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The Songs of Mexican Nationalist, Antonio Gomezanda
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-5-2016 The onS gs of Mexican Nationalist, Antonio Gomezanda Juanita Ulloa Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Ulloa, Juanita, "The onS gs of Mexican Nationalist, Antonio Gomezanda" (2016). Dissertations. Paper 339. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2016 JUANITA ULLOA ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE SONGS OF MEXICAN NATIONALIST, ANTONIO GOMEZANDA A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Juanita M. Ulloa College of Visual and Performing Arts School of Music Department of Voice May, 2016 This Dissertation by: Juanita M. Ulloa Entitled: The Songs of Mexican Nationalist, Antonio Gomezanda has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Visual and Performing Arts, School of Music, Department of Voice Accepted by the Doctoral Committee ____________________________________________________ Dr. Melissa Malde, D.M.A., Co-Research Advisor ____________________________________________________ Dr. Paul Elwood, Ph.D., Co-Research Advisor ____________________________________________________ Dr. Carissa Reddick, Ph.D., Committee Member ____________________________________________________ Professor Brian Luedloff, M.F.A., Committee Member ____________________________________________________ Dr. Robert Weis, Ph.D., Faculty Representative Date of Dissertation Defense . Accepted by the Graduate School ____________________________________________________________ Linda L. Black, Ed.D. -
Thinking Gender 2012
THINKING GENDER 2012 Performative Metaphors: The "Doing" of Image by Women in Mariachi Music. Leticia Isabel Soto Flores In music studies, scholars have often explored music as a metaphor for emotions, thoughts, and life. In the 19th century, music critic Edward Hanslick recognized the inherent metaphorical sense of musical discourse. As he stated in 1891, "what in every other art is still description is in music already metaphor", (Hanslick 1986: 30). When verbalizing what music is, from representation to technique, one cannot avoid using figurative language, metaphors in particular, because a verbal description of sound is, of necessity, an interpretation. In the first case regarding metaphors in music, metaphorical language is used to describe music in relation to musical practice or music theory. These metaphorical descriptions have unavoidably succumbed to the ideological horizons manifested through language. Musicologist Susan McClary refers to this as gendered aspects of traditional music theory in Feminine Endings (1991), a founding text in feminist musicology. She states: "music theorists and analysts quite frequently betray an explicit reliance on metaphors of gender ("masculinity" vs. "femininity") and sexuality in their formulations. The most venerable of these—because it has its roots in traditional poetics—involves the classification of cadence-types or endings according to gender" (McClary 1991: 9). Musicians and music critics utilize the terms “feminine endings” and “masculine endings” to describe how a cadence ends, most without ever realizing that these metaphors perpetuate sexual difference through musical language. In mariachi music, a similar situation has manifested with the increasing participation of women mariachi musicians. As more and more women perform in mariachi ensembles, the songs traditionally in a vocal register for men are necessarily transposed to suit the female voice. -
Charrería, Nationalism, and Manly Relevance in Modern Mexico
CHARRERÍA, NATIONALISM, AND MANLY RELEVANCE IN MODERN MEXICO Angélica Castillo Reyna A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2018 Approved by: John C. Chasteen Kathryn Burns Cynthia M. Radding Miguel La Serna Jocelyn Olcott © 2018 Angélica Castillo Reyna ALL RIGHTS RESERVED ii ABSTRACT Angélica Castillo Reyna: Charrería, Nationalism, and Manly Relevance in Modern Mexico (Under the direction of John C. Chasteen) This dissertation offers two premises. First, there is a deep history of relationships between power, horsemanship, and constructions of masculinity in modern Mexico. Second, because of this history, Mexicans in various eras and situations have depended on rural equestrian costumes, identities, and traditions to influence, interpret, and navigate the world around them. Part 1 of this dissertation consists of three chapters and provides an overview of the development of Mexican equestrian customs and the ways that Mexicans in colonial, independent, and revolutionary Mexico used horsemanship to make their lives meaningful, central, and sustainable. Part II, composed of five chapters, shifts to a discussion of the emergence of the equestrian sport community of organized charrería and the way that organized charros continued the practice of transforming Mexico’s equestrian past into a form of strategic cultural capital. Post-revolutionary organized charros, cognizant of the rich equestrian history they had to draw upon, used the idea of Mexican horsemen’s historic contributions in order to claim relevance in post-revolutionary Mexico as the heirs and latest representatives of that historically-significant equestrian tradition. -
Charrería: the Artisanship of Mexican Equestrian Culture
Arte en la Charrería: The Artisanship of Mexican Equestrian Culture Educational Program by International Arts & Artists Table of Contents: I. What is Charrería? II. Events of the Charreada III. The origins of the Charreada IV. About the Exhibition V. Discussion Topics VI. Resource List VII. Glossary I. What is Charrería? Charrería is a Mexican cultural tradition that stems from the Spanish-inspired charreada. The charreada is a festive event that is similar to an American rodeo in its variety of competitive equestrian activities. Like the American “rodeo culture,” Charrería extends beyond horses and riders to include aspects such as costume, music, and food that bring a uniquely Latino culture to a sport that has its roots in Spain. The charreada began in Mexico in the 16th century when horses were introduced by the Spanish. As the Spanish tried to develop Central America for their own economic gain, they created an entire culture centered around agriculture and ranching in the haciendas they constructed. This is the culture that is reflected in Charrería. Although the main event is foreign-inspired, the culture reflected in the clothing, saddles, belts, hats, and spurs is largely inspired by traditional indigenous art. The Charrería has endured over five centuries because of the strength of the skills, sensibilities, and traditions that transcend regional and generational differences. Fearing the eventual loss of the Charrería culture, a group of charros, or the “cowboys,” who participate in the charreadas, united and formed various associations to preserve and promote this national culture. The Federación Mexicana de Charrería was founded in Mexico City in 1933 to govern the different charros associations that emerged. -
Of Image by Women in Mariachi Music
EXCERPT from “Thinking GENDER IN SPACE, PLACE, AND Dance,”TG 2012 PLENARY SESSION BY LETICIA ISABEL SOTO FLORES The “Doing” of IMAGE BY WOMEN IN MARIACHI MUSIC N MUSIC STUDIES, scholars have often avoidably succumbed to the ideological horizons difference through musical language. In mariachi explored music as a metaphor for emotions, manifested through language. Musicologist Susan music, a similar situation has manifested with Ithoughts, and life. In the 19th century, music McClary refers to this as gendered aspects of tra- the increasing participation of women mariachi critic Edward Hanslick recognized the inherent ditional music theory in Feminine Endings (1991), musicians. As more and more women perform in metaphorical sense of musical discourse. As he a founding text in feminist musicology. She states: mariachi ensembles, the songs traditionally in a stated in 1891, “what in every other art is still de- “music theorists and analysts quite frequently vocal register for men are necessarily transposed scription is in music already metaphor”, (Hanslick betray an explicit reliance on metaphors of gen- to suit the female voice. This alternative vocal reg- 1986: 30). When verbalizing what music is, from der (“masculinity” vs. “femininity”) and sexual- ister quickly became categorized as the “girl key,” representation to technique, one cannot avoid us- ity in their formulations. The most venerable of or tono para mujer. While the use of this gendered ing figurative language, metaphors in particular, these—because it has its roots in traditional poet- metaphor is colloquial, we cannot ignore the real- because a verbal description of sound is, of neces- ics—involves the classification of cadence-types ity that the metaphors in music terminology rely sity, an interpretation. -
Contemporary Cowboy Culture and the Rise of American
CONTEMPORARY COWBOY CULTURE AND THE RISE OF AMERICAN POSTMODERN SOLIDARITY A Dissertation by RONNIE DEAN HOMANN Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2006 Major Subject: Sociology CONTEMPORARY COWBOY CULTURE AND THE RISE OF AMERICAN POSTMODERN SOLIDARITY A Dissertation by RONNIE DEAN HOMANN Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Stjepan Mestrovic Committee Members, David Rosen Edward Murguia Alex McIntosh Head of Department, Mark Fossett May 2006 Major Subject: Sociology iii ABSTRACT Contemporary Cowboy Culture and the Rise of American Postmodern Solidarity. (May 2006) Ronnie Dean Homann, B.A., University of North Texas; M.S., University of North Texas Chair of Advisory Committee: Dr. Stjepan Mestrovic In this dissertation, I build on contemporary theoretical perspectives to interpret characteristics of contemporary cowboy culture. Specifically, I target the image of the cowboy in relation to solidarity. I assume that contemporary cowboy culture is an illusion or simulacra of something, something maybe once authentic. Now, it is built around language games, illusion, image and many other postmodern phenomena. Even so, in this work I explore how postmodernism is useful, which many are hesitant to do. This is a new twist or at least an interesting study in contrast to the enlightenment project. I rely heavily on theoretical discussion, qualitative analysis, participant observation and interpretive interactionism to accomplish this study and engage this culture. -
Rancho San Julian: a Family's Legacy
The Journal of the PARAGON Foundation, Inc. Rancho San Julian: A Family's Legacy Hard Fought Existence: The Story of Texas’ McInnis Cattle Company The Living Words of the Constitution Part 5 WINTER 2008 Rancho San Julian by W. Dibblee Hoyt OUR MISSION The PARAGON Foundation provides for education, research and the exchange of ideas in an effort to promote and support Constitutional principles, individual freedoms, private property rights and the continuation of rural customs and culture – all with the intent of celebrating and continuing our Founding Fathers vision for America. The PARAGON Foundation, Inc. • To Educate and Empower We invite you to join us. www.paragonfoundation.org WINTER 2008 VOLUME 4 NO. 4 William C. Reynolds EDITOR Nicole Krebs ASSOCIATE EDITOR Robin Ireland ART DIRECTOR Javier Munoz PRODUCTION COORDINATOR W. Dibblee Hoyt FE ATURED PHOTOGRAPHER Mark Bedor Robert Dawson Guy de Galard Jay Dusard Marilyn Fisher Dan Gagliasso Heather Hafleigh Jim Keen Thea Marx James P. Owen Dusti Scovel CONTRIBUTORS THE PARAGON FOUNDATION Bob Jones PRESIDENT GB Oliver EXECUTIVE VICE PRESIDENT & PUBLISHER Don “Bebo” Lee VICE PRESIDENT 2 Stella Montoya SECRETARY / TREASURER Alice Eppers Bobby Jones Daniel Martinez DIRECTORS For sponsorship inquiries, contact Nicole Krebs - oyt 575.434.8998 at the PARAGON Foundation, Inc. office, ee H 1209 Michigan Ave., Alamogordo, NM 88310. To join or ibbl renew your membership or sponsorship, call toll free 877.847.3443. Living Cowboy Ethics is published quarterly y W. D y W. by the PARAGON Foundation, Inc. Memberships are ourtes $50.00 per year. The PARAGON Foundation, Inc. is a o c non-profit 501(c)3. -
Stateless Nation Building: Early Puerto Rican Cinema and Identity Formation (1897-1940)
STATELESS NATION BUILDING: EARLY PUERTO RICAN CINEMA AND IDENTITY FORMATION (1897-1940) BY NAIDA GARCÍA-CRESPO DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Associate Professor Ramona Curry, Chair Associate Professor Anustup Basu Assistant Professor Manisha Basu Associate Professor Dara E. Goldman ii ABSTRACT This dissertation centers on the processes of Puerto Rican national identity formation as seen through the historical development of cinema on the island between 1897 and 1940. Anchored in archival sources in film technology, economy, and education, I argue that Puerto Rico’s position as a stateless nation allows for a fresh understanding of national cinema based on perceptions of productive cultural contributions rather than on citizenship or state structures. As I show, the development and circulation of cinema in Puerto Rico illustrate how the “national” is built from transnational connections. With the aim of elucidating such social-political linkages, the first chapter provides a historical contextualization of the period 1897-1952. I argue that this historical period (the transition from a Spanish Colony to a U.S. commonwealth) was marked by highly pronounced political ambiguity for Puerto Rico’s status as a nation, which encouraged the creation of a collective identity that paradoxically both appropriated and rejected attributes from both colonizers. The second chapter turns to the period of 1897-1908 to argue for a transnational approach to the archives to clarify long-standing historiographic absences about the introduction of film to the island. -
Riding the Horse, Writing the Cultural Myth
RIDING THE HORSE, WRITING THE CULTURAL MYTH: THE EUROPEAN KNIGHT AND THE AMERICAN COWBOY AS EQUESTRIAN HEROES Metin Boşnak* and Cem Ceyhan* I Any comparative study of cultures will prove that virtually every culture has created its own hero according to its historico-cultural needs, characters, and potentials. In Mexico that hero is called “vaquero;” in Columbia and Venezuela, “illenora;” in Argentina, “gaucha;” in Japan and China, “samurai,” and “karate man” respectively; in Ottoman empire, “akıncı.” Similarly, both the European knight and the American cowboy had an important role in the emergence and development of their national heritage. There are many similarities and historical ties between the two in that they are idealized representatives of the cultures in which they emerged, and that they are equestrian. The popular images of the American cowboy and the European knight have been much misrepresented and distorted to fit the illusions of fiction. The medieval Latin word for “knight,” miles, does not help us sort out definitions much further. Originally signifying “soldier,” in the eleventh century miles became associated with notions of horsemanship and nobility in mysterious and complicated ways (Chickering and Seiler 3). The word eventually became interchangeable with Latin caballarius, its romance cognates, all of which etymologically refer to the idea of horsemanship. Mono-dimensional definition of the European knight, too, has so much been repeated and popularized that the sole perception of him today is the general conclusion that tends to determine him as the paragon of gentility, as was pictured in the Tudor age, when imitating the adventures of the knights of King Arthur was deemed very important by knights.1 Similarly, portrayal of the European knight as a gentle courtier Elizabethan period supplemented the false consciousness of this figure.2 The popular image of the knights is well-known. -
Smithsonian Latino Center Egallery Guide
Smithsonian Latino Center eGallery Guide Smithsonian Latino Center ABOUT THE LATINO ART NOW! CHICAGO LATINO VIRTUAL GALLERY PROJECT The Latino Art Now! Chicago Latino Virtual Gallery is a research project translated into a dynamic web presence featuring 40 artworks and 35 artists. It examines the artistic production of artists of Latin American descent and US-born Latinos in the city of Chicago. The Latino Art Now! Chicago Latino Virtual Gallery, as an innovative digital interactive learning 3-D space, supports the current broad redefinition of American art prompted by changing demographics. It explores artistic issues, contexts, meanings, visualities and historical groundings in addition to artists’ own engagements with identity, community, public art and the urban space. The Latino Art Now! Chicago Latino Virtual Gallery and its ancillary materials are made possible by the generous support of the University of Illinois at Chicago, the Inter-University Program for Latino Research and the in-kind support of the Smithsonian Latino Center. The digital educational resources have been made possible by grants from the National Endowment for the Arts, Comcast NBC Universal, and the Chicago Community Trust. Smithsonian Latino Center Gallery e-Guide Team: Principal Investigator and Curator: Olga U. Herrera, Ph.D., University of Illinois at Chicago Research Associate: Norma Rosso, Independent Arts Manager Creative Director: Melissa A. Carrillo, Smithsonian Latino Center Instructional Designer/Artist: Stacey Fox, Reynardine Productions Educational Content Advisor: Dr. Juana Roman Graphic Design: Paola Ramírez, InToch Designs Web Design: John-Noall Reid, Greyhouse Media Inter-University Program for Latino Research, University of Illinois at Chicago 2 | Instructions How can you have your class do a virtual walk through of the Latino Art Now Chicago Virtual Gallery? • Go to: http://latino.si.edu/LatinoArtNow/LAN-ChiVG • After you have downloaded your platform experience (MAC or PC), unzip the files and select the .exe or .dmg file to open the Gallery simulation. -
Themes of Indigenous Acculturation in Northwest Mexico
Themes of Indigenous Acculturation in Northwest Mexico Item Type Book; text Authors Hinton, Thomas B. Publisher University of Arizona Press (Tucson, AZ) Rights Copyright © Arizona Board of Regents Download date 10/10/2021 19:13:34 Link to Item http://hdl.handle.net/10150/615819 ANTHROPOLOGICAL PAPERS OF THE UNIVERSITY OF ARIZONA NUMBER 38 THEMES OF INDIGENOUS ACCULTURATION IN NORTHWEST MEXICO THOMAS B. HINTON and PHIL C. WEIGAND editors Contributors N. Ross Crumrine John Hobgood Timothy Dunnigan J. Alden Mason William B. Griffen Salomon Nahmad Sitton Thomas B. Hinton Carroll L. Riley Phil C. Weigand THE UNIVERSITY OF ARIZONA PRESS TUCSON, ARIZONA 1981 ............ Papago U NIT E D ,------ .. "'---- -----r -- \ \ o 'r-----~ CHIHUA ~-.....---------='l I ~ Opata ~ ~ "'9 -----------7~ --- __ ~----...... o Warihto '\ ~~ I Tarahumara \- F-tJerte • U'c;., \ -----------------~~ ~ . Northern \Tepehuan -----------------~~ - " -PACIFIC----OCEAN------l .J:: -(5 c: kilometers 200 300 I I I o 100 200 300 S TAT E S NORTHERN MEXICO Showing Location of Indian Groups '" Treated in HUA \ Text I I \ Conchos (extinct) ~o'? ~rv , (} ""./ \ f '" \ / / \. \ COAHUILA , .......... \ , \ , '-)' '~ \. \. ------- ,\, ..r-,--"-.--,,~- ,_ NUEVO I r-- / '> , /' ( ,--:f.-, r- - __ I "-' ~ I • r DURANGO -..j ~ 'l.\ ~ LEON ,-i , '""/.. C ',. '\ 0 ;--_-1 / '\ / • 0' " ( 0 ..... < ZACATECAS , / .-J '\ ,<>'<9 ~ / '-~ , I'" /) \.: -.{. TAMAULIPAS ,,- _ Southern 0 / ( SAN ' " Tepehuan ( '\ ,JMexicanero " • --...l- 1---- Li.. - , \ I " -; 0 \ ../ ~ LU I S \ - 1_ '-----\ %.t- cora; --.J~, ~ ,) 7 ,r ."'- .: , ---- ~ (' ~ = . )7...<\ Huichol /"' I I y':' ./ POTOS I t' L.- IZ\ ,~ • Tepecano - '- ) ~ ---->r' ~~ { I Y-~ / '-"--"\ ;. ( 1J ~,-----=1 ~~,)' ) AGUASCALIENT-ES '1 \J \ r2 ")1o~ \. :x. ~ _5.~ I' \ \~'\o r- ~ ~of - .:/ -- I ~ r----- ../' ) <!' 5 n' ' \V A../'I /:" .. - ~ a (~~V ( ~v I ~~o 4" , \ .----"-V J A LIS CO ., G0~ ~ -::0~ . -
Keeping Rural Tradition Alive: the Race, Class, and Gender
KEEPING RURAL TRADITION ALIVE: THE RACE, CLASS, AND GENDER DYNAMICS OF THE MODERN CHARRO COMMUNITY A Dissertation by BEATRIZ ALDANA MÁRQUEZ Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Stjepan Mestrovic Committee Members, John M. Eason William A. McIntosh Kristan Poirot Head of Department, Denis O’Hearn August 2017 Major Subject: Sociology Copyright 2017 Beatriz Aldana Marquez ABSTRACT The Charro tradition is the national sport of Mexico. Yet, its national recognition is limited even though the Charro tradition has influenced other important Mexican and American cultural symbols such as the mariachis and even the American cowboy. I conducted an ethnographic study (2013-2015) in Mexico on the Charro community to assess their cultural adaptability in a changing Mexico. The figure of the Charro serves as the personification of centuries of culture and tradition as it is displayed through their body comportment and clothing, as well as the behaviors, mannerisms, and adherence to the norms that are unique to this subculture. Charros perform suertes or events as a team to gain points in front of judges during Charreadas or competitions to pay homage to early Charros. The judgment is strict and points can be deducted for incorrect techniques, clothing, or form which is indicative of the continuous standardization by the Federation of Mexican Charros. Charro women (Escaramuzas) perform a ten-minute routine of synchronized horse dancing to traditional Mexican song and are judged on their grace, elegance, and presentation.