Facultad De Arquitectura

Total Page:16

File Type:pdf, Size:1020Kb

Facultad De Arquitectura Guía de Estudio sobre La Arquitectura Vernácula de Livingston Izabal, dirigida a Estudiantes y catedráticos. Douglas Hernández Sosa. UNIVERSIDAD DE SAN CARLOS DE GUATEMALA FACULTAD DE ARQUITECTURA. GUÍA DE ESTUDIO SOBRE LA ARQUITECTURA VERNÁCULA DE LIVINGSTON IZABAL Dirigida a estudiantes y Catedráticos. Guía de Estudio sobre La Arquitectura Vernácula de Livingston Izabal, dirigida a Estudiantes y catedráticos. Douglas Hernández Sosa. Metodología .............................................................................IX ÍNDICE Análisis Metodológico .......................................................IX Introducción ....................................................................................I Cuadro N.5. Metodología según Descripción Del Tema .......................................................................II Santiago Hernández Ruiz ...................................................IX Cuadro N.1. Código de la asignación de Historia de la Cuadro N.6. Metodología según Arquitectura y el Arte III ........................................................II Santiago Hernández Ruiz Modificado por Douglas H. Sosa .........X Cuadro N.2. Código de prerrequisito de la asignación de Historia Cuadro N.7. Proceso Metodológico para el desarrollo De la Arquitectura y el arte III ..................................................II De la Guía de Enseñanza y Aprendizaje para el curso de Cuadro N.3. área al que pertenece la asignación Historia de la Arquitectura y el Arte III .................................XI De Historia y el Arte III ..........................................................II Método ........................................................................XII Cuadro N.4. Descripción de Actividades del curso Análisis y Cuadro N.8. Proceso Metodológico para la de Historia y el Arte III...........................................................III Creación del Documento de Tesis .......................................XII Proceso Metodológico para la creación de la guía de Diagnóstico del Problema ................................................................IV estudio .........................................................................XIII Metodología para la aplicación por unidad de trabajo .......XIII, XIV Gráfica 1 Desconocimiento de la Cultura, Historia y Origen Étnico de los Garifunas .............................................IV Planificación sobre el tema de la Arquitectura Gráfica 2 Desconocimiento de la Vernácula Caribeña de Livingstón, Izabal ......................................XIV Arquitectura Vernácula Caribeña ..............................................V Gráfica 3 Desconocimientos de los Estilos y Cuadro N.9. Propuesta de Programa para impartir los Temas Corrientes Arquitectónicos del Caribe Guatemalteco .................VI De la Arquitectura Vernácula Caribeña ................................XVI Cuadro N.10. Planificación para el Catedrático sobre el Definición del Tema de Estudio ........................................................VII Tema de la Arquitectura Vernácula Caribeña .................XVII, XVIII Delimitación de la Investigación .......................................................VII Cuadro N.11. Cronograma de Actividades para impartir Justificación ................................................................................VII Los Temas sobre la Arquitectura Vernácula Caribeña ..............XIX Objetivos ...................................................................................VIII Técnicas Didácticas de Enseñanza - Aprendizaje .............................................................XX Objetivo General ................................................................VIII Objetivo Específico ............................................................VIII Cuadro 12. Método Didáctico del Estudio Dirigido, creado por Douglas H. Sosa .................................XXI Cuadro 13. Técnicas Didácticas .....................XXII, XXIII y XXIV Guía de Estudio sobre La Arquitectura Vernácula de Livingston Izabal, dirigida a Estudiantes y catedráticos. Douglas Hernández Sosa. Unidad 1 Mapa de recorrido para el análisis de la vivienda vernácula Localización Geográfica ..............................................................1 De Livingstón, Izabal ..........................................................XXV Introducción ....................................................................2 Guía de Enseñanza para el Catedráticos ..........................................XXVI Mapa del departamento de Guatemala ..................................3 Mapa del Municipio de Livingstón ........................................4 Guía de enseñanza para el Catedrático Objetivo ........................................................................XXVII Unidad 2 Método para la utilización en la enseñanza, 2.1 Historia Garífuna ..................................................................5 ¿Que es el método? .........................................................XXVII Método Deductivo .................................................XXVII, XXVIII Historia ..........................................................................6 Método Analítico ............................................................XXVIII Inicios de la Historia Garífuna ...........................................6,7 Cuadro N.14. Guía de enseñanza para el Catedrático en la Categoría Social dentro de la población asignación de Historia de la Arquitectura III .....................XXIX, XXX Negra Guatemalteca .......................................................7,8 Material Didáctico para el Catedrático ..................................XXXI Otra Emigración Negra ...................................................8,9 Guía de trabajo para el Estudiante ...............................................XXXII 2.2 Origen Étnico ...................................................................10 Guía Interactiva de Trabajo para el Estudiante El Garífuna y su Origen Étnico ...........................................11 Objetivo ........................................................................XXXIII Establecimiento en el reino de Guatemala .......................12,13 Temas propuestos para la elaboración del El poblado de Livingstón .......................................13 a la 15 CD Interactivo .................................................................XXXIII 2.3 Cultura Garífuna ................................................................16 Actividades que Desarrollará el Estudiante Acerca del Tema .............................................................XXXIII Cultura Garífuna .........................................................17,18 Elaboración de CD Interactivo ..................................XXXIII, XXXIV Auge y Ocaso de Livingstón .............................................18 Instrucciones Generales para la Elaboración Los Garífunas una Cultura Desconocida ...............................19 Del CD interactivo ..................................................XXXIV, XXXV Ejemplos de vivienda vernácula para la realización Análisis de la del CD interactivo .................................................XXXVI, XXXVII Unidad 1 y 2 ..........................................................................20 Posible Bibliografía para investigación Del Tema ......................................................................XXXVIII Unidad 1 ......................................................................21 Unidad 2 ............................................................21 a la 23 Guía de Estudio sobre La Arquitectura Vernácula de Livingston Izabal, dirigida a Estudiantes y catedráticos. Douglas Hernández Sosa. Unidad 3 Ejemplo de vivienda vernácula con influencia Africana Arquitectura ................................................................................24 Dentro del municipio de Livingstón ..............................................52 Arquitectura ......................................................................25 Fotografías de viviendas con influencia africana ...............53, 54 Arquitectura Caribeña ....................................................25,26 Iglesia, Puertos y Fuertes ...............................................26,27 Influencia Africana con estilo islámico Puerto .............................................................................27 dentro del municipio de Livingstón ...............................................55 Iglesias ............................................................................28 Fotografías de edifico con estilo Islámico ..................56 a la 59 Fuertes ............................................................................29 Arquitectura Vernácula de Livingstón ..................................60 Fotografías del Castillo de Aspectos de la Arquitectura Vernácula en Livingstón .............61 San Felipe de Lara ...................................................30 a la 32 Arquitectura Vernácula ........................................................33 Elementos Arquitectónicos El Balcón ............................................62 Síntesis Evolutiva de la Vivienda Vernácula del Caribe ...........33,34 Influencia Europea ...............................................................34 Ejemplos Fotográficos .....................................................63 Influencia Africana Cuadro 15 .........................................34,35 Evolución de la Vivienda Vernácula en Livingstón .................35,36
Recommended publications
  • “I'm Not a Bloody Pop Star!”
    Andy Palacio (in white) and the Garifuna Collective onstage in Dangriga, Belize, last November, and with admirers (below) the voice of thPHOTOGRAPHYe p BYe ZACH oSTOVALLple BY DAVE HERNDON Andy Palacio was more than a world-music star. “I’m not a bloody pop star!” He was a cultural hero who insisted Andy Palacio after an outdoor gig in Hopkins, Belize, that revived the hopes of a was so incendiary, a sudden rainstorm only added sizzle. But if it Caribbean people whose was true that Palacio wasn’t a pop star, you couldn’t tell it from the heritage was slipping away. royal treatment he got everywhere he went last November upon 80 CARIBBEANTRAVELMAG.COM APRIL 2008 81 THE EVENTS OF THAT NOVEMBER TOUR WILL HAVE TO GO DOWN AS PALACIO’S LAST LAP, AND FOR ALL WHO WITNESSED ANY PART OF IT, THE STUFF OF HIS LEGEND. Palacio with his role model, the singer and spirit healer Paul Nabor, at Nabor’s home in Punta Gorda (left). The women of Barranco celebrated with their favorite son on the day he was named a UNESCO Artist for Peace (below left and right). for me as an artist, and for the Belizean people which had not been seen before in those parts. There was no as an audience.” The Minister of Tourism Belizean roots music scene or industry besides what they them- thanked Palacio for putting Belize on the map selves had generated over more than a dozen years of collabora- in Europe, UNESCO named him an Artist tion. To make Watina, they started with traditional themes and for Peace, and the Garifuna celebrated him motifs and added songcraft, contemporary production values as their world champion.
    [Show full text]
  • 302232 Travelguide
    302232 TRAVELGUIDE <P.1> (118*205) G5-15 DANIEL V2 TABLE OF CONTENTS 2 INTRODUCTION 5 WELCOME 6 GENERAL VISITOR INFORMATION 8 GETTING TO BELIZE 9 TRAVELING WITHIN BELIZE 10 CALENDAR OF EVENTS 14 CRUISE PASSENGER ADVENTURES Half Day Cultural and Historical Tours Full Day Adventure Tours 16 SUGGESTED OVERNIGHT ADVENTURES Four-Day Itinerary Five-Day Itinerary Six-Day Itinerary Seven-Day Itinerary 25 ISLANDS, BEACHES AND REEF 32 MAYA CITIES AND MYSTIC CAVES 42 PEOPLE AND CULTURE 50 SPECIAL INTERESTS 57 NORTHERN BELIZE 65 NORTH ISLANDS 71 CENTRAL COAST 77 WESTERN BELIZE 87 SOUTHEAST COAST 93 SOUTHERN BELIZE 99 BELIZE REEF 104 HOTEL DIRECTORY 120 TOUR GUIDE DIRECTORY 302232 TRAVELGUIDE <P.2> (118*205) G5-15 DANIEL V2 302232 TRAVELGUIDE <P.3> (118*205) G5-15 DANIEL V2 The variety of activities is matched by the variety of our people. You will meet Belizeans from many cultural traditions: Mestizo, Creole, Maya and Garifuna. You can sample their varied cuisines and enjoy their music and Belize is one of the few unspoiled places left on Earth, their company. and has something to appeal to everyone. It offers rainforests, ancient Maya cities, tropical islands and the Since we are a small country you will be able to travel longest barrier reef in the Western Hemisphere. from East to West in just two hours. Or from North to South in only a little over that time. Imagine... your Visit our rainforest to see exotic plants, animals and birds, possible destinations are so accessible that you will get climb to the top of temples where the Maya celebrated the most out of your valuable vacation time.
    [Show full text]
  • Lopez Niu 0162D 12061.Pdf (3.188Mb)
    ABSTRACT BECOMING WHO WE ARE: INFORMAL LEARNING AND IDENTITY FORMATION AMONG THE GARINAGU OF WESTERN BELIZE Harold Anthony Lopez, Ed.D. Department of Counseling, Adult, and Higher Education Northern Illinois University, 2014 Gene Roth and Jorge Jeria, Co-Directors This ethnography explores the wholesome contexts of informal learning and identity formation among an ethnic minority group in Belize. The central research question of the study was: How is informal learning manifested among the Garinagu of Western Belize. Snowball sampling technique was used to recruit 20 participants aged between 36 and 82 years. The group’s ways of learning were examined through the lens of Sociocultural learning theory. In the conduct of the maintenance of culture, learning is centered on their resiliency as examined through the various experiences that they acquired as a result of their movements, disruption and setbacks, the concept of Garifunaduaü, the meet and greet process, and the roles of rituals and ancestry. The Garinagu display remarkable resiliency in their quest to maintain their cultural identity. Their resiliency is demonstrated through the ways in which they navigate their world that constantly changes through the many moves, disruptions and setbacks that they experience and share. Garifunaduaü pays homage to the principles of caring, daring, sharing and family. Rituals and ancestry provides for connection and continuity. Connection with traditional Garifuna communities as maintained through regular or extended visits to traditional communities helped participants retain key cultural habits and artifacts including fluency in the Garifuna language, participation in the rituals, and regular preparation of traditional foods. Smaller family sizes and a shrinking of the extended family are threatening cultural practice.
    [Show full text]
  • Anthropology / Anthropologie/ Antropología
    Bibliographical collection on the garifuna people The word garifuna comes from Karina in Arawak language which means “yucca eaters”. ANTHROPOLOGY / ANTHROPOLOGIE/ ANTROPOLOGÍA Acosta Saignes, Miguel (1950). Tlacaxipeualiztli, Un Complejo Mesoamericano Entre los Caribes. Caracas: Instituto de Antropología y Geografía, Facultad de Filosofía y Letras, Universidad Central. Adams, Richard N. (1956). «Cultural Components of Central America». American Anthropologist, 58, 881- 907. Adams, Sharon Wilcox (2001). The Garifuna of Belize: Strategies of Representation. B.A. Honors Thesis, Mary Washington College. Adams, Sharon Wilcox (2006). Reconstructing Identity: Representational Strategies in the Garifuna Community of Dangriga, Belize. M. A. Thesis, University of Texas, Austin. Agudelo, Carlos (2012). “Qu’est-ce qui vient après la reconnaissance ? Multiculturalisme et populations noires en Amérique latine» in Christian Gros et David Dumoulin Kervran (eds.) Le multiculturalisme au concret. Un modèle latino américain?. Paris: Presses Sorbonne Nouvelle, pp. 267-277. Agudelo, Carlos (2012). «The afro-guatemalan Political Mobilization: Between Identity, Construction Process, Global Influences and Institutionalization» in Jean Rahier (ed) Black Social Movements in Latin America. From Monocultural Mestizaje to Multiculturalism. Miami: Palgrave Macmillan. Agudelo, Carlos (2012). “Los garifunas, identidades y reivindicaciones de un pueblo afrodescendiente de América Central” in CINU-Centro de información de las Naciones Unidas (ed.) Afrodescendencia: aproximaciones contemporáneas desde América Latina y el Caribe, pp. 59-66. http://www.cinu.mx/AFRODESCENDENCIA.pdf viewed 06.04.2012. Agudelo, Carlos (2010). “Génesis de redes transnacionales. Movimientos afrolatinoamericanos en América Central» in Odile Hoffmann (ed.) Política e Identidad. Afrodescendientes en México y América Central. México: INAH, UNAM, CEMCA, IRD, pp. 65-92. Agudelo, Carlos (2011). “Les Garifuna.
    [Show full text]
  • Redalyc.Diaspora Sounds from Caribbean Central America
    Caribbean Studies ISSN: 0008-6533 [email protected] Instituto de Estudios del Caribe Puerto Rico Stone, Michael Diaspora Sounds from Caribbean Central America Caribbean Studies, vol. 36, núm. 2, julio-diciembre, 2008, pp. 221-235 Instituto de Estudios del Caribe San Juan, Puerto Rico Available in: http://www.redalyc.org/articulo.oa?id=39215107020 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 WATCHING THE CARIBBEAN...PART II 221 Diaspora Sounds from Caribbean Central America Michael Stone Program in Latin American Studies Princeton University [email protected] Garifuna Drum Method. Produced by Emery Joe Yost and Matthew Dougherty. English and Garifuna with subtitles. Distributed by End of the Line Productions/ Lubaantune Records, 2008. DVD. Approximately 100 minutes, color. The Garifuna: An Enduring Spirit. Produced by Robert Flanagan and Suzan Al-Doghachi. English and Garifuna with subtitles. Lasso Pro- ductions, 2003. Distributed by Lasso Productions. DVD. 35 minutes, color. The Garifuna Journey. Produced by Andrea Leland and Kathy Berger. English and Garifuna with subtitles. New Day Films, 1998. Distributed by New Day Films. DVD and study guide. 47 minutes, color. Play, Jankunú, Play: The Garifuna Wanáragua Ritual of Belize. Produced by Oliver Greene. English and Garifuna with subtitles. Distributed by Documentary Educational Resources, 2007. DVD. 45 minutes, color. Trois Rois/ Three Kings of Belize. Produced by Katia Paradis. English, Spanish, Garifuna, and K’ekchi Maya with subtitles (French-language version also available).
    [Show full text]
  • Libayababaflyer Web.Pdf
    The American Folklife Center of the Library of Congress presents Traditional Ethnic and Regional Music and Dance that’s “Homegrown” in Communities across the U.S. AN ACQUISITIONS & PRESENTATION PROJECT Libaya Baba Greg Palacio Jeffrey Bernardez Kelsie Bernardez Dayton Bernardez Conrad Nolberto Martha Martinez (singer and dancer) Georgette Lambey (singer and dancer) James Lovell (special guest from NYC) Garifuna Music and Dance from California Tuesday July 2, 2013 FREE AND OPEN 12 NOON –1 PM Coolidge Auditorium TO THE PUBLIC Ground Floor, Thomas Jefferson Building Metro Stop: Library of Congress Capitol South, 10 First Street, SE, one block south Washington, DC of the Jefferson Building Cosponsored with the Kennedy Center Millennium Stage With special thanks to the Smithsonian Folklife Festival Request ADA accommodations five days in advance at (202) 707-6362 or [email protected] For more information contact Thea Austen 202-707-1743 Libaya Baba Garifuna Music and Dance from California Garifuna Music and Dance hüngühüngü have their origins in ancestral ritual. In the Michele Goldwasser hüngühüngü, a shuffle and step dance movement is The Garifuna people have a vibrant history and performed to songs about historical or social events. In distinctive culture. Descended from West Africans and another dance, the chumba, women sing about everyday South American Indians, the Garinagu (the plural form of activities. In the Spanish-influenced paranda tradition, men Garifuna) call St.Vincent their homeland. During the sing while playing acoustic guitars. Though traditionally colonial era, the British attempted to force the Garinagu performed during the Christmas season, paranda songs onto reservations. They resisted and fought for their address social concerns rather than religious themes.
    [Show full text]
  • Belize Hotel Guide Digital Magazine
    The Official Accommodation Guide of Belize has been published Contents by the Belize Hotel Association for over a decade. Used as the main 06 marketing tool to showcase the Welcome to Belize Belizean product at international 07 Who We Are travel tradeshows, it has become 08 a staple publication. As the Festivals + Events pandemic struck the industry, it 10 Preparing for Your Adventure was clear that change needed to be 12 met with change. The 2021 Official Living Heritage Belize Accommodation Guide is 14 Birding Nation now solely available digitally. It 15 features full-page listings of hotel BELIZE CITY & NORTHERN BELIZE members, showcases Destination 24 Destination Conservation Management Companies and 26 San Pedro 2.0 allied partners, and includes engaging articles. This guide also 27 CAYES & ATOLLS contains a broader directory of 48 Manatee Love Belize hotels. Meant to be easily 50 Photo courtesy accessible and interactive, it Find Your Workspace in Belize Island Bway Photography represents the future of Belize 52 WESTERN BELIZE travel. We hope you have an 60 enjoyable read. Belize Awaits you. Kulcha Kitchen Hotel Amenities 62 How to See Belize 63 SOUTHERN BELIZE 78 Travel with Intention Air Bar Beach Bicycle Birding Business Canoeing/ 82 Our Members Conditioning Center Kayaking 106 Directory Handicap Conference Fitness Gift Hair Car Rental Fishing Accessible Room Center Shop Dryer Photo courtesy PHOTOGRAPHY CREDITS Drea Reneau COVER: Kevin W. Quischan (Belizemytravels), Belizing.com, Drea Horseback Internet/ Jacuzzi/ Laundry Helipad Iron Kitchenette Reneau, Francis Canto Jr., Island Bway Riding WiFi Hot Tub Service Photography, The Belize Toursim Board, The Institute of Social and Cultural Research (NICH), Visuals by Glenn Patrick.
    [Show full text]
  • Incarnation of the National Identity Or Ethnic Affirmation ? Creoles of Belize
    Chapter 2 Incarnation of the National Identity or Ethnic Affirmation? Creoles of Belize1 Elisabeth Cunin xyx h wahn no who seh Kriol no gat no kolcha” (“I want to know who said Creoles have no culture”). The title of this“A song by Lee Laa Vernon, famous Belizean artist, reveals the current transformations of the “Creole” status in this small Anglophone country of Central America. Until now, because it was considered the symbol of Belize, the “Creole culture” did not need to be defined, much less defended. This culture was considered to be precisely what bound together a society that was characterized by a multiplicity of groups, described in accordance with their specific origin, history, culture and language. This society was frequently shown as multiethnic, in which the Creoles were the guarantors of integration and “ethnic” labels were reserved for the rest, the “others.” Creoles recognized themselves better in their close relationship with power, symbolized by the British Crown and its representa- tives, colonial administrators and major traders, in a territory that was British Honduras for a long time. Does the fact that Blackness and mestizaje in Mexico and Central America Creoles wonder about their own culture now mean they have to be understood as an ethnic group just like the others? In the way this ethnicity is asserted, are the aspirations of the Creoles to embody the nation, in the way they are considered to have embodied the colony, thereby weakened? Being the dominant group, the Creoles did not define them- selves as an ethnic group; they reserved this label for the “others,” those who were not thought to incarnate the Colony, and then the Nation; those who, quoting the expression of Cedric Grant (1976, 19), are in the society, but are not from this society.
    [Show full text]
  • ABSTRACT Garifuna Waguia
    ABSTRACT Garifuna Waguia: Conservation and Revitalization of Garifuna Language in the Southern Caribbean Coast of Nicaragua The Garifuna Nation is an afro-indigenous ethnic group that can be found throughout Belize, Guatemala, Honduras, Nicaragua, and the island of St. Vincent. This project outlines the current status and community efforts towards the revitalization of Garifuna language in the Southern Caribbean Coast of Nicaragua, specifically the town of Orinoco. While there are an estimated 100,000 speakers of Garifuna across the world, there are currently only two fluent speakers in Orinoco, both of whom are elderly. Although language classes are given at the Manuel Mongalo Elementary School in Orinoco, Nicaragua, language education is not provided to those who are not enrolled in school. My thesis reports on community demands towards the implementation of a language program for the adults of the community who may not have the opportunity to learn the language otherwise. In order to meet the community demands and needs, this work draws from two approaches: a comparison between other indigenous language revitalization efforts throughout Latin America and the United States and the development of a Pedagogical Grammar for Garifuna, the latter of which aids adult learners with second language acquisition. The overarching objective of this study is to contribute to the ongoing effort of the Garifuna community in order to achieve an accessible pathway to the revitalization and conservation of the language. Garifuna Waguia: Conservation and Revitalization of Garifuna Language in the Southern Caribbean Coast of Nicaragua Michele Margarita Cubillo Baltodano Senior Thesis Thesis Advisor: Esther Castro-Cuenca May 5th, 2017 ACKNOWLEDGEMENTS First and foremost, I want to thank my thesis advisor, Professor Esther Castro-Cuenca, for supporting me unconditionally, providing constructive feedback, and continuously encouraging me throughout this project.
    [Show full text]
  • Copyrighted Material
    Mountain Pine Ridge area, Mayflower Bocawina National Index 248 Park, 166 Orange Walk Town, 204 Nim Li Punit, 191 See also Accommodations and Placencia, 172, 174 near Orange Walk Town, Restaurant indexes, below. Punta Gorda, 187–188 206–207 San Ignacio, 232 near Punta Gorda, 190–191 Ak'Bol Yoga Retreat (Ambergris San Ignacio area, 234 Caye), 120 suggested itinerary, 62–63 General Index Aktun Kan (Cave of the Serpent; Tikal, 264–269 A near Santa Elena), 278 Topoxté (Guatemala), 279 Almond Beach Belize, 11 Uaxactún (Guatemala), AAdictos (Flores), 283 GENERAL INDEX Altun Ha, 9, 200–201 279–280 Abolition Act of 1833, 24 Ambar (Ambergris Caye), 122 Xunantunich, 235 Accommodations, 53. See also Ambergris Caye, 11, 56, 107, Yaxhá (Guatemala), 278–279 Accommodations Index 110–133 Architecture, 26 Ambergris Caye, 122–128 accommodations, 122–128 Area codes, 284 Belize City, 91–94 fire department, 115 Armadillo, 298 Belmopan, 228–229 getting around, 114 Art, 26 lodges near, 230–231 nightlife, 132–133 Art Box (Belmopan), 228 best, 12–15 orientation, 114–115 Art galleries Caye Caulker, 141–143 police, 115 Belize City, 98, 104 Corozal Town, 217–219 post office, 115 Caye Caulker, 140–141 Dangriga, 159–160 restaurants, 128–132 Dangriga, 158 discounts for children, 47 shopping, 121 Placencia, 179 Hopkins Village, 169–171 sights and attractions, 115–121 Art 'N Soul (Placencia), 179 Orange Walk Town, 207–208 taxis, 114 Arts & Crafts of Central America the outer cayes, 163–165 traveling to and from, 110, 112 (San Ignacio), 239 Placencia, 179–183 Ambergris
    [Show full text]
  • La Paranda Garifuna En Amérique Centrale : De Sa Redécouverte À Son Internationalisation Grâce Au Studio D’Enregistrement
    La paranda garifuna en Amérique centrale : de sa redécouverte à son internationalisation grâce au studio d’enregistrement ONS BARNAT Résumé : Alors que la paranda garifuna semblait inéluctablement vouée à une disparition pro- chaine en Amérique centrale (du fait de la raréfaction de ses interprètes conjuguée à son impo- pularité auprès des jeunes), son entrée récente dans les studios d’enregistrement locaux repré- sente un processus inédit de patrimonialisation musicale – aujourd’hui relayé par le puissant engouement qu’elle suscite chez l’ensemble des musiciens et producteurs locaux. Au sein de la création musicale locale, de nouvelles compositions – apparues dans le cadre de productions soi- gneusement adaptées aux attentes des auditeurs internationaux de world music – font appel à des influences inédites, aujourd’hui largement partagées par la majorité des acteurs de la scène musicale contemporaine. uelque temps en terrain centraméricain suffit pour se rendre compte Qque la paranda garifuna vit un moment charnière de son histoire, se trou- vant à la croisée des chemins entre son internationalisation récente (à travers la commercialisation massive de certains disques locaux destinés à un marché mondialisé) et sa mise en valeur au niveau local (illustrée notamment au Belize par des politiques culturelles favorables à sa diffusion). Au sein de la création musicale locale, de nouvelles compositions – apparues dans le cadre de pro- ductions soigneusement adaptées aux attentes des auditeurs internationaux de world music1 – font appel à des influences inédites, aujourd’hui largement partagées par la majorité des acteurs de la scène musicale contemporaine2. Il apparaît, de plus, que cette dynamique semble s’être accentuée proportion- nellement au succès international de ces mêmes disques, révélant ainsi une relation circulaire continue entre les pôles global et local.
    [Show full text]
  • Del Olvido a La Memoria, 5: Nuestra
    Del olvido : a Ia memoria -. -p--q - vp I.- H - - MI - r 4 NA 1 --1 J ) :C CR/2017/CLT/PI/03 Cátedra de Estudios de África y el Caribe 5 Nuestra herencia afrocari beña Cátedra de Estudios de África y el Caribe Nuestra herencia Afrocaribejia IL . .r 4 Edición: Rina Cáceres GOmez, Universidad de Costa Rica. Revision FilolOgica: Lina Pochet Rodriguez. Diseno y diagramación: Ediciones Gráficas S.A. Diseño de portada: Carlos Picado Morales. La colección Del Olvido a Ia Memoria es resuitado de Ia inspiración del proyecto Memo- na u Olvido? La Africanla y las identidades Centroamericanas (NEH) coordinado por ci Dr. Lowell Gudmundson. FotografIa de portada: "Una escuela en una finca UFCO en La provincia de Limón, Costa Rica, ca.1920' TItulo original: "Children Going Home from School, Costa Rica, 1924:' United Fruit Company Photograph Collection, box 76A, #601. Baker Library Historical Collections. Harvard Business School. La impresiOn de este fascIculo es posible gracias a La Oficina de UNESCO San José y ai aporte del Coiegio de Licenciados y Profesores en Letras, Filosof ía, Ciencias y Artes de Costa Rica. Las opiniones aqui expresadas son responsabilidad de sus autores. Se autoriza el USO de este material con Ia condición de citar ia ftiente. Fecha de ediciOn: 2011 _______ 2 •-- - Cátedra de Estudios de África y el Caribe Nuestra herencia Afroearibeüa. Nk- INDICE *. N Kingston. Las migraciones laborales en las islas del Caribe. Michele A. Johnson........................................................................................................ Hacia la recuperación de La libertad, Cronologla. Rina Cáceres ........... 15 Qué tan ajenos, y qué tan extranjeros?: los antillanos británicos en America Central, 1870-1940, Lara Putnam.............................................
    [Show full text]