SEM and CORD Joint Annual Meeting Table of Contents Organizers
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A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond
A Delicate Balance Negotiating Isolation and Globalization in the Burmese Performing Arts Catherine Diamond If you walk on and on, you get to your destination. If you question much, you get your information. If you do not sleep and idle, you preserve your life! (Maung Htin Aung 1959:87) So go the three lines of wisdom offered to the lazy student Maung Pauk Khaing in the well- known eponymous folk tale. A group of impoverished village youngsters, led by their teacher Daw Khin Thida, adapted the tale in 2007 in their first attempt to perform a play. From a well-to-do family that does not understand her philanthropic impulses, Khin Thida, an English teacher by profession, works at her free school in Insein, a suburb of Yangon (Rangoon) infamous for its prison. The shy students practiced first in Burmese for their village audience, and then in English for some foreign donors who were coming to visit the school. Khin Thida has also bought land in Bagan (Pagan) and is building a culture center there, hoping to attract the street children who currently pander to tourists at the site’s immense network of temples. TDR: The Drama Review 53:1 (T201) Spring 2009. ©2009 New York University and the Massachusetts Institute of Technology 93 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/dram.2009.53.1.93 by guest on 02 October 2021 I first met Khin Thida in 2005 at NICA (Networking and Initiatives for Culture and the Arts), an independent nonprofit arts center founded in 2003 and run by Singaporean/Malaysian artists Jay Koh and Chu Yuan. -
Lotus Infuses Downtown Bloomington with Global
FOR MORE INFORMATION: [email protected] || 812-336-6599 || lotusfest.org FOR IMMEDIATE RELEASE: 8/26/2016 LOTUS INFUSES DOWNTOWN BLOOMINGTON WITH GLOBAL MUSIC Over 30 international artists come together in Bloomington, Indiana, for the 23rd annual Lotus World Music & Arts Festival. – COMPLETE EVENT DETAILS – Bloomington, Indiana: The Lotus World Music & Arts Festival returns to Bloomington, Indiana, September 15-18. Over 30 international artists from six continents and 20 countries take the stage in eight downtown venues including boisterous, pavement-quaking, outdoor dance tents, contemplative church venues, and historic theaters. Representing countries from A (Argentina) to Z (Zimbabwe), when Lotus performers come together for the four-day festival, Bloomington’s streets fill with palpable energy and an eclectic blend of global sound and spectacle. Through music, dance, art, and food, Lotus embraces and celebrates cultural diversity. The 2016 Lotus World Music & Arts Festival lineup includes artists from as far away as Finland, Sudan, Ghana, Lithuania, Mongolia, Ireland, Columbia, Sweden, India, and Israel….to as nearby as Virginia, Vermont, and Indiana. Music genres vary from traditional and folk, to electronic dance music, hip- hop-inflected swing, reggae, tamburitza, African retro-pop, and several uniquely branded fusions. Though US music fans may not yet recognize many names from the Lotus lineup, Lotus is known for helping to debut world artists into the US scene. Many 2016 Lotus artists have recently been recognized in both -
Swedish Folk Music
Ronström Owe 1998: Swedish folk music. Unpublished. Swedish folk music Originally written for Encyclopaedia of world music. By Owe Ronström 1. Concepts, terminology. In Sweden, the term " folkmusik " (folk music) usually refers to orally transmitted music of the rural classes in "the old peasant society", as the Swedish expression goes. " Populärmusik " ("popular music") usually refers to "modern" music created foremost for a city audience. As a result of the interchange between these two emerged what may be defined as a "city folklore", which around 1920 was coined "gammeldans " ("old time dance music"). During the last few decades the term " folklig musik " ("folkish music") has become used as an umbrella term for folk music, gammeldans and some other forms of popular music. In the 1990s "ethnic music", and "world music" have been introduced, most often for modernised forms of non-Swedish folk and popular music. 2. Construction of a national Swedish folk music. Swedish folk music is a composite of a large number of heterogeneous styles and genres, accumulated throughout the centuries. In retrospect, however, these diverse traditions, genres, forms and styles, may seem as a more or less homogenous mass, especially in comparison to today's musical diversity. But to a large extent this homogeneity is a result of powerful ideological filtering processes, by which the heterogeneity of the musical traditions of the rural classes has become seriously reduced. The homogenising of Swedish folk music started already in the late 1800th century, with the introduction of national-romantic ideas from German and French intellectuals, such as the notion of a "folk", with a specifically Swedish cultural tradition. -
UNSUNG: South African Jazz Musicians Under Apartheidunsung
UNSUNG: South African Jazz Musicians under Apartheid outh African jazz under apartheid has in recent years been the subject of numerous studies. The main focus, however, has hitherto been on the musicians who went into exile. Here, for the first time, those who stayed behind are allowed to tell their stories: the stories of musicians from across the colour spectrum who helped to keep their art alive in South Africa during the years of state oppression. CHATRADARI DEVROOP &CHRIS WALTON CHATRADARI Unsung South African Jazz Musicians under Apartheid EDITORS Chatradari Devroop & Chris Walton UNSUNG: South African Jazz Musicians under Apartheid Published by SUN PReSS, an imprint of AFRICAN SUN MeDIA (Pty) Ltd., Stellenbosch 7600 www.africansunmedia.co.za www.sun-e-shop.co.za All rights reserved. Copyright © 2007 Chatradari Devroop & Chris Walton No part of this book may be reproduced or transmitted in any form or by any electronic, photographic or mechanical means, including photocopying and recording on record, tape or laser disk, on microfilm, via the Internet, by e-mail, or by any other information storage and retrieval system, without prior written permission by the publisher. First edition 2007 ISBN: 978-1-920109-66-9 e-ISBN: 978-1-920109-67-7 DOI: 10.18820/9781920109677 Set in 11/13 Sylfaen Cover design by Ilse Roelofse Typesetting by SUN MeDIA Stellenbosch SUN PReSS is an imprint of AFRICAN SUN MeDIA (Pty) Ltd. Academic, professional and reference works are published under this imprint in print and electronic format. This publication may be ordered directly from www.sun-e-shop.co.za Printed and bound by ASM/USD, Ryneveld Street, Stellenbosch, 7600. -
The Bible in Music
The Bible in Music 115_320-Long.indb5_320-Long.indb i 88/3/15/3/15 66:40:40 AAMM 115_320-Long.indb5_320-Long.indb iiii 88/3/15/3/15 66:40:40 AAMM The Bible in Music A Dictionary of Songs, Works, and More Siobhán Dowling Long John F. A. Sawyer ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 115_320-Long.indb5_320-Long.indb iiiiii 88/3/15/3/15 66:40:40 AAMM Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by Siobhán Dowling Long and John F. A. Sawyer All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dowling Long, Siobhán. The Bible in music : a dictionary of songs, works, and more / Siobhán Dowling Long, John F. A. Sawyer. pages cm Includes bibliographical references and index. ISBN 978-0-8108-8451-9 (cloth : alk. paper) — ISBN 978-0-8108-8452-6 (ebook) 1. Bible in music—Dictionaries. 2. Bible—Songs and music–Dictionaries. I. Sawyer, John F. A. II. Title. ML102.C5L66 2015 781.5'9–dc23 2015012867 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
The Dissemination of the Nyckelharpa
The Dissemination of the Nyckelharpa The Ethnic and the non-Ethnic Ways Gunnar Ternhag & Mathias Boström, Dalarnas Forskningsråd, Falun, Sweden The Ethnic and the non-ethnic Many traditional instruments are strongly linked to ethnic concepts. These connotations are often well known to musicians and listeners both inside and outside ethnic communities, although they are valued and interpreted differently. Some instruments are regarded as typical of certain cultures; you could even call them emblematic. This is evident when it comes to national cultures. The Finnish kantele and the Norwegian hardanger fiddle are typical examples of this (cf. Torp 1998). Other instruments have ethnic connotations without being symbols for specific cultures. The djembe drum, for instance, is mostly considered as simply “African” in the Western world. These and many similar instruments are more or less accessible to everyone today. The same goes for music and playing styles. Record stores, festivals, workshops and the Internet can easily provide everyone interested with inspiring products. A musician who wants to pick up a traditional musical instrument from a different culture than his or her own has to choose. He or she may try to learn the original music and playing style associated with the instrument; the so-called “tradition.” We will call this the ethnic way of approaching the instrument. The beginner wants to learn the instrument and its music in the same way as if he or she were living in the original community of the instrument. In this way many musicians in Sweden and other similar countries have learned how to play high- land-pipes or bouzouki—and have become Scots or Greeks in their musicianship. -
Principal's Message
The Evelyn Grace News PARENT/CARER NEWSLETTER - APRIL 2016 Principal’s Message IN THIS ISSUE Reading for Pleasure Programme Kindred Spirits The Year 12 big Reading Project Duke of Edinburgh Awards Literacy Tips Dear Parent and Carers, and is really starting to impact upon Careers Fair the abilities of our students. Library Welcome to the Spring Edition of the borrowing has gone up each month Evelyn Grace News. I am confident that Gifted and Talented since the start of the year and I would you will be impressed by the fantastic love to see this continue so that Programme range of activities and opportunities on every student is making use of our offer within our Academy. outstanding library. Study Skills: The Spring Term has been a very Work Smarter, Not Harder With the summer exams getting ever short term, but that hasn’t stopped us closer all of our students in Years from squeezing in as much as possible Madrid Trip 11, 12 and 13 should be taking every into our school calendar. From our opportunity to revise and prepare for Year 7’s all the way through to our Lambeth Model UN their exams. To support your sons and Year 13’s every child has been given daughters I would recommend that the opportunity to get involved in Art they create a revision timetable and something special both inside and revise every evening for a short period outside of the classroom. There Drama of time. In ten weeks it is all over so have been trips to the countryside the small sacrifices now will lead to big with The Duke of Edinburgh Awards Music benefits come August. -
Guillermo Zuluaga Ceballos GARDEL VIVE MURIÉNDOSE DE LA RISA INSTITUTO TECNOLÓGICO METROPOLITANO INSTITUCIÓN UNIVERSITARIA
GARDEL VIVE MURIÉNDOSE DE LA RISA Guillermo Zuluaga Ceballos GARDEL VIVE MURIÉNDOSE DE LA RISA INSTITUTO TECNOLÓGICO METROPOLITANO INSTITUCIÓN UNIVERSITARIA Número 42, diciembre de 2015 MEMORIA recoge texto polémicos a través de conferencias y ponencias, sobre personajes y hechos que han marcado un hito en el transcurso de la historia. ISSN 1692-0368 © INSTITUTO TECNOLÓGICO METROPOLITANO INSTITUCIÓN UNIVERSITARIA © GUILLERMO ZULUAGA CEBALLOS Rectora María Victoria Mejía Orozco Editora Silvia Inés Jiménez Gómez Secretaría técnica Carolina Castañeda Vergel Fotografías Guillermo Zuluaga Ceballos Diseño, diagramación e impresión ARTES GRÁFICAS Y PUBLICACIONES Comunicaciones y Publicaciones FONDO EDITORIAL ITM Departamento de Biblioteca y Extensión Cultural Memoria / Instituto Tecnológico Metropolitano, Departamento de Biblioteca y Extensión Cultural. -- No. 42 (dic. 2015) .-- Medellín : Fondo Editorial ITM, 2015 66 p. ISSN 1692-0368 1. Tango -- Medellín 2. Gardel, Carlos, 1890-1935 -- Crítica e interpretación I. Ceballos Zuluaga, Guillermo II. Instituto Tecnológico Metropolitano. Departamento de Biblioteca y Extensión Cultural. Catalogación en la publicación – Biblioteca ITM Calle 73 No. 76ª-354 Medellín-Colombia (574) 4405246 – 4405298 E-mail: [email protected] www.itm.edu.co PRESENTACIÓN La serie MEMORIA, en esta oportunidad, aborda una de las realidades que se pasean por toda Latinoamérica a manera de música: el tango. Este género, nacido como tal a fines del siglo XIX, llegó a nuestro país a principios del siglo XX y nunca más se fue, se quedó en los bares y cantinas del entonces barrio Guayaquil de Medellín, ubicado en el centro de la ciudad. Con el mismo fervor, esta influencia tanguera hizo que en esta ciudad, se quedara también uno de sus máximos exponentes, Carlos Gardel, que luego de venir a Medellín con su espectáculo de tango tuvo un accidente aéreo en el que murió, quedando su espíritu para siempre resguardado en estas montañas que acogió de tal manera al tango, que hoy hace parte fundamental de su cultura y de su historia. -
CELAC Student Voice, October 2018
O C T O B E R 1 S T , 2 0 1 8 I S S U E V I THE CELAC STUDENT VOICE Is it dangerous to help the I N T H I S I S S U E homeless? by Willan Jandir Armas Suqui IS IT DANGEROUS TO HELP THE HOMELESS? Children playing in the garbage while parents are taking a nap on the street is a common view in the residents’ daily life in Albuquerque. The rousting sun of the summer burn their bodies as much as the sharp cold of RESTAURANT REVIEW: the winter; however, some residents act as though they adopted this social problem as part of their culture and AJIACO COLOMBIAN their lives. I am afraid to say that homelessness is BISTRO already another attraction in the city. As soon as I arrived to the city, I got some advice about beggars and how to handle them if beggars walk up to COUNTING MY me, surprisingly not a single advice aims for helping or BLESSINGS giving them any assistance. Apparently, the solution to cope with the homelessness is to turn these people down and keep on walking without any remorse. CHAVISMO IN VENEZUELA CHANGED The crisis Albuquerque is dealing with seems to be out MY LIFE of control because of the alarming growth of homeless reported in the area. A survey conducted by PIT Point- In-Time Count Results (2017) shows, “…an increase of EXPERIMENTAL 269 homeless each year since 2015”. This has stirred up PSYCHOLOGY a huge backlash from residents who consider these problems as the wake-up call for the authorities to TRADITIONAL MUSICAL carry out an emerging plan so as to clean up the area. -
Westfest Site Specific Bios
Peter Adams is a composer, producer, sound designer, and multi-Instrumentalist. Classically trained and unconfined by genre, Peter has produced two albums and numerous works for modern dance, film, theater, and television. His combination of traditional, sampled, and virtual instruments creates a wide spectrum of sounds, allowing for music both intimate and expansive. He has performed throughout the country, including with the Cincinnati Ballet, and has been critically acclaimed by Spin, Magnet, Performing Songwriter, and NPR. Jonathan Campbell received his B.F.A. from The Juilliard School in 2010 and Austin Diaz graduated from NYU's Tisch School of the Arts with a B.F.A in 2011. They both currently dance for Sidra Bell Dance New York. In August 2011, Campbell and Diaz co-founded MADboots dance co. Please visit www.madbootsdance.com and become a friend of MADboots! Emeri Fetzer is a dancer/choreographer and writer from SLC, Utah. After graduating from Goucher College, Emeri worked at Jacob's Pillow then moved to New York in 2011. Since, she was Company Manager for Jacoby & Pronk, contributor for Theater Development Fund, and is Managing Editor at DancePulp.com. She is thrilled to be debuting the first of many dance collaborations. Luke Folger began speaking the language of music from a young age in Washington and Montana, where his parents built strange new instruments from recycled materials, homemade speakers and audio gear, and brought him to weekend barter fair/drum circles in fields with colorful locals. High school marching drum corps, numerous punk rock bands, and a visual arts degree led him to join the music and arts community of NYC in 2007. -
Ptou À Sua Pró- Pria Índole, Como Forma De Extravasar Os Seus Mais Ardentes Anseios De Liberdade
Criação O Nordeste e sua música O COMEÇO DA DÉCADA DE 70, Marcus Pereira e eu decidimos fazer um mapeamento musical do Brasil. A idéia, consumada até 1975 em quatro N coleções discográficas, era documentar as manifestações mais represen- tativas das várias regiões brasileiras. Todo o projeto, com sofisticados recursos técnicos, dava seqüência ao que Mário de Andrade, munido apenas de lápis e papel, iniciara 40 anos antes. Quando já estava gravada a coleção Música Popular do Nordeste pedi a cinco intelectuais da região, atentos observadores da vida comunitária, que es- crevessem a respeito dos principais gêneros documentados. Ariano Suassuana produziu um texto explicativo sobre cantorias de viola e literatura de cordel; Paulo Cavalcanti encarregou-se do frevo; Renato Carneiro Campos discorreu sobre côcos e bandas de pífanos; Euricledes Formiga comentou as emboladas; Jaime Diniz analisou as danças populares, especialmente as cirandas; e Hermilo Borba Filho dissertou, de cátedra, sobre o bumba-meu-boi. Também coube ao Hermilo planejar toda a pesquisa de campo empreen- dida pelo Quinteto Violado. O material escrito continua rigorosamente atual e, em seu conjunto, forma um vigoroso ensaio sobre a cultura popular nordestina – razão que determinou o seu oportuno aproveitamento em ESTUDOS AVANÇADOS. Assim, o que parecia condenado ao degredo nas estantes dos colecionadores vem novamente à luz. Resgata-se do esquecimento uma reflexão que pode suscitar novas pesquisas, sempre necessárias. Instala-se, no meio acadêmico, uma hipótese de trabalho sobre o nosso mais criativo compositor de todos os tempos – o povo brasileiro. (Aluízio Falcão, jornalista, é assessor de imprensa da Pró-Reitoria de Cultura e Extensão da USP). -
Keigwin + Company
presents KEIGWIN + COMPANY LARRY KEIGWIN Artistic Director ANDREA LODICO WELSHONS Executive Director NICOLE WOLCOTT Co-Founder/Education Director BRANDON COURNAY Rehearsal Director & Company Manager RANDI RIVERA Production & Stage Manager DANCERS ZACKERY BETTY, KACIE BOBLITT, BRANDON COURNAY, KILE HOTCHKISS, GINA IANNI, EMILY SCHOEN, JACLYN WALSH, NICOLE WOLCOTT 1 KEIGWIN + COMPANY EPISODES (2014) LOVE SONGS (2006) CHOREOGRAPHY Larry Keigwin CHOREOGRAPHY Larry Keigwin with the Company LIGHTING DESIGN Burke Wilmore LIGHTING DESIGN Burke Wilmore COSTUMES Sarah Laux COSTUMES Fritz Masten MUSIC On the Town – Three Dance Episodes, Leonard Bernstein MUSIC Roy Orbison “Blue Bayou” and “Crying” DANCERS Zackery Betty, Kacie Boblitt / Gina DANCERS Emily Schoen & Brandon Cournay Ianni*, Brandon Cournay, Kile Hotchkiss, Emily UNDERSTUDY Gina Ianni Schoen, Jaclyn Walsh MUSIC Aretha Franklin “Baby, I Love You” and “I Episodes was commissioned by the John F. Never Loved a Man (The Way I Love You)” Kennedy Center for the Performing Arts and DANCERS Jaclyn Walsh & Zackery Betty the National Symphony Orchestra, Christoph Eschenbach, Music Director, as part of the 2014 MUSIC Nina Simone “Ne Me Quitte Pas” NEW Moves: Symphony + Dance. and “I Put a Spell on You” *alternating cast DANCERS Nicole Wolcott & Larry Keigwin Love Songs was created in part with generous CONTACT SPORT (2012) support from The Greenwall Foundation. CHOREOGRAPHY Larry Keigwin MUSIC “Monotonous,” Lyrics by June Carroll & TRIPTYCH (2009) Music by Arthur Siegel; Performed by Eartha CHOREOGRAPHY