DOCSLIB.ORG

Download Programmheft 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

dobles.qxp_Layout 1 26.07.16 17:27 Seite 1 programm forever together 16.–25. september 2016 Alle Veranstaltungen bei freiem Eintritt. Free admission to all events. zauvek zajedno für immer zusammen por siempre juntos sonsuza dek beraber facebook und twitter: wienwoche dobles.qxp_Layout 1 26.07.16 17:27 Seite 2 WI WIEN bere Imm heit, wo I Herz WIEN „allt Freu als e Wir sind bemüht, dass alle Menschen am polit WIENWOCHE -Programm teilhaben können. Barrierefreie Veranstaltungsorte sind mit könn gekennzeichnet. Bei Veranstaltungsorten, die ker b eingeschränkt zugänglich sind, sind wir sehr gerne behilflich, eine Teilnahme zu ermöglichen. zune Wir bitten Sie um individuelle Absprache unter Veranstaltungsinfos können Änderungen LUNES | MONTAG | MONDAY Entw der Telefonnummer +43 699 1104 6953. unterliegen, außerdem sind bei WIENWOCHE MARTES | DIENSTAG | TUESDAY auch Über raschungen geplant. und We are committed to ensuring that all interested Das aktuelle Programm finden Sie unter MIÉRCOLES | MITTWOCH | WEDNESDAY in U individuals can participate in the WIENWOCHE www.wienwoche.org JUEVES | DONNERSTAG | THURSDAY programme. Accessible venues are marked in Ak with . For venues that have limited accessi- Event information is subject to change; more- VIERNES | FREITAG | FRIDAY sowi bility, we are very happy to help in facilitating over, surprises are planned for WIENWOCHE. SÁBADO | SAMSTAG | SATURDAY participation. We ask that individual arrange- The current programme can be found at beim ments be made by phone: +43 699 1104 6953 www.wienwoche.org. DOMINGO | SONNTAG | SUNDAY einig dobles.qxp_Layout 1 26.07.16 17:27 Seite 3 zauvek zajedno für immer zusammen por siempre juntos sonsuza dek beraber WIENWOCHE 2016: forever together WIENWOCHE findet im September (16.–25. 9. 2016) bereits zum fünften Mal statt. Unter dem Titel Für Immer Zusammen – Eine Politik von Verbunden- heit, Liebe und Freundschaft zeigt das Festival auf, WIENWOCHE (Vienna Week) takes place for the fifth wo Ideen zum Blühen gebracht werden und unsere time in September (16–25 Sep 2016). With the title Herzen erfreuen – zumindest die meiste Zeit. forever together – Politics of Connection, Love and Friendship, it highlights where ideas start blossoming WIENWOCHE 2016 schafft einen Raum, der auf and please our hearts, at least most of the time. „alltägliche“ Arten von Verbundenheit, Liebe und Freundschaft fokussiert – und die feiern wir diesmal WIENWOCHE 2016 creates a space which focuses on als etwas ganz Besonderes. Weshalb? Weil das jene ‘ordinary’ accounts of connection, love and friend- politischen Kräfte sind, über die wir selbst verfügen ship – all of which we celebrate as something very können. Und wir werden sie in Zukunft immer stär- special this time. Why? Because they are the political ker benötigen. Wenn Ignoranz und Unterdrückung forces that we have, and we will need even more of zunehmen, gibt es immer mehr Gelegenheiten, diese them in the future. When ignorance and oppression Entwicklungen zu bekämpfen. Wir tun dies im Alltag rise, opportunities to contest them grow as well. und wir tun es während der WIENWOCHE 2016: We do so in everyday life and we do it at WIENWOCHE SDAY in Unterstützungs-Netzwerken, im Freundeskreis, 2016: in networks of support, circles of friends, ac- AY in Aktivist_innengruppen, künstlerischen Projekten tivist groups, artistic projects as well as in bars, sowie in Bars, Theatern, auf Straßen, Marktplätzen, streets, at market places, theatres, at the hair- beim Friseur, ja sogar in einer Zeitmaschine – um nur dresser’s, in a time machine – just to name a few einige Räume und Orte zu nennen, die wir bewohnen. spaces and places that we inhabit. 3 dobles.qxp_Layout 1 26.07.16 17:27 Seite 4 ÜBER DAS PROGRAMM ZUR WIENWOCHE 2016 – Können die Underground Volkstänze der Außenbe- ABOU zirke einen Weg ins Herz der Wiener „Hochkultur“ und Ein Ziel von WIENWOCHE ist, neue politisch-künstle- der Konsumtempel finden. Können sie einen die Fiktion One risch-aktivistische Netzwerke zu schaffen und beste- von Nation und Ethnizität vergessen lassen? (S. 18) artis hende zu unterstützen. Wir sind dementsprechend – Oder: Gibt es eine Möglichkeit, die Freude an Ballett- We a stolz auf „Wiederholungen“, die hier für Kontinuität Bewegungen in „niedrigen“ Kulturräumen zu erle- also stehen: dieses Jahr etwa die Projektbeiträge des ben, indem wir die Hierarchien des Körpers, Geistes ject Protest Productions Collective, das im Rahmen der sowie der Stadtgeografie durchbrechen? (S. 14) whic Flüchtlingsprotestbewegung entstanden ist und das – Wie sind Grenzen zu überschreiten und wie kann move dieses Jahr ihr Projekt zur Überwindung von Gren- anderen solch eine Überschreitung ermöglicht werden, com zen fortsetzt. Dazu sorgt WIENWOCHE 2016 auch für obwohl sie dafür errichtet wurden, um Menschen zu caus frischen Wind, mit dem Ideen und Aktionen durch trennen? (S. 28) die Stadt gewirbelt werden. – Was sind die guten Nachrichten von Grenzgän - In 20 ger_in nen? (S. 24) of el forever together verfolgt 2016 zwei Ansätze: Neun – Was sind die Geschichten von Gastarbajter_innen have der elf von WIENWOCHE 2016 produzierten Projekte und wie haben Gastarbajter_innen es so lange ge- ition wurden aus einem Open Call ausgewählt. Dazu kom- meinsam geschafft? (S. 20) as w men zwei offene Arbeitsgruppen, #L0V3_H4CK1N6 – Zu guter Letzt: Was könnte uns ein afro-futuristi- the f sowie Cantina Corazón, die vom Leitungsteam ins sches Szenario über Wien erzählen? (S. 30) to sim Leben gerufen wurden – eine Einladung an alle, sich 2016 einfach anzuschließen und somit ein Teil von WIEN- Während wir an der Projektauswahl arbeiteten, toge WOCHE 2016 zu werden.Wir wollten mit den Formen schätzten wir uns glücklich, heuer zudem „Ja!“ zu a cul des Zusammenseins jenseits der üblichen Auswahlver- sagen zum Wunsch der Kurator_innen und Päda- (p. 1 fahren im Kulturbereich experimentieren. So entstand gog_innen der Kunsthalle Wien, ein Teil von WIEN- open Cantina Corazón (S. 16), eine mobile Bar und Schmu- WOCHE 2016 zu sein: mit einem Workshop, der #L0 seecke, ein Ort, um das Herz zu öffnen, für Men- gesellschaftliche Brutalität reflektiert, ohne ein Sys- toge schen wie dich und mich, und #L0V3_H4CK1N6 tem der Trennungen zu reproduzieren. (S. 36) love (S. 12) – ein Ort, um sich zu „daten“, miteinander zu sleep schlafen oder bei dieser 24-stündigen Challenge die WIENWOCHE ist, wie auch bereits in den Vorjahren, virtuellen und realen Ökonomien der Liebe zu „ha- überwiegend aus und in Wien: Es ist ein lokales Fes- WIEN cken“ und das Schlafen vielleicht ganz sein zu lassen. tival und feiert die Kraft lokaler Aktionen all derer, that die aus der ganzen Welt (einschließlich Wien) kom- –W Die Projekte des WIENWOCHE-Open-Call stellen viele men und hierbleiben – sei es für kürzere oder län- Dur Fragen, die sie in konkreten Aktionen zu beantworten gere Zeit. Aber wir haben auch spezielle Gäste, what versuchen. Superstars und Planeten! – Ho – Was wurde aus der revolutionären Idee der Liebe? end Während der Oktoberrevolution, danach, und was ist Werde Teil von forever together, wo die Politik der at th sie heute? (S. 26) Verbundenheit, Liebe und Freundschaft die Grundlage –W – Wie können wir es gemeinsam bis zum Ende schaf- für solidarisches Handeln bildet! Wir werden die „Zu- we m fen, während wir mit anderen gleichzeitig frei und kunft lesen“ und Allianzen ausprobieren, die dazu – Ca verbunden bleiben? (S. 32) ermutigen, hier und anderswo zu leben und zu lieben. brou – Welche Formen des Zusammenlebens gibt es in cons der Stadt, die wir bloß nicht sehen? (S. 22) Für WIENWOCHE: Nataša Mackuljak, Ivana Marjanović of na 4 dobles.qxp_Layout 1 26.07.16 17:27 Seite 5 nbe- ABOUT THE WIENWOCHE 2016 PROGRAMME – Or: is there an opportunity to experience the joy of und ballet movements in the ‘low’ cultural spaces of our ktion One goal of WIENWOCHE is to create new political- outer districts by breaking the hierarchies of body, 8) artistic-activist networks and to support existing ones. mind as well as the city geography? (p. 14) llett- We are therefore proud of ‘repetition’, which for us – How to cross borders and enable others crossing e- also means showing continuity: for instance, the pro - them although they are created to separate people? stes ject contributions by Protest Productions Collective, (p. 28) which was created in the context of the refugee protest – What are the good news stories created by border nn movement, and this year continues its project to over- crossers? (p. 24) den, come borders. WIENWOCHE 2016 brings a fresh breeze, – What are the stories of ‘Gastarbajters’ and how did zu causing ideas and actions to swirl through the city. Gastarbajters make it together for so long? (p. 20) – Finally, what could an afro-futurist scenario reveal In 2016, forever together follows two approaches: nine about Vienna? (p. 30) of eleven projects produced by WIENWOCHE 2016 en have been selected as a result of an open call. Add - Further, while working on selecting the projects, itionally, two open work groups – #L0V3_H4CK1N6 this year we were happy to say ‘Yes!’ to Kunsthalle as well as Cantina Corazón – have been initiated by Wien’s curators’ and educators’ desire to be part sti- the festival directors and are an invitation to everyone of WIENWOCHE 2016: with a workshop, reflecting to simply join and hence be(come) part of WIENWOCHE society’s brutality without reproducing a system 2016. We wanted to experiment with forms of being based on the divisions. (p. 36) together beyond the usual procedures of selection in u a cultural field. The results were Cantina Corazón As in the past, WIENWOCHE is predominantly from - (p. 16), a mobile bar and cuddling corner, a place to and in Vienna: it is a communal festival that celebrates EN- open the heart, for people like you and me – and the power of local action by many that come from #L0V3_H4CK1N6 (p. 12), a place to ‘date’, sleep everywhere around this world (including Vienna) and ys- together or ‘hack’ the virtual and real economies of stay here, for a short or longer time.
Recommended publications
  • Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912)

    Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912)

    Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Anthology of Music Traditions in Israel The Hebrew University of Jerusalem • The Jewish Music Research Centre 27 Anthology of Music Traditions in Israel • 27 Editor: Edwin Seroussi Eastern Mediterranean Judeo-Spanish Songs from the EMI Archive Trust (1907-1912) Study and commentaries: Rivka Havassy and Edwin Seroussi Research collaborators: Michael Aylward, Joel Bresler, Judith R. Cohen and Risto Pekka Pennanen Jerusalem, 2020 Jewish Music Research Centre, The Hebrew University of Jerusalem The Hebrew University of Jerusalem • Faculty of Humanities Jewish Music Research Centre In collaboration with the National Library of Israel With the support of Centre for Research and Study of the Sephardi and Oriental Jewish Heritage (Misgav Yerushalayim) at The Hebrew University of Jerusalem For additional materials related to this album, see www.jewish-music.huji.ac.il Academic Board of the Jewish Music Research Centre Chairperson: Shalom Sabar Steven Fassberg, Ruth HaCohen, Yossi Maurey, Elchanan Reiner, Eliyahu Schleifer, Assaf Shelleg, Rina Talgam Director: Edwin Seroussi Digital Transfers: SMART LAB, Hayes, Middlesex Digital Editing and Mastering: Avi Elbaz Graphic design: www.saybrand.co.il Cover photograph: Splendid Palace Hotel, Salonika, c. 1910, location of recordings © and P The Hebrew University of Jerusalem 2020 4 Preface In 2008 the Jewish Music Research Centre released a 4 CD package entitled An Early 20th-century Sephardi Troubadour: The Historic Recordings of Haim Effendi of Turkey. Catering to the increasing scholarly and general public interest in the role commercial recordings had on musical traditions from the early twentieth century, that production became a landmark in the revised appreciation of Sephardic music prior to the rapid chain of events leading to the dissolution of the traditional communities that maintained this music.
  • Quick Guide to the Eurovision Song Contest 2018

    Quick Guide to the Eurovision Song Contest 2018

    The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV.
  • Connecting Through Dance

    Connecting Through Dance

    Connecting Through Dance: The Multiplicity of Meanings of Kurdish Folk Dances in Turkey Mona Maria Nyberg Thesis submitted in partial fulfillment of the M.A. degree Department of Social Anthropology, University of Bergen Spring 2012 The front page photograph is taken by Mona Maria Nyberg at a Kurdish wedding celebration. The women who are dancing in the picture are not informants. II Acknowledgements While studying for an exam during my time as a bachelor student, I read a work by Professor Bruce Kapferer which made me reconsider my decision of not applying for the master program; I could write about dance, I realized. And now I have! The process has been challenging and intense, but well worth it. Throughout this journey I have been anything but alone on this, and the list of persons who have contributed is too long to mention. First of all I need to thank my informants. Without you this thesis could not have been written. Thank you for your help and generosity! Especially I want to thank everyone at the culture centers for allowing me do fieldwork and participate in activities. My inmost gratitude goes to two of my informants, whose names I cannot write out of reasons of anonymity - but you know who you are. I want to thank you for allowing me into your lives and making me part of your family. You have contributing to my fieldwork by helping me in in innumerous ways, being my translators – both in terms of language and culture. You have become two of my closest friends.
  • Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F

    Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F

    LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56, 57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56, 57 Medax Tashginag Armenia Ajoian, F. 57 Nor Imatsa (Yerzinga Tamzara) Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Sheleg Al Iri Israel Alpert, A. 18 Ve’shuv Itchem Israel Alpert, A. 18 Yaffo Israel Alpert, A. 18 Normali israel Alpert, A. 18 Or Chadash Israel Alpert, A. 18 Haleluyah Le’Gal Israel Alpert, A.` 18 Hayom Hazeh Israel Alpert, A.` 18 Heya Heya Israel Alpert, A.` 18 Hora Ha’bika Israel Alpert, A.` 18 Carbonero, El El Salvador Amaya, N. 68 Cortadoras, Las El Salvador Amaya, N. 68 Diablo Chingo, El Costa Rica Amaya, N. 68 Xuc, El El Salvador Amaya, N. 68 Yenka Spain Amaya, N. 68 Bereznianka Ukraine Arabagi, G. & I. 14 Bukovinskii Tanets Ukraine Arabagi, G. & I. 12 STOCKTON FOLK DANCE CAMP INDEX 1948-2018 PAGE 1 LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Dansul Tiganilor Basarabeni Moldova (Bessarabia; Rom) Arabagi, G. & I. 14 Hora din Giurgiuleşti Moldova (Moldavian) Arabagi, G. & I. 12 Hora Dragostei Moldova Arabagi, G. & I. 14 Horlitsya Ukraine Arabagi, G. & I. 14 Hutsulka Ukraine Arabagi, G. & I. 12 Joc Mare Ukraine (Moldavian) Arabagi, G.
  • Gender and Geopolitics in the Eurovision Song Contest Introduction

    Gender and Geopolitics in the Eurovision Song Contest Introduction

    Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state.
  • Traditional Forms and Genres of Turkish Music in the Creations of International Art Music Composers of Turkey*

    Traditional Forms and Genres of Turkish Music in the Creations of International Art Music Composers of Turkey*

    EKOD / 2018 (12): 33-49 TRADITIONAL FORMS AND GENRES OF TURKISH MUSIC IN THE CREATIONS OF INTERNATIONAL ART MUSIC COMPOSERS OF * TURKEY Türk Uluslararası Sanat Müziği Bestecilerinin Eserlerinde Türk Müziğinin Geleneksel Türleri ve Biçimleri Özge USTA** ABSTRACT 19th century was an era of nationalist movements in music. Nationalism was seen in important regions of the world, especially in Russia and Northern Europe. These nationalistic movements affected international art music composers of Turkey in the early years of Turkish Republic. Generally Turkish composers preferred to use traditional folk music elements instead of the elements of traditional art music. Either folk music with its melodic characteristic or maqam structure of art music is used by many international Turkish composers after the Turkish Fives. Generally, maqam factors are used as building stones in the compositions. The genre has been the less mentioned subject than maqam regarding the reflection of tradition. Besides, it is seen that the forms and genres of folk music are used in international art music. Here I present the composers’ preferences regarding Turkish music genres with notation samples. Keywords: Turkish traditional forms, Turkish traditional genres, Turkish international art music composers, Turkish traditional music, Turkish fives. ÖZ 19. yüzyıl, müzikte ulusalcı hareketlerin görüldüğü dönemdi. Ulusalcılık dünyanın önemli bölgelerinde özellikle Rusya ve Kuzey Avrupa’da görülmüştü. Bu ulusalcı hareketler Türkiye Cumhuriyeti’nin ilk dönemlerindeki uluslararası sanat müziği bestecilerini etkilemişti. Türk bestecileri genellikle, geleneksel sanat müziği unsurları yerine geleneksel Araştırma Makalesi Geliş Tarihi: 03.05.2018 Kabul Tarihi: 11.06.2018 * Yasar International Music Theory Conference’ta gerçekleşen basılmamış, sözlü sunumun genişletilmiş versiyonudur.
  • Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër

    Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër

    GLOSSARY Ahengu shkodran Urban genre/repertoire from Shkodër, Albania Aksak ‘Limping’ asymmetrical rhythm (in Ottoman theory, specifically 2+2+2+3) Amanedes Greek-language ‘oriental’ urban genre/repertory Arabesk Turkish vocal genre with Arabic influences Ashiki songs Albanian songs of Ottoman provenance Baïdouska Dance and dance song from Thrace Čalgiya Urban ensemble/repertory from the eastern Balkans, especially Macedonia Cântarea României Romanian National Song Festival: ‘Singing for Romania’ Chalga Bulgarian ethno-pop genre Çifteli Plucked two-string instrument from Albania and Kosovo Čoček Dance and musical genre associated espe- cially with Balkan Roma Copla Sephardic popular song similar to, but not identical with, the Spanish genre of the same name Daouli Large double-headed drum Doina Romanian traditional genre, highly orna- mented and in free rhythm Dromos Greek term for mode/makam (literally, ‘road’) Duge pjesme ‘Long songs’ associated especially with South Slav traditional music Dvojka Serbian neo-folk genre Dvojnica Double flute found in the Balkans Echos A mode within the 8-mode system of Byzan- tine music theory Entekhno laïko tragoudhi Popular art song developed in Greece in the 1960s, combining popular musical idioms and sophisticated poetry Fanfara Brass ensemble from the Balkans Fasil Suite in Ottoman classical music Floyera Traditional shepherd’s flute Gaida Bagpipes from the Balkan region 670 glossary Ganga Type of traditional singing from the Dinaric Alps Gazel Traditional vocal genre from Turkey Gusle One-string,
  • Stockton Index by Instructor

    Stockton Index by Instructor

    LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56, 57 Boozdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56, 57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56, 57 Medax Tashginag Armenia Ajoian, F. 57 Nor Imatsa (Yerzinga Tamzara) Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Sheleg Al Iri Israel Alpert, A. 18 Ve’shuv Itchem Israel Alpert, A. 18 Yaffo Israel Alpert, A. 18 Normali israel Alpert, A. 18 Or Chadash Israel Alpert, A. 18 Haleluyah Le’Gal Israel Alpert, A.` 18 Hayom Hazeh Israel Alpert, A.` 18 Heya Heya Israel Alpert, A.` 18 Hora Ha’bika Israel Alpert, A.` 18 Carbonero, El El Salvador Amaya, N. 68 Cortadoras, Las El Salvador Amaya, N. 68 Diablo Chingo, El Costa Rica Amaya, N. 68 Xuc, El El Salvador Amaya, N. 68 Yenka Spain Amaya, N. 68 Bereznianka Ukraine Arabagi, G. & I. 14 Bukovinskii Tanets Ukraine Arabagi, G. & I. 12 Dansul Tiganilor Basarabeni Moldova (Bessarabia; Rom) Arabagi, G. & I. 14 STOCKTON FOLK DANCE CAMP INDEX 1948-2019 PAGE 1 LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Hora din Giurgiuleşti Moldova (Moldavian) Arabagi, G. & I. 12 Hora Dragostei Moldova Arabagi, G. & I. 14 Horlitsya Ukraine Arabagi, G. & I. 14 Hutsulka Ukraine Arabagi, G. & I. 12 Joc Mare Ukraine (Moldavian) Arabagi, G.
  • P O S L O V N I P L a N P O S L O V N I P L

    P O S L O V N I P L a N P O S L O V N I P L

    april 2012.godine P O S L O V N I P L A N U skladu sa odredbom iz člana 10 stav 2, tačka e) Zakona o kolektivnom ostvarivanju autorskog i srodnih prava Bosne i Hercegovine U izradi ekonomskih projekcija korišteni su službeni ekonomski podaci i statistike za Bosnu i Hercegovinu i region Jugoisto čne Evrope za 2010. objavljeni u Tranzicijskom izvještaju EBRD-a i Almanahu CIA – The World Fact Book, te relevantnim podacima dokumenata Svjetske organizacije za intelektualno vlasništvo WIPO i Svjetskog udruženja autora CISAC Autor Mirza Hajrić 1 O AMUSU AMUS je Udruženje „Asocijacija kompozitora-muzi čkih stvaralaca“ osnovano još 1946.godine. U decenijama postojanja kroz evidenciju je prošlo više hiljada članova. U postratnom periodu Udruženje je nastavilo svoj rad te je upisano u registar udruženja Ministarstva pravde Bosne i Hercegovine. Izmjene i dopune Statuta AMUS-a i uskladjivanje sa odredbama novog Zakona o kolektivnom ostvarivanju autorskog i srodnih prava i Zakona o udruženjima i fondacijama su registrovane Rješenjem Ministarstva 01/6-67-RS/02 od 12.01.2012.godine. Predsjednik Skupštine AMUS-a je Edin Dervišhalidović - Dino Merlin a potpredsjednici su Hajrudin Varešanovi ć i Ismet Nuno Arnautali ć. Članovi Upravnog odbora su : • Vlado Podany, predsjednik • Nedim Babovi ć, • Nedžad Imamovi ć • Ibro Mangafi ć, • Igor Ražnatovi ć, • Igor Vukojevi ć, i • Amir Šehi ć. Izmedju ostalih, članovi su Goran Bregovi ć, Kemal Monteno, Fahrudin Pecikoza, Mladen Voji čić – Tifa, Davor Su čić Sula, Elvir Lakovi ć Laka, Armin Šakovi ć, Dino Muharemovi ć, Maja Milinkovi ć, Nazif Gljiva, Mili ć Vukašinovi ć, Prof. Džemaludin Lati ć, Dino i Adnan Šaran, Dona Ares, Asim Horozi ć, Samir Mujagi ć SMS, Eldin Huseinbegovi ć, Zijo Valentino, Dino Šukalo, autorski tim Dubioza Kolektiv, Frenkie, Almir Ajanovi ć, Dado Čauševi ć, Maja Sar, Mahir Sarihodži ć, Esad Puri ć i više od dvije stotine drugih autora.
  • Refiguring the Rebetika As Literature

    Refiguring the Rebetika As Literature

    Macalester College DigitalCommons@Macalester College English Honors Projects English Department 4-2020 Bodies in the Margins: Refiguring the Rebetika as Literature Sophia Schlesinger Macalester College, [email protected] Follow this and additional works at: https://digitalcommons.macalester.edu/english_honors Part of the English Language and Literature Commons, Ethnomusicology Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Schlesinger, Sophia, "Bodies in the Margins: Refiguring the Rebetika as Literature" (2020). English Honors Projects. 44. https://digitalcommons.macalester.edu/english_honors/44 This Honors Project - Open Access is brought to you for free and open access by the English Department at DigitalCommons@Macalester College. It has been accepted for inclusion in English Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. BODIES IN THE MARGINS Refiguring the Rebetika as Literature Sophia Schlesinger Faculty Advisor: Andrea Kaston-Tange Macalester English Department Submitted April 25th, 2020 Abstract This thesis engages a literary analysis of a corpus of songs and recordings known as the rebetika (sing. rebetiko), which prospered in the port districts of major cities throughout the Aegean in the early 20th century. Engaging the rebetika as literary texts, I argue, helps us understand how they have functioned as a kind of pressure point on the borders between nation and Other. Without making unproveable biographical claims about the motives of the music progenitors, I examine why so many have reached for the rebetika as texts with which to articulate various political and cultural desires. Using a multidisciplinary theoretical framework that includes Elaine Scarry, Stuart Hall, Edward Said, Mark C.
  • Cocoricovision46

    Cocoricovision46

    le magazine d’eurofans club des fans de l’eurovision cocoricovision46 S.TELLIER 46 french sexuality mai# 2008 édito La langue est-elle un élément nécessaire à la caractérisation d’une culture nationale ? Et dans un monde de plus en plus globalisé, est-ce que l’idée même de culture nationale fait encore sens ? Est-ce que la voix et les mots peuvent-être considérés comme un simple matériau ? Est-ce que la danse où les arts plastiques, parce qu’ils font fi de la parole, ne disent rien des pays dont sont originaires leurs artistes ? Mais surtout, est-ce que l’eurovision est un outil efficace de diffusion ou de prosélytisme culturel et linguistique ? Est-ce qu’écouter Wer liebe lebt permet de découvrir la culture allemande ? Sans que l’un n’empêche l’autre, il est en tout cas plus important de voir les pièces de Pollesch, de lire Goethe ou de visiter Berlin. D’ailleurs, la victoire en serbe de la représentante d’une chaîne de télévision serbe au concours eurovision de la chanson de 2007, SOMMAIRE a-t-elle quelque part dans le monde déclenché des le billet du Président. 02 vocations ou un intérêt Beograd - Serbie . 06 quelconque pour la cette langue ? Belgrade 2008 . 10 53ème concours eurovision de la chanson Chacun trouvera ses réponses, affinera ses demi-finale 1 - 20 mai 2008 . 13 arguments, tout ca ne nous demi-finale 2 - 22 mai 2008 . 32 empêchera pas de nous trémousser sur certains titres finale - 24 mai 2008 . 51 de cette édition 2008, d’être era vincitore - les previews .
  • For the Homeland: Transnational Diasporic Nationalism and the Eurovision Song Contest

    For the Homeland: Transnational Diasporic Nationalism and the Eurovision Song Contest

    FOR THE HOMELAND: TRANSNATIONAL DIASPORIC NATIONALISM AND THE EUROVISION SONG CONTEST SLAVIŠA MIJATOVIĆ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN GEOGRAPHY YORK UNIVERSITY TORONTO, CANADA December 2014 © Slaviša Mijatović, 2014 Abstract This project examines the extent to which the Eurovision Song Contest can effectively perpetuate discourses of national identity and belonging for diasporic communities. This is done through a detailed performance analysis of former Yugoslav countries’ participations in the contest, along with in-depth interviews with diasporic people from the former Yugoslavia in Malmö, Sweden. The analysis of national symbolism in the performances shows how national representations can be useful for the promotion of the state in a reputational sense, while engaging a short-term sense of national pride and nationalism for the audiences. More importantly, the interviews with the former Yugoslav diaspora affirm Eurovision’s capacity for the long-term promotion of the ‘idea of Europe’ and European diversities as an asset, in spite of the history of conflict within the Yugoslav communities. This makes the contest especially relevant in a time of rising right-wing ideologies based on nationalism, xenophobia and racism. Key words: diaspora, former Yugoslavia, Eurovision Song Contest, music, nationalism, Sweden, transnationalism ii Acknowledgements Any project is fundamentally a piece of team work and my project has been no different. I would like to thank a number of people and organisations for their faith in me and the support they have given me: William Jenkins, my supervisor. For his guidance and support over the past two years, and pushing me to follow my desired research and never settling for less.