DOCSLIB.ORG

History Danza

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History Danza History The Folkloric Ballet Son Borincano, was created at the Performing Art School in the county of Barceloneta, Puerto Rico. It was founded in October 2005 with the purpose of exalting and prevail the cultural heritage of our country. Son Borincano establish in each part the cultural diversity that identifies us as a country through the folk music and dance. It presents the musical blend inherited from Spain, the strength from the black African and the humility and simplicity from the Puerto Rican peasant. Our group has represented our music and folk dances in national high recognition activities in Puerto Rico such as: El Festival de la Bahía (2008), Danzarte Folklorico (2008)(2011) and the Central American and Caribbean Games (2010). Danza Danza, a musical form created in Puerto Rico, is one of our "Bailes de Salon" (Ballroom Dances). It flourished in the second part of the 19th century in the salons of elite, agricultural landowners (hacendados) with cultural ties to Spain, and was later adopted by all, merchants and peasants alike. The national anthem of Puerto Rico, "La Borinqueña," is a danza. When Puerto Ricans think of Danza, they remember an elegant dance from days gone by, ladies with fans and ballroom gowns, men in white tie-and-tails. In those golden days, the orchestra would begin by leading dancers in a "paseo," an elegant walk around the ballroom, giving gentlemen the opportunity to show off their lady's grace and beauty. This romantic introduction ended with a salute by the gentlemen and a curtsey from the ladies in reply. In those days, every lady and gentleman learned the language of the fan -- the secret code that helped them attract the attention of the lady or gentleman of their dreams! Bailes de la Montaña The Bailes de las Montañas was the principal musical expression of the Jíbaro, the humble and hardworking mountain people who worked the coffee plantations and inland farms of Puerto Rico. By the 17th and 18th centuries, joyful celebrations in the form of Jíbaro (country) dances typically followed solemn religious ceremonies. These lively celebrations lasted from early afternoon until long into the night, and always ended with a Seis Chorreao, the fastest of all the Seis rhythms. Seis is considered the backbone of Jíbaro music, and has its roots in the musical forms that came to Puerto Rico from Spain during the time of colonization and settlement in the late 17th century. The cuatro, a stringed instrument unique to Puerto Rico, is the predominant musical instrument heard in the Seis Chorreao. Bomba Bomba is a musical expression created in Puerto Rico. First developed at the end of the 17th century, Bomba flourished along the coast of Puerto Rico where West Africans and their descendants worked the colonial sugar canes. Through fiery drum rhythms and improvised dance, the cane workers released feelings of anger, resistance, and sadness about their condition. It was at "Bailes de Bombas" (Bomba Dances) where they celebrated baptisms and marriages, and also planned rebellions. For this reason, these celebrations were only permitted on Sundays and Feast Days. Dancers took turns challenging the drums, creating a dialog with their movements that the solo drummer answered. The instruments used to play the bomba music were: 2 or more “Barriles”, (buleador) (subidor o primo) , 1 “cua” which is a little barrel, and the “maraca” which come from the Taino legacy. Plena Plena was born in the working class barrios of Ponce, Puerto Rico about 100 years ago. It was known as "el periodico cantado" (the sung newspaper) because it contained stories about the history and everyday life of the people. By the later part of the 20th century, Plena primarily existed as part of our folklore. However, in the 1990s Plena was given new life thanks to music groups in Puerto Rico and New York who modernized its sound for a new generation. Whether folklore or modern sound, it's the panderos -- three or more handheld drums of different sizes/pitches (seguidor, segundo, and requinto), and the guiro that together create the explosive rhythm of Plena. .
Load more

Recommended publications
  • Beyond Salsa Bass the Cuban Timba Revolution
    BEYOND SALSA BASS THE CUBAN TIMBA REVOLUTION VOLUME 1 • FOR BEGINNERS FROM CHANGÜÍ TO SON MONTUNO KEVIN MOORE audio and video companion products: www.beyondsalsa.info cover photo: Jiovanni Cofiño’s bass – 2013 – photo by Tom Ehrlich REVISION 1.0 ©2013 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 1482729369 ISBN‐13/EAN‐13: 978‐148279368 H www.beyondsalsa.info H H www.timba.com/users/7H H [email protected] 2 Table of Contents Introduction to the Beyond Salsa Bass Series...................................................................................... 11 Corresponding Bass Tumbaos for Beyond Salsa Piano .................................................................... 12 Introduction to Volume 1..................................................................................................................... 13 What is a bass tumbao? ................................................................................................................... 13 Sidebar: Tumbao Length .................................................................................................................... 1 Difficulty Levels ................................................................................................................................ 14 Fingering..........................................................................................................................................
    [Show full text]
  • Guitar Music from Cuba
    555887bk Cuba USA 24/12/2003 07:56 pm Page 5 GUITAR MUSIC FROM CUBA Also available in this series DDD Guitar Collection 8.555887 1 Edward Simon (b.1969): El manicero (The Peanut-Seller) 4:33 Ñico Rojas (b.1921): 2 Guyún - El maestro 2:10 3 En el abra del Yumurí (In Yumuri Bay) 4:52 4 Francito y Alfonsito 2:38 5 Lilliam 4:21 CANCION DE CUNA 6 Guajira a mi madre (Guajira for my mother) 4:10 7 Carlos Fariñas (1934-2002): Preludio 3:41 Aldo Rodríguez (b.1955): Guitar Music from Cuba 8 Canción 3:03 9 Danza 1:52 Harold Gramatges (b.1918): Suite breve 8:01 0 Preludio 0:46 Marco Tamayo, Guitar ! Alemanda 2:20 @ Siciliana 0:59 # Sarabanda 3:11 $ Minuetto 0:45 Leo Brouwer (b.1939): % Canción de cuna (Berceuse) 4:04 ^ Zapateo 2:19 & Ojos brujos (Bewitching Eyes) 2:41 * Carlos Fariñas: Canción triste (Sad Song) 2:55 Hector Angulo (b.1932): Cantos Yoruba de Cuba 13:58 ( Asokere I 0:53 ) Suayo 2:01 ¡ Iyá mi ilé 1:44 ™ Borotití 2:16 £ Asokere II 0:28 ¢ Iyá mo dupé 1:49 ∞ Yeye bi obi toauo 2:26 § E iekua 1:12 ¶ Asokere III 1:08 8.555887 5 555887bk Cuba USA 24/12/2003 07:55 pm Page 2 Cuban Guitar Music Conservatorio Provincial de Música de Oriente, where film scores both in Cuba and abroad. From this time Marco Tamayo Cuban culture is essentially an amalgam of three he studied with Harald Gramatges. He joined the he completed his course in 1936.
    [Show full text]
  • Redalyc.Mambo on 2: the Birth of a New Form of Dance in New York City
    Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Hutchinson, Sydney Mambo On 2: The Birth of a New Form of Dance in New York City Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 108-137 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716209 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Hutchinson(v10).qxd 3/1/05 7:27 AM Page 108 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Mambo On 2: The Birth of a New Form of Dance in New York City SYDNEY HUTCHINSON ABSTRACT As Nuyorican musicians were laboring to develop the unique sounds of New York mambo and salsa, Nuyorican dancers were working just as hard to create a new form of dance. This dance, now known as “on 2” mambo, or salsa, for its relationship to the clave, is the first uniquely North American form of vernacular Latino dance on the East Coast. This paper traces the New York mambo’s develop- ment from its beginnings at the Palladium Ballroom through the salsa and hustle years and up to the present time. The current period is characterized by increasing growth, commercialization, codification, and a blending with other modern, urban dance genres such as hip-hop. [Key words: salsa, mambo, hustle, New York, Palladium, music, dance] [ 109 ] Hutchinson(v10).qxd 3/1/05 7:27 AM Page 110 While stepping on count one, two, or three may seem at first glance to be an unimportant detail, to New York dancers it makes a world of difference.
    [Show full text]
  • Beyond Salsa for Ensemble a Guide to the Modern Cuban Rhythm Section
    BEYOND SALSA FOR ENSEMBLE A GUIDE TO THE MODERN CUBAN RHYTHM SECTION PIANO • BASS • CONGAS • BONGÓ • TIMBALES • DRUMS VOLUME 1 • EFECTOS KEVIN MOORE REVISION 1.0 ©2012 BY KEVIN MOORE SANTA CRUZ, CA ALL RIGHTS RESERVED No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording or otherwise, without written permission of the author. ISBN‐10: 146817486X ISBN‐13/EAN‐13: 978‐1468174861 www.timba.com/ensemble www.timba.com/piano www.timba.com/clave www.timba.com/audio www.timba.com/percussion www.timba.com/users/7 [email protected] cover design: Kris Förster based on photos by: Tom Ehrlich photo subjects (clockwise, starting with drummer): Bombón Reyes, Daymar Guerra, Miguelito Escuriola, Pupy Pedroso, Francisco Oropesa, Duniesky Baretto Table of Contents Introduction to the Beyond Salsa Series .............................................................................................. 12 Beyond Salsa: The Central Premise .................................................................................................. 12 How the Series is Organized and Sold .......................................................................................... 12 Book ......................................................................................................................................... 12 Audio .......................................................................................................................................
    [Show full text]
  • Schedule Announced for Puerto Rican Super-Group Plena Libre's 2019-20
    Contact: Margo Strebig Director of Communications & PR University of Chicago, Department of Music 773.702.3427 [email protected] Photos: http://bit.ly/PlenaLibre1920 For Immediate Release September 25, 2019 Schedule announced for Puerto Rican super-group Plena Libre’s 2019-20 UChicago residencies Activities will include performances, dance workshops, round-table discussions, and more. Chicago (Hyde Park) – The University of Chicago Department of Music is pleased to announce the schedule of events for Puerto Rican band Plena Libre’s 2019-20 residencies. The band, which is the University’s newest Don Michael Randel Ensemble-in-Residence, will participate in a rich variety of events and programs, including concerts, workshops, moderated public discussions, classroom visits, and more. Nominated for multiple GRAMMY and Latin GRAMMY awards, Plena Libre has earned acclaim for taking the once-dormant style of plena music and reclaiming it for a new generation. Featuring three vocalists, bass, drums, horns, and requinto guitar, the group infuses their contemporary Caribbean compositions with a deep sense of the unique indigenous musical traditions developed in Puerto Rico over a century ago. “The University is honored to welcome Plena Libre as the Don Michael Randel Ensemble-in-Residence,” said David Levin, Senior Advisor to the Provost for Arts. “We look forward to sharing the distinctive musical style of Puerto Rico through a wide variety of adventurous and creative programming.” Over three separate weeks in November, March, and April-May, Plena Libre will give four public performances, accompany three Puerto Rican dance workshops, lead workshops with University instrumental ensembles, participate in luncheon discussions with the Center for Latin American Studies, visit music and Spanish language classes, and more.
    [Show full text]
  • LA BOMBA DEL CHOTA, Una Explosión De Saberes, Propuesta Para El Aprendizaje Integral
    PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR FACULTAD DE CIENCIAS DE LA EDUCACIÓN ESCUELA DE EDUCACIÓN MUSICAL ALVARO MIGUEL ROSERO PONCE LA BOMBA DEL CHOTA, una explosión de saberes, propuesta para el aprendizaje integral. Director: Dr. Fernando Palacios Mateo. PhD QUITO, febrero 2019 PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR DECLARACIÓN y AUTORIZACIÓN Yo, ALVARO MIGUEL ROSERO PONCE, C.I.100152111-9 autor del trabajo de graduación titulado: “LA BOMBA DEL CHOTA, UNA EXPLOSIÓN DE SABERES, PROPUESTA PARA EL APRENDIZAJE INTEGRAL”, previa a la obtención del grado académico de LICENCIADO EN CIENCIAS DE LA EDUCACIÓN MENCIÓN EDUCACIÓN MUSICAL en la Facultad de Ciencias de la Educación: 1.- Declaro tener pleno conocimiento de la obligación que tiene la Pontificia Universidad Católica del Ecuador, de conformidad con el artículo 144 de la Ley Orgánica de Educación Superior, de entregar a la SENESCYT en formato digital una copia del referido trabajo de graduación para que sea integrado al Sistema Nacional de Información de la Educación Superior del Ecuador para su difusión pública respetando los derechos de autor. 2.- Autorizo a la Pontificia Universidad Católica del Ecuador a difundir a través de sitio web de la Biblioteca de la PUCE el referido trabajo de graduación, respetando las políticas de propiedad intelectual de Universidad. Quito, 14 de febrero de 2019 DIRECTOR: Dr. Fernando Palacios Mateos, PhD LECTORES Mgtr. Fernando Avendaño León. Mgtr. Marcelo Luje Morales. Agradecimientos Con este trabajo de investigación agradezco la gran oportunidad de estudiar y la generosidad con la cual me fueron compartidos muchos saberes, valores y conocimientos. A las personas que formaron parte de esta propuesta: dirigiendo, escuchando, leyendo, conversando, escribiendo, corrigiendo, fotografiando, tocando, jugando, soñando, construyendo, grabando para todos un abrazo.
    [Show full text]
  • HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
    HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting Template
    DANCING PLENA WITH THE BISHOP: AN ANALYSIS OF LORENZO HOMAR’S EL OBISPO DE PONCE LINOCUT PRINT By ANA D. RODRIGUEZ A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 © 2016 Ana D. Rodriguez I dedicate this effort to the younger and future generation of my family, hoping it serves as an example and inspiration ACKNOWLEDGMENTS First of all, I want to thank my family for their continuous support throughout my studies, my parents, Irma and Ramón, and my sisters, Gina, Cindy, Angie and Paula. I am especially grateful of my aunt Miriam Viruet for giving me shelter during the two weeks I spent collecting research material in Puerto Rico. I need to add into the family support group, my cousin Yahaira Sánchez for helping me collect text resources for my writing. From the University of Florida School of the Arts, I want to recognize and express my gratitude to Dr. Maya Stanfield-Mazzi, Chair of my Committee, for her patience, her guidance with my manuscript, and for keeping the faith in my work. To Dr. Efrain Barradas, for advising me to use the portfolio of Las Plenas from the Smathers’ Libraries Special Collections, for our conversations about Lorenzo Homar, and for being an inspiration. To Dr. Robin Poynor, for accepting to be a member of my committee and trusting my work. I also would like to acknowledge Dr. Margarita Vargas- Betancourt, Caribbean Basin Librarian at UF Smathers’ Library Latin American and Caribbean Collection (LACC), for all her continuous advice and support given during the making of this thesis.
    [Show full text]
  • Creolizing Contradance in the Caribbean
    Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean.
    [Show full text]
  • Ceccon, Teresa Redacted.Pdf
    Abstract The story of Latin American music and dance is one of cross-pollination where the dances, rhythms, instrumentation and social rituals of distinctive cultures coalesced into new forms of expression. Along the continuum of styles was Latin Jazz, the result of the mutual fascination that Afro-Cuban and jazz musicians shared for each other’s artistry. Most types of Latin music have their own dance forms, which evolved simultaneously with the music, often graduating from the streets to the dance clubs and sometimes to stages. Latin Jazz music took its own path, originating on the bandstand without the parallel emergence of a dance form one would officially call “Latin Jazz dance.” In my research, I set out to expand my understanding of the evolution of Latin Jazz music and dance and attempt to answer the question: How can I define Latin Jazz Dance and trace its evolution into what it is today? Armed with that knowledge, in the future I intend to teach dancers and choreographers about the music and dance and to stage works for concert performance in the genre. 1 MONTCLAIR STATE UNIVERSITY THE EVOLUTION OF LATIN JAZZ MUSIC AND DANCE – UNDER THE SKIN by Teresa Perez Ceccon A Master’s Thesis Submitted to the Faculty of Montclair State University In Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts August 2020 College/School: College of the Arts Thesis Committee: Department: Dance ______ Christian von Howard __ Diann Sichel Committee Member Cristina Marte Committee Member 2 THE EVOLUTION OF LATIN JAZZ MUSIC AND DANCE – UNDER THE SKIN A THESIS Submitted in partial fulfillment of the requirements For the degree of Master of Fine Arts by Teresa Perez Ceccon Montclair State University Montclair, NJ 2020 3 Copyright © 2020 by Teresa Perez Ceccon.
    [Show full text]
  • PRISMA DE AMORES Latin Suite for Orchestra & Orchestral Program
    199 Pemberton St. • Cambridge, MA 02140 • 617.492.1515 phone • 617.649.0299 fax PRISMA DE AMORES Latin Suite for Orchestra & Orchestral Program Description Fall 2009 marks Sol y Canto’s 15th anniversary and founders Brian and Rosi Amador’s 25th year as Latin music ambassadors. Latin music ensemble Sol y Canto and their 2001 Boston Celebrity Series-commissioned Latin suite, “Prisma de amores” has been presented with orchestras including the Springfield Symphony Orchestra, and the Boston Modern Orchestra, to name a few. Mr. Amador was the first Latino composer to be commissioned by the Boston Celebrity Series. SOL Y CANTO BIOGRAPHY Sol y Canto is an award-winning national touring ensemble with a long track record of presenting original as well as traditional and popular music in Latin American and Caribbean musical genres. They have brought audiences to their feet from the Kennedy Center and White House to the Vancouver Folk Festival, Boston’s Symphony Hall and the Museo de Arte in San Juan, Puerto Rico, amongst others. Recent highlights for Sol y Canto include performances at the Smithsonian Center in Washington, D.C., the Kimmel Center in Philadelphia,.They tour performing arts centers, concert series, and festivals, and offer concerts, master classes, and a variety of educational programs for adult and family audiences. PRISMA DE AMORES “…The [Latin suite] performances were infectious, and the pieces displayed Amador’s generous melodic gift, his rhythmic spark, and a sensitive attunement to the shifting moods of the text…” –Richard Dyer, The Boston Globe “I have heard nothing but raves from everyone, especially our new works funder.
    [Show full text]
  • MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 M
    MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 m 12 e M E M CONSEJERÍA DE EDUCACIÓN Y CIENCIA E MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 © Junta de Andalucía. Consejería de Educación y Ciencia edita Junta de Andalucía Consejería de Educación y Ciencia Dirección General de Evaluación Educativa y Formación del Profesorado autoría Cañal Santos Félix Cañal Ruiz Mª Cristina diseño Esther Morcillo+Fernando Cabrera maquetación + impresión Estudios Gráficos Europeos, s.a. isbn 84-688-3715-6 depósito legal SE-961-04 (I) Material acogido a la Orden de 10-07-2001 (B.O.J.A. nº 90 de 7 de Agosto de 2001) MÚSICA, DANZA Y EXPRESIÓN CORPORAL EN EDUCACIÓN INFANTIL Y PRIMARIA TOMO 1 Félix Cañal Santos Cristina Cañal Ruiz CONSEJERÍA DE EDUCACIÓN Y CIENCIA Agradecimientos Los autores queremos dar las gracias a los niños y niñas que han puesto sus voces a las canciones de este trabajo por su preciosa colaboración. A su Profesora y Directora del Colegio Santísima Trinidad, de Córdoba, Aurora Sánchez Garrido por su estimable ayuda y colaboración en este y otros proyectos pedagógicos que hemos emprendido. Asimismo quisieran agradecer a Manolo Gutiérrez, “Mélody”, instrumentos musicales, por su ayuda técnica en la grabación de algunas canciones. ÍNDICE 13 INTRODUCCIÓN 15 LA ENSEÑANZA-APRENDIZAJE 15 LA EDUCACIÓN POR EL MOVIMIENTO 16 UNA SITUACIÓN EN CONFLICTO 17 LA INVESTIGACIÓN EDUCATIVA 17 UN OFICIO ESPECIALIZADO 18 DISTRIBUCIÓN TEMÁTICA 21 1. LÍNEAS BÁSICAS DEL DECRETO POR EL QUE SE ESTABLECEN LAS ENSEÑANZAS CORRESPONDIENTES A LA EDUCACIÓN INFANTIL EN ANDALUCÍA 23 1.1.
    [Show full text]