST OF FIGURES.................................................................................................................... vii ABSTRACT.................................................................................................................................. ix 1. INTRODUCTION TO CASINO ..........................................................................................1
    [Show full text]
  • Chapter 1—Introduction
    NOTES CHAPTER 1—INTRODUCTION 1. See Juan Flores, “Rappin’, Writin’ & Breakin,’” Centro, no. 3 (1988): 34–41; Nelson George, Hip Hop America (New York: Viking, 1998); Steve Hager, Hip Hop: The Illustrated History of Breakdancing, Rapping and Graffiti (New York: St. Martin’s Press, 1984); Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994); David Toop, The Rap Attack 2: African Rap to Global Hip Hop (London: Serpent’s Tail, 1991). 2. Edward Rodríguez, “Sunset Style,” The Ticker, March 6, 1996. 3. Carlito Rodríguez, “The Young Guns of Hip-Hop,” The Source 105 ( June 1998): 146–149. 4. Clyde Valentín, “Big Pun: Puerto Rock Style with a Twist of Black and I’m Proud,” Stress, issue 23 (2000): 48. 5. See Juan Flores, Divided Borders: Essays on Puerto Rican Identity (Hous- ton: Arte Público Press, 1993); Bonnie Urciuoli, Exposing Prejudice: Puerto Rican Experiences of Language, Race and Class (Boulder, CO: West- view Press, 1996). 6. See Manuel Alvarez Nazario, El elemento afronegroide en el español de Puerto Rico (San Juan: Instituto de Cultura Puertorriqueña,1974); Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cam- bridge, MA: Harvard University Press, 1993); Marshall Stearns, The Story of Jazz (Oxford: Oxford University Press, 1958); Robert Farris Thompson, “Hip Hop 101,” in William Eric Perkins, ed., Droppin’ Sci- ence: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), pp. 211–219; Carlos “Tato” Torres and Ti-Jan Francisco Mbumba Loango, “Cuando la bomba ñama...!:Reli- gious Elements of Afro-Puerto Rican Music,” manuscript 2001.
    [Show full text]
  • Workshop: a Year in a Day, Part 2 – Power and Culture Salsa
    Workshop: A Year In A Day, Part 2 – Power and Culture Target Audience The narrative and emphasis of content can be customised to address broadly two classes of primary audience: i. those who either have a slightly more than cursory experience of dancing salsa, or are proficient in another dance genre; and ii. fellow educators who are in search of more material, or advanced dancers who are seeking to broaden their skill-sets. Prerequisites / Constraints This workshop requires: 1. the ability to execute basic salsa; 2. participants of similar ability range unless there is space for differentiation (six-hour format); 3. prior participation in ‘A Year In A Day, Part 1 – The Efficient Mover’. Duration Six hours at fast pacing or three and a half hours at very rapid pacing – the accelerated option is to facilitate the provision of both parts: Part One and this one, in a single day. Learning Outcomes At the end of the workshop, participants should be able to appreciate: · the scope of skills applicable in social Latin American dance; · why these skills are desirable for the power of expression; · important over-arching themes into which these skills are grouped and sequenced; and · the context of these skills in terms of cultural and personal expression. Educators should: · understand how a skills-based Hierarchy of Development can be extended; · appreciate the merits of contextualising skills-based instruction; · understand how adjunct values (‘depth’ and ‘breadth’) might be introduced to physically skilled dancers; · understand how a mix of pedagogic principles can be collectively applied in a Latin American social dance context; · be capable of replicating components of the Hierarchy as material additional to their established content; and · recognise the process of transition from classroom and workshop-driven education to a masterclass format.
    [Show full text]
  • As Related to the Study, Practice and Celebration of Puerto Rican Bomba & Plena
    ​ Glossary/Vocabulary * (As related to the study, practice and celebration of Puerto Rican Bomba & Plena) Americas - Comprises the totality of the ​continents of ​North America, ​South America, ​and the archipielagos and Islands in between and around them. ​Together, they make up most of the land in Earth's ​Western Hemisphere​ and comprise the ​New World​. Ancestry - ​a person's ethnic origin or descent, "roots," or heritage, or the place of birth of the person or the person's parents or ancestors Antilles​- An ​archipelago bordered by the ​Caribbean Sea to the south and west, the ​Gulf of Mexico to the northwest, and the ​Atlantic Ocean to the north and east. The Antillean islands are divided into two groupings: the ​Greater Antilles (​Cayman Islands​, ​Cuba​, ​Hispaniola (subdivided into the nations of the ​Dominican Republic and ​Haiti​), ​Jamaica​, and ​Puerto Rico​; and the ​Lesser Antilles (​Leeward Islands and the southeasterly ​Windward Islands​, the Leeward Antilles​. Arahuak Assimilation Bámbula​- Originally, a type of ​drum made from a barrel with skin stretched over one end. It is also a ​dance accompanied by music from these drums. Originating in Africa, the bambula form appears in a ​Haitian song in 1757 and bamboula became a dance syncopation performed to the rhythm of the drum during festivals and ceremonies in Haiti (then Saint-Domingue​). It was then exported to the United States (notably ​Mobile, Alabama​, and the ​Virgin Islands​) through ​Louisiana​, by the Africans that were deported to ​New Orleans during the 18th century with the arrival of the displaced French settlers of the island of ​San Domingo especially after the ​Haitian Revolution​.
    [Show full text]