DOCSLIB.ORG

THE CATHOLIC UNIVERSITY of AMERICA Faith and Revolution In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE CATHOLIC UNIVERSITY of AMERICA Faith and Revolution In THE CATHOLIC UNIVERSITY OF AMERICA Faith and Revolution in the Latin American Nueva Canción Movement A DISSERTATION Submitted to the Faculty of the Department of Modern Languages and Literatures School of Arts and Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Giovanna O. Bello Washington, D.C. 2012 Faith and Revolution in the Latin American Nueva Canción Movement Giovanna O. Bello, Ph.D. Director: Mario A. Ortiz, Ph.D. In the 1960s three mayor events caused profound changes in Latin American society: Socio-political revolutionary movements, reforms within the Catholic Church as a result of The Second Vatican Council and the 1968 Medellín Episcopal Conference, and the emergence of Liberation Theology. At the same time, a new musical movement of protest song, known as Nueva Canción (New Song), became a powerful cultural and political weapon. This study analyzes the religious discourse of the Nueva Canción, particularly in Chile and Nicaragua from the 1960s until the late 1980s. At first, composers challenged the role of faith and religion, specifically Catholicism, and openly embraced an anti- Church stance. Later on, Nicaraguan songs and poetry from the 1970s and „80s showed a significant change. Musicians and poets fully embraced Liberation Theology principles and reinvented the image of Christ as subaltern and revolutionary, one with whom the poor could fully identify. Finally, after the victory of the Sandinista government in Nicaragua in 1979, Nueva Canción composers wrote Mass settings incorporating varying degrees of Liberation Theology principles, which entered the liturgical space of the Church. In conclusion, the Nueva Canción’s critique of the social and political stances of the Church caused a conflict between its hierarchy and the nueva canción composers. Nevertheless, the relation was much different between the clergy who had adopted Liberation Theology and who worked directly with the oppressed. The Nueva Canción proved at the end to have exerted a powerful and lasting influence upon the relationship between Church and revolution. This dissertation by Giovanna O. Bello fulfills the dissertation requirement for the doctoral degree in Spanish approved by Mario A. Ortiz, Ph.D., as Director, and by Bruno M. Damiani, Ph.D., and Chad C. Wright, Ph.D., as Readers. ______________________________________ Mario A. Ortiz, Ph.D., Director ______________________________________ Bruno M. Damiani, Ph.D., Reader ______________________________________ Chad C. Wright, Ph.D., Reader ii Dedication To my husband for his caring help and support. To my children for their kind patience. To my parents. iii Indice x Introducción 1 Capítulo 1. “Preguntitas sobre Dios”: Cuestionando a Dios y a la Iglesia 35 x Capítulo 2. “El Cristo de Palacagüina”: La construcción de un Cristo subalterno 95 x Capítulo 3. Misas para las masas: La Nueva Canción en la liturgia 168 x Conclusión 227 x Bibliografía 232 x iv Acknowledgements With profound gratitude to Dr. Mario A. Ortiz for his guidance, patience, and support through this process. With appreciation to Dr. Bruno M. Damiani and Dr. Chad C. Wright, Members of the Defense Committee. With gratitude to Georgetown Visitation Preparatory School for their care and support. v Introducción Los eventos socio-políticos en Latinoamérica siempre han estado estrechamente relacionados con la Iglesia Católica. En la década de los 60 varios eventos políticos, principalmente la Revolución Cubana, cuestionaban el orden establecido. Durante estos mismos años, bajo el impulso del ConcilioVaticano Segundo (1962-65) y la Conferencia Episcopal de Medellín (1968), la Iglesia en Latinoamérica empezó a cuestionar su rol y responsabilidad hacia los problemas que encaraba el continente. En este clima de cambio y revolución emergió la Teología de la Liberación y rápidamente se extendió por América Latina. Este movimiento teológico proponía una nueva interpretación de la fe cristiana que cuestionaba las estructuras socio-económicas existentes y llamaba a una redefinición radical del rol social de la Iglesia. Si bien la Iglesia apoyaba una participación más activa en favor de los oprimidos, condenaba enérgicamente lo que ella consideraba como las bases marxistas de la Teología de la Liberación y su énfasis en una “liberación” política en contraste con una “salvación” espiritual (Ratzinger 1984, 1986). La naturaleza controversial de la Teología de la Liberación produce entonces un debate muy acalorado y un serio distanciamiento entre sus seguidores en América Latina y el Vaticano, el cual alcanzó su punto álgido durante los años 80. Paralelamente a estos eventos, un grupo de compositores y artistas latinoamericanos formó un movimiento conocido como la Nueva Canción. Como una reacción a la música importada, particularmente de los países desarrollados, este 1 2 movimiento puso mayor énfasis en expresiones musicales autóctonas tradicionales. La Nueva Canción se convirtió no solamente en un símbolo importante de una nueva identidad nacional, sino también en una poderosa arma política que denunciaba las injusticias sociales que existían, intentando así dar voz a los subalternos y exigir cambios políticos profundos. Más aún, aprovechando la oportunidad de expandir la influencia de la Teología de la Liberación, la Nueva Canción aprovechó muchas de sus bases ideológicas para encarar y cultivar el rol de la fe y de la Iglesia en el nuevo orden socio- político por el que ellos abogaban. El propósito del presente estudio es analizar el discurso religioso en la Nueva Canción. Me enfocaré en el repertorio de algunas de las figuras más importantes de Argentina (Atahualpa Yupanqui y León Gieco), Chile (Víctor Jara y Violeta Parra), Nicaragua (Carlos y Luis Enrique Mejía Godoy y el grupo Los de Palacagüina). Dividiré el repertorio de estos artistas basándome en la manera cómo trataron el discurso religioso. Primero examinaré el trabajo de compositores chilenos y argentinos de los años 50 a los años 70, quienes pusieron en tela de juicio el rol de la fe y la religión, y abiertamente tomaron una posición contra la Iglesia. Segundo, enfocaré mi atención en el repertorio creado en Nicaragua durante la Revolución Sandinista en los años 70. Aquí debido a la profunda influencia de los seguidores de la Teología de la Liberación, como Gaspar García Laviana (un sacerdote que se convirtió en revolucionario) y Ernesto Cardenal 3 (líder espiritual de la comunidad de Solentiname y uno de los poetas más importantes de Nicaragua), los músicos adoptaron totalmente los principios de la Teología de la Liberación y reinventaron la imagen de Cristo como un subalterno y revolucionario. Finalmente, examinaré el marco de la misa escrita por los compositores de la Nueva Canción, la cual incorporaba en distintos grados los principios de la Teología de la Liberación: la Misa popular nicaragüense de Manuel Dávila y la Misa campesina nicaragüense de Carlos Mejía Godoy. Contexto histórico-político-religioso En 1959 la experiencia de la Revolución Cubana fue determinante en el resto de Latinoamérica. El descontento con las diferencias sociales y la constante intervención de los Estados Unidos en los asuntos de los gobiernos de los países del sur no podía combatirse. La Iglesia Católica no tuvo ningún rol en la Revolución Cubana, afirma John Charles Chasteen, quien agrega que más bien la Revolución totalmente marginalizó la religión: “Historically, the Catholic Church had been, above all, a powerful bulwark of the status quo and, therefore, a prime target of revolutionaries. But churchmen could be revolutionaries too” (270). En los años 60, algunos sacerdotes radicales en Latinoamerica buscaron cambios profundos en las estructuras económicas, políticas y sociales. Según Chasteen, los religiosos que él llama “revolucionarios” de los años 60 vieron la solución 4 a los problemas de Latinoamérica desde una perspectiva marxista. Sin embargo, sólo unos pocos se unieron a las guerrillas. La mayoría creía que la fe y las buenas obras eran más poderosas que las armas (271). Un evento clave en este período fue el Concilio Vaticano Segundo, el cual se llevó a cabo entre octubre de 1962 y diciembre de 1965. Este evento logró que la Iglesia experimentara cambios profundos, los cuales afectaron dramáticamente sus acciones y orientación en el futuro. En lo que concierne a Latinoamérica, entre los principales temas que se discutieron estaban el derecho que tienen todos a una educación, la extrema pobreza en la que se encontraban la mayoría de los pobladores, y la participación de la Iglesia en la vida política. De estos nuevos enfoques, son dos los que más marcarán el cambio en la actitud de la Iglesia hacia la sociedad. Uno fue la voluntad de querer adaptar la disciplina eclesiástica a las necesidades del tiempo que se vivía. Se pretendía proporcionar un diálogo más abierto con el mundo moderno, actualizando así la vida de la Iglesia. El otro fue el reconocer que la situación social de la gran mayoría en Latinoamérica requería una atención especial y se acordó el darle a los pobres una opción preferencial. Se le dio mucho énfasis a la responsabilidad del clero de trabajar directamente con sus feligreses. El resultado de este nuevo énfasis tuvo un impacto clave en gran parte de la población que vivía relegada. Por otro lado, la nueva apertura de la 5 Iglesia a la modernización en lo que se refiere a la liturgia, permitió que ésta se pudiera dar en la lengua vernácula, de manera que los feligreses tuvieran una participación activa. En su libro Teología de la liberación, Phillip Berryman menciona que si bien la agenda para el Vaticano Segundo fue preparada por obispos y teólogos europeos y norteamericanos, los obispos latinoamericanos insistieron en que el documento de la Iglesia en el mundo moderno tocara el tema del desarrollo. Lo más importante fue el hecho que el Concilio permitió que los católicos latinoamericanos dieran una mirada más crítica a su propia Iglesia y a su propia sociedad (13). Esta nueva mirada crítica abrió las puertas a grandes cambios en la sociedad latinoamericana.
Load more

Recommended publications
  • Ortega for President: the Religious Rebirth of Sandinismo in Nicaragua
    European Review of Latin American and Caribbean Studies 89, October 2010 | 47-63 Ortega for President: The Religious Rebirth of Sandinismo in Nicaragua Henri Gooren Abstract: This article analyses various connections between Daniel Ortega’s surprising victory in the presidential elections of 5 November 2006, his control of the Frente Sandinista de la Liberación Nacio- nal (FSLN) party, and the changing religious context in Nicaragua, where Pentecostal churches now claim almost one quarter of the population. To achieve this, I draw from my fieldwork in Nicaragua in 2005 and 2006, which analysed competition for members between various religious groups in Managua: charismatic Catholics, the Assemblies of God, the neo-Pentecostal mega-church Hosanna, and the Mormon Church. How did Ortega manage to win the votes from so many religious people (evangelical Protestants and Roman Catholics alike)? And how does this case compare to similar cases of populist leaders in Latin America courting evangelicals, like Chávez in Venezuela and earlier Fujimori in Peru? Keywords: Nicaragua, religion, elections, FSLN, Daniel Ortega. Populist leadership and evangelical support in Latin America At first look, the case of Ortega’s surprise election victory seems to fit an estab- lished pattern in Latin America: the populist leader who comes to power in part by courting – and winning – the evangelical vote. Alberto Fujimori in Peru was the first to achieve this in the early 1990s, followed by Venezuelan lieutenant-colonel Hugo Chávez in the late 1990s and more recently Rafael Correa in Ecuador (Op- penheimer 2006). These three populist leaders came to power thanks to the break- down of an old party system, which gradually became stagnant and corrupted.
    [Show full text]
  • Nancy Escalante
    Mujeres of the Nicaraguan Revolution: Politicization, Radicalization, and Gender Consciousness Nancy Escalante As a self-described “library rat,” Gioconda Belli, a Nicaraguan writer and poet who was deeply involved in the Sandinista National Liberation Front (FSLN), read the world classics, but was oddly unacquainted with Latin American literature. Her fateful encounter with the early members of the FSLN, a radical group named after Augusto César Sandino, martyr of the Nicaraguan uprising against Somoza’s oppressive family regime, introduced her to Nicaraguan literature; she then became more familiar with the culture of her own people. Belli describes this as a “pretty schizophrenic” experience, having felt “like [she had] been hit over the head with a rock.” Her newfound political leanings and experiences were entirely outside of her marriage; Belli’s husband threatened her, and even barred her from going to the university, La Asunción, because he believed it would turn her into a rebel. In the early stages of the revolution and the formation of the Sandinista National Liberation Front, it was taboo for a woman to become involved in politics––and to read political literature. Belli would lock herself inside her bathroom, having hidden the FSLN’s documents in her ceiling behind the easily removable square plasterboards. She had to read “them without [her] husband knowing” because he “wasn’t about to let [her] get 76 Perspectives involved.”1 Belli, like other women involved in the early stages of the movement, had to strategically hide her journey into politicization. As women’s demands in areas such as reproductive health, sexual liberation, and education became a topic of political discussion, Nicaraguan society––through the FSLN––permitted women to become publically radicalized and more open about their gender consciousness.
    [Show full text]
  • Il-Fervoroso-1-2019.Pdf
    ilFervoroso Numero 1 - Gennaio/Aprile 2019 PARTNER: Comitato di Quartiere «‘A CHIAZZA» diario on line dell'ACCADEMIA pergusea ‘a chiazza negli anni ‘40 ‘a chiazza oggi il Fervoroso Numero 1 - Gennaio/Aprile 2019 diario on line dell'ACCADEMIA 3 pergusea E' questo il primo numero 2019 del nostro diario online e possiamo dire che l'inizio del nuovo anno è stato accompagnato -more solito- da ottimismo e speranza, quasi ad illuderci che fosse stato messo un punto sul passato per andare daccapo e ricominciare nel futuro. Ma il tempo non si ferma, né ricomincia, dobbiamo accettare la realtà del continuo. Così abbiamo ricominciato, o meglio, continuiamo a vivere gli eventi con gioia, con amicizia e solidale cordialità, con la speranza che tutti i programmi e i buoni propositi si realizzino e i sogni si avverino. Continuiamo a sperare e sognare amore e bontà e pensare ad ogni anno come al futuro in cui qualcosa di buono succederà e se non dovesse succedere nulla ci sarà un altro nuovo anno … e un altro ancora. Auguro a tutti gioia di vivere e di relazionarsi per fare gruppo e dare tutti insieme, e soprattutto attivamente, un supporto per la crescita della nostra splendida Accademia. il Fervoroso Numero 1 - Gennaio/Aprile 2019 diario on line dell'ACCADEMIA 4 pergusea “3° Trofeo della Speranza” L'Accademia Pergusea, in collaborazione con i Club Service e le Associazioni aderenti al Comitato Pro Enna, unitamente al Comitato di Quartiere “A Chiazza”, organizza nelle giornate del 21 e 22 giugno c.a. il “3° Trofeo della Speranza”: una festa di umanità densa di iniziative coinvolgenti volte alla raccolta di fondi da destinare alla ricerca contro un male terribile quanto diffuso: un messaggio di solidarietà e appoggio morale verso chi vive direttamente questo problema.
    [Show full text]
  • Nicaragua Page 1 of 4
    Nicaragua Page 1 of 4 Nicaragua International Religious Freedom Report 2008 Released by the Bureau of Democracy, Human Rights, and Labor The Constitution provides for freedom of religion, and other laws and policies contributed to the generally free practice of religion. The law at all levels protects this right in full against abuse, either by governmental or private actors. The Government generally respected religious freedom in practice. There was no change in the status of respect for religious freedom by the Government during the period covered by this report. There were no reports of societal abuses or discrimination based on religious affiliation, belief, or practice. The U.S. Government discusses religious freedom with the Government as part of its overall policy to promote human rights. Section I. Religious Demography The country has an area of 49,998 square miles and a population of 5.7 million. More than 80 percent of the population belongs to Christian groups. Roman Catholicism remains the dominant religion. According to a 2005 census conducted by the governmental Nicaraguan Institute of Statistics and Census (INEC), 58.5 percent of the population is Roman Catholic and 21.6 percent is evangelical Protestant including Assembly of God, Pentecostal, Mennonite, and Baptist. Groups that constitute less than 5 percent include the Church of Jesus Christ of Latter-day Saints (Mormons), the Moravian Church, and Jehovah's Witnesses. Both Catholic and evangelical leaders view the census results as inaccurate; according to their own surveys Catholics constitute approximately 75 percent of the population and evangelicals 30 percent. The most recent 2008 public opinion survey from the private polling firm M&R indicates that 58 percent are Catholic and 28 percent evangelical.
    [Show full text]
  • Mood Music Programs
    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • View Full Menu
    AntojitosCHILE CON QUESO 7.99 EnsaladaEL MARIACHI SALAD Crisp mixed greens, tomatoes, sliced red onions, GUACAMOLE DIP 11.99 cucumbers, radishes and avocado. Served with house dressing. 10.99 CEVICHE DE PESCADO** Tender white fish, marinated with fresh lime juice, ENSALADA DE GUACAMOLE onions, peppers, and cilantro. 14.99 Fresh avocado salad garnished with tomatoes, radishes and egg wedges. Served with tostadas. 11.99 QUESO FUNDIDO CON CHORIZO Zesty Chichuahua cheese and chorizo sausage fondue BRAZILIAN SALAD served piping hot with flour tortillas. 11.99 Lettuce, tomatoes, hearts of palm, red onions, eggs, and our homemade house dressing. 10.99 MUSSELS AL GENGIBRE Mussels in Sherry Wine with ginger and garlic. 13.99 ENSALADA EXOTICA Spring Mix lettuce topped with diced red tomatoes, NACHOS (beef or chicken Add $2) cucumbers, strawberries, mango, apples, chicken, beef Corn tortilla chips covered with beans and melted and shrimp. Served with Passion Fruit dressing. 16.99 cheese, served with guacamole, sour cream, and pico de gallo. 9.99 QUESADILLA (beef or chicken Add $2) Grilled flour tortilla filled with cheese, served with guacamole, sour cream, and pico de gallo. 9.99 PLATANOS Fried ripe plantains. 5.99 TAMALES ENSALADA EXOTICA Two tamales stuffed with chicken. 6.99 SOPA DE LIMA YUCATECA A native Yucatan soup made with a rich chicken broth, shredded chicken, and fresh lime. 5.99 VegetarianPLATO ROJO Entrées Two fresh poblano peppers stuffed with white cheese and then covered with egg batter lightly fried, served with rice and black beans. 16.99 HouseSALMON IN PACIFICO Specialties SAUCE PLATO VERDE A fresh fillet of salmon topped with our light garlic Cheese enchilada covered with green tomatillo sauce and Spanish caper sauce.
    [Show full text]
  • SONG RECITAL NATS CONVENTION, LAS VEGAS, 2018 SONGS & RANCHERAS [Mariachi] by MEXICAN NATIONALIST, ANTONIO GOMEZANDA (1894-1961)
    SONG RECITAL NATS CONVENTION, LAS VEGAS, 2018 SONGS & RANCHERAS [Mariachi] BY MEXICAN NATIONALIST, ANTONIO GOMEZANDA (1894-1961) Dr. Juanita Ulloa, Operachi & Soprano Mr. Daniel Lockert, Piano 1. Arrulladora Mexicana, ca. 1925. Music and Lyrics by Gomezanda. Art Song. 2. Tu amor, 1951. Music by Gomezanda, Lyrics by Rosario Sansores. Art song. 3. A una golondrina, 1951. Music by Gomezanda, Lyrics by Margarita Sánchez Pardo. Art song.* 4. Vieja canción, Date unknown. Music by Gomezanda, Lyrics unknown. Art song or folk song.” 5. Soy Mexicana, 1956. Music and Lyrics by Gomezanda. Ranchera valseada [mariachi waltz] 6. Malagueña Salerosa, Date unknown. Traditional huapango rhythm in mariachi style by Elpidio Ramirez. * These two songs are part of a five song collection featuring Mexican women lyricists entitled El Pensamiento poético de la mujer Mexicana [Poetic Thoughts of Mexican Women] Program Notes Gomezanda Maestro Antonio Gomezanda is one of many obscure composers in the Mexican music canon whose nationalistic works deserve worldwide recognition. He was born and was first raised in Lagos de Moreno, Jalisco, a stronghold for mariachi music. Gomezanda became a virtuoso pianist and pedagogue. He also celebrated many salon recitals in Mexico City. The bulk of his compositions are for solo piano or piano and orchestra and almost all feature ranchera flavor. Beginning in 1928, he wrote MARIACHE: Primera opera ranchera Mexicana, the world’s first mariachi opera. To date, it has never been performed live. He also wrote 93 or more songs, many of which are presented live in recital for the first time at the 2018 NATS Convention in Las Vegas.
    [Show full text]
  • Mediación Musical: Aproximación Etnográfica Al Narcocorrido
    Tesis doctoral Mediación musical: Aproximación etnográfica al narcocorrido César Jesús Burgos Dávila Director Dr. Joel Feliu i Samuel-Lajeunesse Doctorat en Psicologia Social Departament de Psicologia Social Facultat de Psicologia Universitat Autònoma de Barcelona Bellaterra, 2012. La tesis doctoral titulada: “Mediación musical: Aproximación etnográfica al narcocorrido” está licenciada por César Jesús Burgos Dávila. Usted tiene el derecho de copiar, modificar y distribuir esta obra siempre y cuando no haga un uso comercial de la misma, indique la autoría y la distribuya bajo las mismas condiciones. Esta obra esta bajo una licencia Attribution- NonCommercial-ShareAlike 3.0 Unported de Creative Commons. Para ver una copia de esta licencia, envie una carta a Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. o visite http://creativecommons.org/licenses/by-nc-sa/3.0 Para citar este trabajo: Burgos, C. (2012). Mediación musical: Aproximación etnográfica al narcocorrido (Tesis Doctoral). Universitat Autònoma de Barcelona, Barcelona. Agradecimientos Al Consejo Nacional de Ciencia y Tecnología (CONACyT) y a la Universidad Autónoma de Sinaloa a través del Programa de Formación de Doctores Jóvenes para el Desarrollo estratégico Institucional, por la ayuda económica recibida para la realización de mis estudios. Al Departament de Psicologia Social de la Universitat Autònoma de Barcelona. A la planta docente, por ser parte fundamental de mi formación. En especial al Dr. Joel Feliu, por aceptar la dirección de la tesis sobre un tema totalmente desconocido para ambos, por su confianza y apoyo durante mis estudios. También agradezco a los evaluadores de las distintas fases del proyecto de investigación, Dra. Maite Martínez, Dra.
    [Show full text]
  • Impacto Socioeconómico Del Sector Carbonifero En El Municipio De Samacá En Boyacá
    IMPACTO SOCIOECONÓMICO DEL SECTOR CARBONIFERO EN EL MUNICIPIO DE SAMACÁ EN BOYACÁ. JAIRO ORLANDO PEDRAZA CANARIA MAURICIO ANDRES PINEDA CONTRERAS UNIVERSIDAD TECNOLOGICA DE PEREIRA MAESTRIA EN ADMINSITRACION ECONOMICA Y FINANCIERA FACULTAD DE INGENIERIA INDUSTRIAL TUNJA 2014 1 IMPACTO SOCIOECONOMICO DEL SECTOR CARBONIFERO EN EL MUNICIPIO DE SAMACÁ EN BOYACÁ. JAIRO ORLANDO PEDRAZA CANARIA MAURICIO ANDRES PINEDA CONTRERAS ASESOR: VICTORIA EUGENIA LANZAS DUQUE M.A: En Administración con Énfasis en Mercadeo UNIVERSIDAD TECNOLOGICA DE PEREIRA MAESTRIA EN ADMINSITRACION ECONOMICA Y FINANCIERA FACULTAD DE INGENIERIA INDUSTRIAL TUNJA 2014 2 TABLA DE CONTENIDO Pág. 1. INTRODUCCION 2.PLANTEAMIENTO DEL PROBLEMA 2 3.DELIMITACION 3 4.OBJETIVOS 4 4.1 Objetivo General 4 4.2 Objetivos Específicos 4 5. JUSTIFICACION 5 6. MARCO DE REFERENCIA 6 6.1 Marco teórico 6 6.1.1Definicion de la RSE 6 6.1.2 La percepción de la RSE visión gerencial 6 6.1.3 Fundamentos básicos de la RSE 7 6.1.4 Etapas del comportamiento empresarial 7 6.1.5 Beneficios de la RSE para la empresa 10 6.1.6 Alcance de la RSE 11 6.1.7 Retos de la RSE 12 6.1.8 Historia de la guía técnica colombiana de la RSE 11 6.1.9 Porque medir la RSE 12 6.1.10 Indicadores de la RSE 13 6.1.11 Uso de la indicadores 15 6.1.12 Normas de la RSE 15 6.1.13 Como evaluar la RSE 16 6.1.14 La RSE en Colombia 16 6.1.15 El caso de la minería 18 6.1.16 Normatividad y certificaciones internacionales 18 6.1.17 Temas centrales guía Iso 26000 19 6.1.18 Etapas para evaluar el impacto social 19 6.1.19 El Carbón en el mundo
    [Show full text]
  • The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City Emily J. Williamson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2673 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 EMILY WILLIAMSON All Rights Reserved ii THE SON JAROCHO REVIVAL: REINVENTION AND COMMUNITY BUILDING IN A MEXICAN MUSIC SCENE IN NEW YORK CITY by EMILY J. WILLIAMSON This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation Requirement for the degree of Doctor of Philosophy. ________________ ___________________________________ Date Jonathan Shannon Chair of Examining Committee ________________ ___________________________________ Date Norman Carey Executive Officer Supervisory Committee: Peter Manuel Jane Sugarman Alyshia Gálvez THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Son Jarocho Revival: Reinvention and Community Building in a Mexican Music Scene in New York City by Emily J. Williamson Advisor: Peter Manuel This dissertation analyzes the ways son jarocho (the Mexican regional music, dance, and poetic tradition) and the fandango (the son jarocho communitarian musical celebration), have been used as community-building tools among Mexican and non-Mexican musicians in New York City.
    [Show full text]
  • Nicaragua: Revolution and Restoration
    THE NEW GEOPOLITICS NOVEMBER 2018 LATIN AMERICA NICARAGUA: REVOLUTION AND RESTORATION RICHARD E. FEINBERG NICARAGUA: REVOLUTION AND RESTORATION RICHARD E. FEINBERG EXECUTIVE SUMMARY Since independence, Nicaragua has suffered periodic internecine warfare, deep distrust between contending factions dominated by powerful caudillos (strongmen), and interventions by foreign powers. While the United States was frequently a party to these conflicts, local Nicaraguan actors often outmaneuvered U.S. diplomats. At the end of the Cold War, internationally supervised elections yielded an interlude of relatively liberal democracy and alternation of power (1990-2006). To the consternation of the United States, Sandinista Party leader Daniel Ortega regained the presidency in 2007, and orchestrated a successful strategy of coalition-building with the organized private sector and the Catholic Church. Supported by the international financial institutions and the Venezuelan Chavista government, Nicaragua achieved strong economic performance with moderately inclusive growth. President Ortega used those economic resources to gradually capture or suppress—one by one—many of the nation’s political institutions, eroding institutional checks and balances. Ortega’s strategy of co-opting all centers of power extended to the military and national police. The restoration of traditional caudillo politics and the fusion of family-state-party-security forces were all too reminiscent of the Somoza family dynasty (1934-1979). Frustrated by Ortega’s narrowing of democratic
    [Show full text]