Dancing in the Seminary: Reconstructing Dances for a 1749 Viceregal Peruvian Opera
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Dancing Modernity: Gender, Sexuality and the State in the Late Ottoman Empire and Early Turkish Republic
Dancing Modernity: Gender, Sexuality and the State in the Late Ottoman Empire and Early Turkish Republic Item Type text; Electronic Thesis Authors van Dobben, Danielle J. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 19:19:19 Link to Item http://hdl.handle.net/10150/193284 1 DANCING MODERNITY: GENDER, SEXUALITY AND THE STATE IN THE LATE OTTOMAN EMPIRE AND EARLY TURKISH REPUBLIC by Danielle J. van Dobben ______________________________ Copyright © Danielle J. van Dobben 2008 A Thesis Submitted to the Faculty of the DEPARTMENT OF NEAR EASTERN STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2008 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Danielle J. van Dobben APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: __________________________ August 7, 2008 Dr. -
Galápagos: + Peru's Land of the Inca
voyaging to galápagos voyaging to galápagos Galápagos: + Peru’s Land of the Inca > ITINERARY – 16 DAYS/15 NIGHTS, Departing EVery Friday ABOARD POLARIS Thematically, one might ask why Day 1 through Day 8: The afternoon is free to explore the Val- connect a visit to Peru with an expe- As per the Galápagos itinerary. ley on your own. (B,L,D) dition to Galápagos? We have two answers: as magnificent as Galápagos Day 9: Galápagos/Guayaquil/ Day 11: Sacred Valley of the Inca is for nature, so is Peru from an histori- Lima, Peru Visit the town and important archaeo- cal and archaeological perspective; and Disembark Polaris this morning and fly logical site of Pisac. Gateway to the second, Lima — Peru’s capital is less to Lima, Peru via Guayaquil, arriving in Sacred Valley, Pisac has an “old town” than two hours away by air from Guaya- the early evening. Spend the night at (one of the most beautiful Inca complex- quil, roughly the distance from New the gracious Orient Express Miraflores es) and a “new town” from the Colonial York City to Chicago. So, if you have Park Hotel. Tomorrow you’ll be getting era. There will be a late lunch at the the time, you’re almost there anyway. up early, so you are on your own for Hacienda Orihuela. Here the Orihuela A couple of key issues to point out. dinner. (B,L) family continues a 350-year-old tradition We spend a week in Peru. Occasion- of farming. In addition, they have gath- ally people ask, “why so long when the Day 10: Lima/Cusco/Sacred Valley ered a valuable collection of Colonial art highlight is Machu Picchu?” The fact of the Inca housed in their country mansion. -
Sweden As a Crossroads: Some Remarks Concerning Swedish Folk
studying culture in context Sweden as a crossroads: some remarks concerning Swedish folk dancing Mats Nilsson Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: Mats Nilsson works as a senior lecturer in folklore and ethnochoreology at the Department of Ethnology, Gothenburg University, Sweden. His main interest is couple dancing, especially in Scandinavia. The title of his1998 PhD dissertation, ‘Dance – Continuity in Change: Dances and Dancing in Gothenburg 1930–1990’, gives a clue to his theoretical orientation. Copyright © 2008 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 8 Sweden as a crossroads: some remarks concerning Swedish folk dancing MATS NILSSON his article is an overview of folk dancing in Sweden. The context is mainly the Torganised Swedish folk-dance movement, which can be divided into at least three subcultures. Each of these folk dance subcultural contexts can be said to have links to different historical periods in Europe and Scandinavia. -
Christmas 2018 (Letter N°57)
Benedictine Monks Holy Cross Monastery 119 Kilbroney Road Rostrevor Co. Down BT34 3BN Northern Ireland Tel: 028 4173 9979 [email protected] www.benedictinemonks.co.uk Facebook: Benedictine Monks Rostrevor Twitter: @rostrevormonks Christmas 2018 (Letter n°57) “The people who walked in darkness have seen a great light; those who lived in a land of deep darkness, on them light has shined.” (Is 9:2) On 8 December 2018 in Oran (Algeria) 19 martyrs of the Catholic Church in Algeria were beatified: Brother Henri Vergès, Marist (1930-1994) ; Sister Paul-Hélène Saint-Raymond, Little Sister of the Assomption (1927-1994) ; Sister Esther Paniagua Alonso (1949-1994) and Sister Caridad Alvarez Martin (1933-1994), Augustinian Missionary Sisters ; Father Jean Chevillard (1925-1994), Father Alain Dieulangard (1919-1994), Father Christian Chessel (1958-1994), Father Charles Deckers (1924-1994), Missionaries of Africa ; Sister Angèle-Marie Littlejohn (1933-1995) and Sister Bibiane Leclercq (1930-1995), Sisters of Our Lady of the Apostles ; Sister Odette Prévost (1932-1995), Little Sister of the Sacred Heart ; Father Christian de Chergé (1937-1996), Brother Luc Dochier (1914- 1996), Father Christophe Lebreton (1950-1196), Brother Michel Fleury (1944-1996), Father Bruno Lemarchand (1930-1996), Father Célestin Ringeard (1933-1996), Brother Paul Favre-Miville (1939- 1996), Cistercian Monks ; Bishop Pierre Claverie, Dominican (1938-1996). We invite you to discover a little about one of those newly blessed: Bishop Pierre Claverie of Oran. Pierre Claverie, OP, Bishop of Oran, was born in Algiers on May 8, 1938. After his formation as a Dominican in France, he returned to his native country as a priest in 1967. -
Visual Epistemologies of Resistance: Imaging Virgins and Saints in Contemporary Cusco
Revista de Estudios Globales y Arte Contemporáneo| Vol. 7 | Núm. 1| 2020 | 237-266 Omar Rivera, Patrick Hajovsky Southwestern University, VISUAL EPISTEMOLOGIES OF Texas, US RESISTANCE: IMAGING VIRGINS AND SAINTS IN CONTEMPORARY CUSCO The project of indigenous modernity can emerge from the present in a spiral whose movement is a continuous feedback from the past to the future—a “principle of hope” or “anticipatory cons- ciousness”—that both discerns and realizes decolonization at the same time. -Silvia Rivera Cusicanqui (citing Ernst Bloch)1 In Andean aesthetics, visuality is a site of epistemic tension and a continual reverberation of colonialism. Through art that aligns with pre- 1 Ch’ixinakax utxiwa: A Reflection on the Practices and Discourses of Decolonization, The South Atlantic Quarterly 111:1 (Winter 2012): 95-109, 96. Revista de Estudios Globales y Arte Contemporáneo ISSN: 2013-8652 online http://revistes.ub.edu/index.php/REGAC/index http://creativecommons.org/licenses/by/3.0/es/ colonial indigenous epistemologies, contemporary Andean artists resist colonial and post-colonial cultural domination. In particular, they resist viewers’ designation of “syncretic” or “hybrid” to produce knowledge about art that has been fashioned by indigenous hands. Epistemological claims of “syncretism” and “hybridity” may be intended to transcend the borders between “us” and “them,” between West and non-West, or between eras in Latin America that depend on the presence or absence of Spanish colonists, but such iterations can reinvest viewers in a history of misrecognition. Nevertheless, such terms are not sedimented, for indigenous artists continue to reclaim visuality as they steadfastly hold a mirror toward artistic and epistemic paradigms that attempt to translate, erase, or manage localized colonial differences. -
In Honolulu's Christ Church in Kailua, Which Will Repeat Next Hemenway Theatre, UH Manoa Campus: Wed
5 The Fear Factor 8 Pritchett !ICalendar 13 Book Bonanza l!IStraight Dope Volume 3, Number 45, November 10, 1993 FREE Interview by JOHN WYTHE WHITE State Representative DaveHagino has spent 15 years fighting the system he's a partof- and theparty he belongs to. !JiORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS & MUSIC· BORDERS BOOKS 8 ,,,, :,..: ;o 0 0 � �L � w ffi 8 Cl 0 ;,<; 0::: w 0 il,1.. � SELECTION: w 2 No Comparison 00 Cl 0::: i0 co co 0 ;o 0 -- -- co�:. 0 0 7' $�··· C nw oco ;o· · 0 m � co 0 0 w7' ::c: :::: C w 0:co 0 ;o 0 m � co 0 0 ci: � $ C w Borders® Books &Music. n ;o8 0 m The whole idea behind Finda book or music store the new Borders Books w;o co .- Borders Books & Music is to &Music. 0 with more titles and 0 w7' create an appealing place with Welcome to the new � $ we'll shop there. C more selection. So we brought Borders Books &Music. w () 100,000 in over book titles, more times the average store. Borders co 0 than 5 times the average bookstore. especially excels in classical and ;o It 0 CD m .r::;"' � OJ ;o What that means is that Borders jazz recordings. 0 E w (.) "' i co .r::; 'l' CD I 0 E 0 offersmore history, more com Borders also carries the area's (!) 0 """' 7' H-1 Fwy. w puters, more cooking. More of broadest selection of videotapes, � Waikele/Waipahu Exit 7 ::::: C everything, not just more copies including classic and foreign films. -
134TH COMMENCEMENT James E
134 th Commencement MAY 2021 Welcome Dear Temple graduates, Congratulations! Today is a day of celebration for you and all those who have supported you in your Temple journey. I couldn’t be more proud of the diverse and driven students who are graduating this spring. Congratulations to all of you, to your families and to our dedicated faculty and academic advisors who had the pleasure of educating and championing you. If Temple’s founder Russell Conwell were alive to see your collective achievements today, he’d be thrilled and amazed. In 1884, he planted the seeds that have grown and matured into one of this nation’s great urban research universities. Now it’s your turn to put your own ideas and dreams in motion. Even if you experience hardships or disappointments, remember the motto Conwell left us: Perseverantia Vincit, Perseverance Conquers. We have faith that you will succeed. Thank you so much for calling Temple your academic home. While I trust you’ll go far, remember that you will always be part of the Cherry and White. Plan to come back home often. Sincerely, Richard M. Englert President UPDATED: 05/07/2021 Contents The Officers and the Board of Trustees ............................................2 Candidates for Degrees James E. Beasley School of Law ....................................................3 Esther Boyer College of Music and Dance .....................................7 College of Education and Human Development ...........................11 College of Engineering ............................................................... -
The Global Charango
The Global Charango by Heather Horak A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2020 Heather Horak i Abstract Has the charango, a folkloric instrument deeply rooted in South American contexts, “gone global”? If so, how has this impacted its music and meaning? The charango, a small and iconic guitar-like chordophone from Andes mountains areas, has circulated far beyond these homelands in the last fifty to seventy years. Yet it remains primarily tied to traditional and folkloric musics, despite its dispersion into new contexts. An important driver has been the international flow of pan-Andean music that had formative hubs in Central and Western Europe through transnational cosmopolitan processes in the 1970s and 1980s. Through ethnographies of twenty-eight diverse subjects living in European fields (in Austria, France, Belgium, Germany, Spain, Portugal, Switzerland, Croatia, and Iceland) I examine the dynamic intersections of the instrument in the contemporary musical and cultural lives of these Latin American and European players. Through their stories, I draw out the shifting discourses and projections of meaning that the charango has been given over time, including its real and imagined associations with indigineity from various positions. Initial chapters tie together relevant historical developments, discourses (including the “origins” debate) and vernacular associations as an informative backdrop to the collected ethnographies, which expose the fluidity of the instrument’s meaning that has been determined primarily by human proponents and their social (and political) processes. -
Performing Blackness in the Danza De Caporales
Roper, Danielle. 2019. Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales. Latin American Research Review 54(2), pp. 381–397. DOI: https://doi.org/10.25222/larr.300 OTHER ARTS AND HUMANITIES Blackface at the Andean Fiesta: Performing Blackness in the Danza de Caporales Danielle Roper University of Chicago, US [email protected] This study assesses the deployment of blackface in a performance of the Danza de Caporales at La Fiesta de la Virgen de la Candelaria in Puno, Peru, by the performance troupe Sambos Illimani con Sentimiento y Devoción. Since blackface is so widely associated with the nineteenth- century US blackface minstrel tradition, this article develops the concept of “hemispheric blackface” to expand common understandings of the form. It historicizes Sambos’ deployment of blackface within an Andean performance tradition known as the Tundique, and then traces the way multiple hemispheric performance traditions can converge in a single blackface act. It underscores the amorphous nature of blackface itself and critically assesses its role in producing anti-blackness in the performance. Este ensayo analiza el uso de “blackface” (literalmente, cara negra: término que designa el uso de maquillaje negro cubriendo un rostro de piel más pálida) en la Danza de Caporales puesta en escena por el grupo Sambos Illimani con Sentimiento y Devoción que tuvo lugar en la fiesta de la Virgen de la Candelaria en Puno, Perú. Ya que el “blackface” es frecuentemente asociado a una tradición estadounidense del siglo XIX, este artículo desarrolla el concepto de “hemispheric blackface” (cara-negra hemisférica) para dar cuenta de elementos comunes en este género escénico. -
WV Graded Music List 2011
2011 WV Graded Music List, p. 1 2011 West Virginia Graded Music List Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade Artist Arranger Title Publisher 1 - Higgins, John Suo Gan HL 1 - McGinty Japanese Folk Trilogy QU 1 - McGinty, Anne Elizabethan Songbook, An KJ 1 - Navarre, Randy Ngiele, Ngiele NMP 1 - Ployhar Along the Western Trail BE 1 - Ployhar Minka BE 1 - Ployhar Volga Boat Song BE 1 - Smith, R.W. Appalachian Overture BE Variant on an Old English 1 - Smith, R.W. BE Carol 1 - Story A Jubilant Carol BE 1 - Story Classic Bits and Pieces BE 1 - Story Patriotic Bits and Pieces BE 1 - Swearingen Three Chorales for Band BE 1 - Sweeney Shenandoah HL 1 Adams Valse Petite SP 1 Akers Berkshire Hills BO 1 Akers Little Classic Suite CF 1 Aleicheim Schaffer Israeli Folk Songs PO 1 Anderson Ford Forgotten Dreams BE 1 Anderson Ford Sandpaper Ballet BE 1 Arcadelt Whiting Ave Maria EM 1 Arensky Powell The Cuckoo PO 1 Bach Gardner Little Bach Suite ST Grand Finale from Cantata 1 Bach Gordon BO #207 1 Bach Walters Celebrated Air RU 1 Bain, James L. M Wagner Brother James' Air BE 1 Balent Bold Adventure WB Drummin' With Reuben And 1 Balent BE Rachel 1 Balent Lonesome Tune WB 1 Balmages Gettysburg FJ 2011 WV Graded Music List, p. 2 1 Balmages Majestica FJ 1 Barnes Ivory Towers of Xanadu SP 1 Bartok Castle Hungarian Folk Suite AL 1 Beethoven Clark Theme From Fifth Symphony HL 1 Beethoven Foulkes Creation's Hymn PO 1 Beethoven Henderson Hymn to Joy PO 1 Beethoven Mitchell Ode To Joy CF 1 Beethoven Sebesky Three Beethoven Miniatures Al 1 Beethoven Tolmage -
Download Reviews
Book Reviews Ian Payne, The Almain in Britain, c.1549– c.1675: a dance manual from manuscript sources. Ashgate, Aldershot, 2003. ISBN 0-85967-965-9. xxi+268 pp, £42.50. This book is in essence an extended study of the ‘Old Measures in particular (1993) and he is prepared to accept Measures’ and of the seven manuscript sources in which they Ward’s conjecture that the Old Measures constituted a stand- are described. Payne focuses especially on the English Almain, ard beginners’ course in the dancing schools. From this it for which these manuscripts afford the only information, but seems to follow that, as far as Payne is concerned, no one went neglects none of the associated dances, whether they are to a dancing school and made notes of what he was taught formally part of the Old Measures or not. He provides unless he was already at the Inns of Court or was a child with reconstructions of most of the dances described, using a aspirations to do so. In truth, as Ward has cogently argued, for deliberately plain style, and makes informed comments about most of the manuscripts in which the Old Measures are the available music. The whole corpus is presented in the recorded, any connection with the Inns of Court is either context of his personal view of the development of social tenuous or non-existent. dance in Britain in the sixteenth and seventeenth centuries. Unfortunately, the author is not equally well equipped for Dating of the manuscripts every part of his task, with the result that the book inevitably When the contents of a commonplace book do not form a invites comparison with the Curate’s Egg. -
3. Indigeneity in the Oruro Carnival: Official Memory, Bolivian Identity and the Politics of Recognition
3. Indigeneity in the Oruro Carnival: official memory, Bolivian identity and the politics of recognition Ximena Córdova Oviedo ruro, Bolivia’s fifth city, established in the highlands at an altitude of almost 4,000 metres, nestles quietly most of the year among the mineral-rich mountains that were the reason for its foundation Oin 1606 as a Spanish colonial mining settlement. Between the months of November and March, its quiet buzz is transformed into a momentous crescendo of activity leading up to the region’s most renowned festival, the Oruro Carnival parade. Carnival is celebrated around February or March according to the Christian calendar and celebrations in Oruro include a four- day national public holiday, a street party with food and drink stalls, a variety of private and public rituals, and a dance parade made up of around 16,000 performers. An audience of 400,000 watches the parade (ACFO, 2000, p. 6), from paid seats along its route across the city, and it is broadcast nationally to millions more via television and the internet. During the festivities, orureños welcome hundreds of thousands of visitors from other cities in Bolivia and around the world, who arrive to witness and take part in the festival. Those who are not performing are watching, drinking, eating, taking part in water fights or dancing, often all at the same time. The event is highly regarded because of its inclusion since 2001 on the UNESCO list of Masterpieces of the Oral and Intangible Heritage of Humanity, and local authorities promote it for its ability to bring the nation together.