Performing Blackness in the Danza De Caporales
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35603 EXPRESS REV.Indd
BolivianExpress Free Distribution Magazine Roots # 30 Directors: Amaru Villanueva Rance, Jack Kinsella, Xenia Elsaesser, Ivan Rodriguez Petkovic, Sharoll Fernandez. Editorial Team: Amaru Villanueva Rance, Matthew Grace,Juan Victor Fajardo. Web and Legal: Jack Kinsella. Printing and Advertising Manager: Ivan Rodriguez Petkovic. Social and Cultural Coordinator: Sharoll Fernandez. General Coordinator: Wilmer Machaca. Research Assistant: Wilmer Machaca. Domestic Coordinator: Virginia Tito Gutierrez. Design: Michael Dunn Caceres. Journalists: Ryle Lagonsin, Alexandra Meleán, Wilmer Machaca, Maricielo Solis, Danielle Carson, Caterina Stahl Our Cover: The BX Crew Marketing: Xenia Elsaesser The Bolivian Express Would Like To Thank: Simon Yampara, Pedro Portugal, Mirna Fernández, Paola Majía, Alejandra Soliz, Eli Blass, Hermana Jhaana, Joaquín Leoni Advertise With Us: [email protected]. Address: Calle Prolongación Armaza # 2957, Sopocachi, La Paz.. Phone: 78862061- 70503533 - 70672031 Contact: [email protected] Rooted in La Paz – Bolivia, July 2013 :BolivianExpress @Bolivianexpress www.bolivianexpress.org History a tierra es de quien la trabaja’—’Th e land belongs to those who work it’, proclaimed the Zapatistas at the turn of the 20th Century, as Emiliano Zapata spearheaded the historical movement which we now remember as the Mexican Revolution. ‘L 40 years later, this same slogan propelled Bolivian campesinos to demand broad socioeconomic changes in a country which hadn’t yet granted them basic citizenship rights, let alone recognised they made up over 70% of the country’s population. A broad-sweeping Agrarian Reform followed in 1953, giving these peasants unprecedented ownership and control over the land they worked on. Th e Bolivian Revolution of 1952 also enfranchised women and those considered illiterate (a convenient proxy for campes- inos), causing a fi vefold increase in the number of people eligible to vote. -
Los Kjarkas Historia Jamás Contada
LOS KJARKAS: LA HISTORIA NO CONTADA LOS KJARKAS Actual formación de Los Kjarkas Introducción: Los más grandes de entre los grandes, los músicos andinos que han llevado al folklore latinoamericano a lo más alto, son sin duda alguna Los Kjarkas, un grupo que revolucionó el arte musical andino hace ya casi 50 años y que a lo largo de toda una vida nos han deleitado con impagables obras maestras con mayúsculas. Y es que todo en Los Kjarkas es grandioso: grandes músicos, grandes composiciones y una gran historia, por él han pasado intérpretes y compositores de gran calibre, manteniendo siempre un núcleo familiar en torno a la familia Hermosa. Sin embargo, no todo ha sido alegría, comprensión u honestidad dentro del grupo. En muchos foros, entrevistas o videos, se habla sobre la historia de los Kjarkas, pero se ha omitido gran parte de esta historia, historia que leerás hoy día. Es esta pues, la historia oculta de Los Kjarkas. LOS KJARKAS: LA HISTORIA NO CONTADA Advertencias: - Si eres una persona conservadora, un fanático a morir de Los Kjarkas, que los ve como “ídolos”, que no podrían hacer malo, y no deseas “tener” una mala imagen de ellos, te pido que dejes de leer este artículo, porque podrías cambiar de mirada y llevarte un gran disgusto. - Durante la historia, se nombrarán a otros grupos, que son necesarios de nombrar para poder entender la historia de Los Kjarkas. LOS KJARKAS: LA HISTORIA NO CONTADA Etimología del nombre: Sobre el nombre “Kjarkas” no hay nada dicho ciertamente. Se manejan dos significados y orígenes que se contradicen. -
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
The Contribution of the Afro-Descendant Soldiers to the Independence of the Bolivarian Countries (1810-1826)
Revista de Relaciones Internacionales, Estrategia y Seguridad ISSN: 1909-3063 [email protected] Universidad Militar Nueva Granada Colombia Reales, Leonardo The contribution of the afro-descendant soldiers to the independence of the bolivarian countries (1810- 1826) Revista de Relaciones Internacionales, Estrategia y Seguridad, vol. 2, núm. 2, julio-diciembre, 2007 Universidad Militar Nueva Granada Bogotá, Colombia Available in: http://www.redalyc.org/articulo.oa?id=92720203 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 REVISTA - Bogotá (Colombia) Vol. 2 No. 2 - Julio - Diciembre 11 rev.relac.int.estrateg.segur.2(2):11-31,2007 THE CONTRIBUTION OF THE AFRO-DESCENDANT SOLDIERS TO THE INDEPENDENCE OF THE BOLIVARIAN COUNTRIES (1810-1826) Leonardo Reales (Ph.D. Candidate - The New School University) ABSTRACT In the midst of the independence process of the Bolivarian nations, thousands of Afro-descendant soldiers were incorporated into the patriot armies, as the Spanish Crown had done once independence was declared. What made people of African descent support the republican cause? Was their contribution to the independence decisive? Did Afro-descendant women play a key role during that process? Why were the most important Afro-descendant military leaders executed by the Creole forces? What was the fate of those soldiers and their descendants at the end of the war? This paper intends to answer these controversial questions, while explaining the main characteristics of Recibido: 3 de septiembre 2007 Aceptado: 8 de octubre 2007 society throughout the five countries freed by the Bolivarian armies in the 1810s and 1820s. -
C:\010 MWP-Sonderausgaben (C)\D
Dancando Lambada Hintergründe von S. Radic "Dançando Lambada" is a song of the French- Brazilian group Kaoma with the Brazilian singer Loalwa Braz. It was the second single from Kaomas debut album Worldbeat and followed the world hit "Lambada". Released in October 1989, the album peaked in 4th place in France, 6th in Switzerland and 11th in Ireland, but could not continue the success of the previous hit single. A dub version of "Lambada" was available on the 12" and CD maxi. In 1976 Aurino Quirino Gonçalves released a song under his Lambada-Original is the title of a million-seller stage name Pinduca under the title "Lambada of the international group Kaoma from 1989, (Sambão)" as the sixth title on his LP "No embalo which has triggered a dance wave with the of carimbó and sirimbó vol. 5". Another Brazilian dance of the same name. The song Lambada record entitled "Lambada das Quebradas" was is actually a plagiarism, because music and then released in 1978, and at the end of 1980 parts of the lyrics go back to the original title several dance halls were finally created in Rio de "Llorando se fue" ("Crying she went") of the Janeiro and other Brazilian cities under the name Bolivian folklore group Los Kjarkas from the "Lambateria". Márcia Ferreira then remembered Municipio Cochabamba. She had recorded this forgotten Bolivian song in 1986 and recorded the song composed by Ulises Hermosa and a legal Portuguese cover version for the Brazilian his brother Gonzalo Hermosa-Gonzalez, to market under the title Chorando se foi (same which they dance Saya in Bolivia, for their meaning as the Spanish original) with Portuguese 1981 LP Canto a la mujer de mi pueblo, text; but even this version remained without great released by EMI. -
INSTRUMENTAL ENSEMBLE Catalog Addendum
HAL LEONARD INSTRUMENTAL2012 ENSEMBLE catalog addendum Concert Band • Marching Band • Jazz Ensemble • Orchestra • Essential Elements • Rubank • Methods This brochure details products which have been created since publishing the 2011-2012 Hal Leonard Instrumental Ensemble Catalog. Please see this catalog, HL 90008184, for a complete listing of titles available, or visit our website at www.halleonard.com 1033585 Addendum.indd 1 5/18/12 2:31 PM 2 MARCHING BAND Inv. No. Title (Arranger) Series/Grade Price Inv. No. Title (Arranger) Series/Grade Price _____ 40004100 30-Second Blasters _____ 03745581 Kernkraft 400 (arr. Jay Dawson/Jim Reed) ......APCMB3 ......... $60.00 (arr. Paul Lavender/Will Rapp) ..CNTMB3 ......... $55.00 _____ 03745577 Afro Blue _____ 03745573 Kickbutt Cadences Vol. 2 (arr. Paul Murtha/Will Rapp)......ESPRT2 .......... $55.00 (Will Rapp) ................................ESPRT3 .......... $45.00 _____ 40004084 Americano (arr. Tom Wallace/ _____ 03745569 The Lady Is a Tramp Tony McCutchen) ......................APCMB3 ......... $60.00 (arr. Paul Murtha/Will Rapp)......PFELT4 ........... $65.00 _____ 40004080 Blackbird/Yesterday _____ 40004076 Magical Mystery Tour/Lady Madonna (arr. Tom Wallace) .....................APCMB3 ......... $80.00 (arr. Tom Wallace) .....................APCMB3 ......... $80.00 _____ 40004102 Bully(arr. Tom Wallace/ _____ 03745579 Misirlou (arr. Tim Waters) ...........ESPRT2 .......... $55.00 Tony McCutchen) ......................APCMB3 ......... $60.00 _____ 40004094 Moves like Jagger (arr. Tom Wallace/ _____ 03745563 Captain America March Tony McCutchen) ......................APCMB3 ......... $60.00 (arr. Paul Murtha) ......................PFELT3 ........... $65.00 _____ 40004096 On the Floor (arr. Tom Wallace/ _____ 03745567 Come Fly with Me (arr. Paul Murtha/ Tony McCutchen) ......................APCMB3 ......... $70.00 Will Rapp) ..................................PFELT4 ........... $65.00 _____ 03745565 Party Rock Anthem _____ 03745601 Crocodile Rock (arr. -
Genetic Diversity of Four Filipino Negrito Populations From
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Commons@Wayne State University Human Biology Volume 85 Issue 1 Special Issue on Revisiting the "Negrito" Article 9 Hypothesis 2013 Genetic Diversity of Four Filipino Negrito Populations from Luzon: Comparison of Male and Female Effective Population Sizes and Differential Integration of Immigrants into Aeta and Agta Communities E Heyer EcoAnthropologie et Ethnobiologie, MNHN, CNRS, Université Paris Diderot, Paris, France, [email protected] M Georges EcoAnthropologie et Ethnobiologie, MNHN, CNRS, Université Paris Diderot, Paris, France M Pachner Andaman and Nicobar Association, Liestal, Switzerland P Endicott EcoAnthropologie et Ethnobiologie, MNHN, CNRS, Université Paris Diderot, Paris, France Follow this and additional works at: http://digitalcommons.wayne.edu/humbiol Part of the Biological and Physical Anthropology Commons, and the Genetics and Genomics Commons Recommended Citation Heyer, E; Georges, M; Pachner, M; and Endicott, P (2013) "Genetic Diversity of Four Filipino Negrito Populations from Luzon: Comparison of Male and Female Effective Population Sizes and Differential Integration of Immigrants into Aeta and Agta Communities," Human Biology: Vol. 85: Iss. 1, Article 9. Available at: http://digitalcommons.wayne.edu/humbiol/vol85/iss1/9 Genetic Diversity of Four Filipino Negrito Populations from Luzon: Comparison of Male and Female Effective Population Sizes and Differential Integration of Immigrants into Aeta and Agta Communities Abstract Genetic data corresponding to four negrito populations (two Aeta and two Agta; n = 120) from the Luzon region of the Philippines have been analyzed. These data comprise mitochondrial DNA (mtDNA) hypervariable segment 1 haplotypes and haplogroups, Y-chromosome haplogroups and short tandem repeats (STRs), autosomal STRs, and X-chromosome STRs. -
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. -
Jamaica in the Tourism Global Value Chain
Jamaica in the Tourism Global Value Chain April 2018 Prepared by Karina Fernandez-Stark and Penny Bamber Contributing researcher: Vivian Couto, Jack Daly and Danny Hamrick Duke Global Value Chains Center, Duke University Global Value Chains Center This research was prepared by the Duke University Global Value Chains Center on behalf of the Organization of American States (OAS). This study is part of the establishment of Small Business Development Centers in the Caribbean. The report is based on both primary and secondary information sources. In addition to interviews with firms operating in the sector and supporting institutions, the report draws on secondary research and information sources. The project report is available at www.gvcc.duke.edu. Acknowledgements The Duke University Global Value Chains Center would like to thank all of the interviewees, who gave generously of their time and expertise, as well as Renee Penco of the Organization of American States (OAS) for her extensive support. The Duke University Global Value Chain Center undertakes client-sponsored research that addresses economic and social development issues for governments, foundations and international organizations. We do this principally by utilizing the global value chain (GVC) framework, created by Founding Director Gary Gereffi, and supplemented by other analytical tools. As a university- based research center, we address clients’ real-world questions with transparency and rigor. www.gvcc.duke.edu. Duke Global Value Chain Center, Duke University © April 2018 -
La Morenada: Una Mirada Desde La Perspectiva De Género
La Morenada: una mirada desde la perspectiva de género Elizabeth del Rosario Rojas1 Universidad Nacional de Luján Argentina Introducción: La Morenada es una danza propia del área andina suramericana y se caracteriza por el uso de trajes coloridos y pasos rítmicos que al son de la música dan cuenta de la vida cotidiana. Actualmente es legado cultural de las mujeres bolivianas que habitan en Buenos Aires. El presente trabajo centra su análisis en un grupo de mujeres bolivianas que bailan Morenada en Lomas de Zamora, específicamente en el Barrio 6 de agosto. El objetivo es visibilizar La Morenada y responder a la pregunta, ¿cómo está inscripta en la memoria colectiva de las Mujeres bolivianas? Asimismo, interesa ofrecer una mirada de la danza como una práctica diaria, mezclada con la mística de agradecimiento y ofrenda a diversas vírgenes, según la petición que realizan y cómo se despliega de generación y en generación, al decir de ellas mismas, un pedacito de lo andino se traslada a esta tierra pampeana. Palabra Clave Género: es una categoría relacional, producto de la construcción social de jerarquización que se asienta en el patriarcado que toma como base la diferencia de sexos: femenino, masculino. Donde el patriarcado hace que lo masculino nomine, mande y sea quien organice esta jerarquización donde lo femenino queda subordinado en el sistema social (Amoros, 1985) Cultura: se entenderá por cultura todo aquello que se desarrolle como popular, que hace a lo simbólico material e inmaterial (creencias, saberes; prácticas; etc.) que se transmite de generación en generación, donde la reproducción se estructura conforme un orden, que es organizado desde contextos sociopolíticos, dentro de procesos históricos, que ayuda a comprender los roles de las diversas identidades sexuales (Scott, 1994) I. -
Volume Xxiii
ANTHROPOLOGICAL PAPERS OF THE AMERICAN MUSEUM OF NATURAL HISTORY VOLUME XXIII NEW YORK PUBLISHED BY ORDER OF THE TRUSTEES 1925 Editor CLARK WISSLER FOREWORD Louis ROBERT SULLIVAN Since this volume is largely the work of the late Louis Robert Sulli- van, a biographical sketch of this able anthropologist, will seem a fitting foreword. Louis Robert Sullivan was born at Houlton, Maine, May 21, 1892. He was educated in the public schools of Houlton and was graduated from Bates College, Lewiston, Maine, in 1914. During the following academic year he taught in a high school and on November 24, 1915, he married Bessie Pearl Pathers of Lewiston, Maine. He entered Brown University as a graduate student and was assistant in zoology under Professor H. E. Walters, and in 1916 received the degree of master of arts. From Brown University Mr. Sullivan came to the American Mu- seum of Natural History, as assistant in physical anthropology, and during the first years of his connection with the Museum he laid the foundations for his future work in human biology, by training in general anatomy with Doctor William K. Gregory and Professor George S. Huntington and in general anthropology with Professor Franz Boas. From the very beginning, he showed an aptitude for research and he had not been long at the Museum ere he had published several important papers. These activities were interrupted by our entrance into the World War. Mr. Sullivan was appointed a First Lieutenant in the Section of Anthropology, Surgeon-General's Office in 1918, and while on duty at headquarters asisted in the compilation of the reports on Defects found in Drafted Men and Army Anthropology. -
Andean Music, the Left and Pan-Americanism: the Early History
Andean Music, the Left, and Pan-Latin Americanism: The Early History1 Fernando Rios (University of Illinois, Urbana-Champaign) In late 1967, future Nueva Canción (“New Song”) superstars Quilapayún debuted in Paris amid news of Che Guevara’s capture in Bolivia. The ensemble arrived in France with little fanfare. Quilapayún was not well-known at this time in Europe or even back home in Chile, but nonetheless the ensemble enjoyed a favorable reception in the French capital. Remembering their Paris debut, Quilapayún member Carrasco Pirard noted that “Latin American folklore was already well-known among French [university] students” by 1967 and that “our synthesis of kena and revolution had much success among our French friends who shared our political aspirations, wore beards, admired the Cuban Revolution and plotted against international capitalism” (Carrasco Pirard 1988: 124-125, my emphases). Six years later, General Augusto Pinochet’s bloody military coup marked the beginning of Quilapayún’s fifteen-year European exile along with that of fellow Nueva Canción exponents Inti-Illimani. With a pan-Latin Americanist repertory that prominently featured Andean genres and instruments, Quilapayún and Inti-Illimani were ever-present headliners at Leftist and anti-imperialist solidarity events worldwide throughout the 1970s and 1980s. Consequently both Chilean ensembles played an important role in the transnational diffusion of Andean folkloric music and contributed to its widespread association with Leftist politics. But, as Carrasco Pirard’s comment suggests, Andean folkloric music was popular in Europe before Pinochet’s coup exiled Quilapayún and Inti-Illimani in 1973, and by this time Andean music was already associated with the Left in the Old World.