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The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time. -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) Permalink https://escholarship.org/uc/item/5rk9m7wb Author Wahl, Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Robert J. Wahl August 2016 Dissertation Committee: Dr. Walter A. Clark, Chairperson Dr. Byron Adams Dr. Leonora Saavedra Copyright by Robert J. Wahl 2016 The Dissertation of Robert J. Wahl is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I would like to thank the music faculty at the University of California, Riverside, for sharing their expertise in Ibero-American and twentieth-century music with me throughout my studies and the dissertation writing process. I am particularly grateful for Byron Adams and Leonora Saavedra generously giving their time and insight to help me contextualize my work within the broader landscape of twentieth-century music. I would also like to thank Walter Clark, my advisor and dissertation chair, whose encouragement, breadth of knowledge, and attention to detail helped to shape this dissertation into what it is. He is a true role model. This dissertation would not have been possible without the generous financial support of several sources. The Manolito Pinazo Memorial Award helped to fund my archival research in New York and Pittsburgh, and the Maxwell H. -
Download Ebook \\ Flamenco > X7RDMURUWD1U
QMSR6RWOSANH // Kindle < Flamenco Flamenco Filesize: 1.96 MB Reviews This book is really gripping and interesting. Of course, it is actually perform, still an interesting and amazing literature. You will not truly feel monotony at whenever you want of your time (that's what catalogues are for concerning when you request me). (Claud Schaden) DISCLAIMER | DMCA SGSWZG5YYWJ0 / Kindle < Flamenco FLAMENCO To get Flamenco eBook, remember to click the button beneath and save the file or gain access to other information that are related to FLAMENCO book. Reference Series Books LLC Sep 2012, 2012. Taschenbuch. Book Condition: Neu. 246x190x8 mm. Neuware - Source: Wikipedia. Pages: 36. Chapters: Concurso de Cante Jondo, Glossary of flamenco terms, Polo, Cante flamenco, Palo, Flamenco guitar, Duende, David Broza, Cantes de ida y vuelta, Saeta, Malagueñas, Cantes libres, Bambera, Phrygian dominant scale, Paco Toronjo, Río Ancho, ¿Quién maneja mi barca , Rasgueado, Flamencology, Flamenco mode, Rondeña, Flamenco skirt, Cantiñas, Peteneras, Palmas, Alegrías, Flamenco at 5:15, Martinetes, Flamenco shoes, Cartageneras, Zapateo, Hakim, Festival Bienal Flamenco, Tonás, Falseta, Cantes a palo seco, Alboreá, Tablao, Andalusian Centre of Flamenco, La Caramba, Flamenco Fiesta, Latin Grammy Award for Best Flamenco Album. Excerpt: El Concurso del Cante Jondo (Contest of the Deep Song) was a well-known celebration of the art of flamenco, its music, song, and dance, held in Granada, Andalusia on Corpus Christi, the 13th and 14 June 1922. The Spanish classical composer Manuel de Falla (1876 1946), an Andalusian, was the principal organizer of the Concurso; he sought to encourage and enhance the performance of flamenco, which had fallen into a period of decadence. -
An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles"
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles". Gina Lottinger Anthon Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Anthon, Gina Lottinger, "An Introduction to Joaquin Nin (1879-1949) and His "Veinte Cantos Populares Espanoles"." (1999). LSU Historical Dissertations and Theses. 6930. https://digitalcommons.lsu.edu/gradschool_disstheses/6930 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Quest for Identity in the Select Chicano Fiction
Int. J. Eng. INTERNATIONALLang. Lit & Trans. Studies JOURNAL (ISSN:2349 OF ENGLISH-9451/2395 LANGUAGE,-2628) Vol. 4.LITERATURE Issue.1., 2017 (Jan-Mar.) AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in KY PUBLICATIONS RESEARCH ARTICLE Vol. 4. Issue.1., 2017 (Jan-Mar.) QUEST FOR IDENTITY IN THE SELECT CHICANO FICTION PANDURANG S. ATHAWALE Assistant Professor Dept. of English Nehru Maha. Ner (Pt.) Dist. Yavatmal, Maharashtra, India, Email: [email protected] ABSTRACT Chicano literature is comparatively recent development in the field of literature has only recently been acknowledged as a significant and worthwhile section of American literature: nevertheless, as Ronoldo Hinojosa states in his essay “Mexican- American: Toward an Identification,” ‘there is a long literary tradition behind what is produced today.’ It has several in intricate and diverse facets. Its main characteristic, fundamental for this body of literature is that deals with ethnic identity, therefore they raised their voices against discrimination. Particularly, the novels state their quest for identity, in their novels as Acosta, Oscar, Zeta, Sandra Cisneros and Candelaria Nash. Keywords: Chicano/a, discrimination, ethnicity, identity, quest ©KY PUBLICATIONS Introduction The problem of identity is one of the most crucial in the development of each and every society. Identity is about belonging and existence of everyone in the society. In American literature this essential problem becomes obvious through the many forms of narratives of the quest for a private, inner identity as a major human experience. Moreover, Chicano literature has several intricate and diverse facets and within its complexity are content distinct strata and orientations. -
Connections Between Bach and Cassadó D Minor Suites
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-1-2021 CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR SUITES Eunice Koh [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/gs_rp Recommended Citation Koh, Eunice. "CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR SUITES." (Spring 2021). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR CELLO SUITES by Eunice Koh Kai’En B.Mus., Nayang Academy of Fine Arts – Royal College of Music, 2017 A Research Paper Submitted in Partial Fulfilment of the Requirements for the Master of Music School of Music in the Graduate School Southern Illinois University Carbondale May 2021 Copyright by Eunice Koh Kai’En, 2021 All Rights Reserved RESEARCH PAPER APPROVAL CONNECTIONS BETWEEN BACH AND CASSADÓ D MINOR CELLO SUITES by Eunice Koh Kai’En A Research Paper Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Music in the field of Music Approved by: Dr. Eric Lenz, Chair Graduate School Southern Illinois University Carbondale April 01, 2021 ACKNOWLEDGMENTS The journey to achieve my Masters in Music Performance would not have been possible without my teacher, Dr. Eric Lenz. I am truly appreciative of his unwavering support and dedication for my pursuit for excellence. My growth in cello performance and pedagogy will definitely be aspects that will carry through my later years as a cello performer and educator. -
Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. -
India-Lorca-Flamenco Music-Dance-Theatre Inspired by Poem of the Deep Song Federico García Lorca Rasa Y Duende Interior Lansdcapes
Mónica de la Fuente Company India-Lorca-Flamenco Music-Dance-Theatre inspired by Poem of the Deep Song Federico García Lorca Rasa y Duende Interior lansdcapes A creation in dance, music and theatre where the expe- rience of flamenco is explored in movement, sound and image in an encounter with one of its mother-roots: India. Where the primitive and at the same time stylized sound of flamenco meets –in a creative dialogue- the essence of traditional and contemporary forms of dance-theatre inspired by In- dian Performing Arts. Physical theatre, actions and gestures serve as the languages of expression to convey the poetic world of Lorca and immerse the audience in a new aesthetic experience in search of that magic, timeless space imbued with age-old traditions and startling innovation, poised between India and Flamenco, rasa and duende. “The duende works on the dancer’s body like wind on sand. It changes a girl, by magic power, into a lunar paralytic, or covers the cheeks of a broken old man, begging for alms in the wine-shops, with adolescent blushes: gives a woman’s hair the odour of a midnight sea-port: and at every instant works the arms with gestures that are the mothers of the dances of all the ages”. In Indian aesthetics, RASA refers to the nine basic emo- tions common to all human beings. The artistic expression of those emotions create an aesthetic ideal – a state where all human beings experience ART beyond cultures and frontiers, an experience of the transcendence akin to what in fla- menco is called DUENDE. -
The Cambridge Companion to Latin A/O American Literature Edited by John Morán González Index More Information
Cambridge University Press 978-1-107-04492-0 - The Cambridge Companion to Latin A/O American Literature Edited by John Morán González Index More information INDEX Abingdon Square (María Irene Fornés Alliance for Progress, 75 1988), 101 All-Union Day of the Shock Worker, The abolition, 13 , 19 (Edwin Torres 2001), 138 “Absence” (Pedro Juan Soto 1956), 50 – 51 Almaguer, Tomás, 182 , 189 Acardi, Millicent, 158 Alurista, xx , 64 , 104 , 148 , 154 Acevedo, David Caleb, 190 Alvarado, Lisa, 152 Acevedo, John “Chance,” 152 Alvarez, Julia: and 1990s, xxxi ; and Acheson, Dean, 72 , 73 bicultural, bilingual selves, 170 ; on Acosta, Grisel, 158 class and immigration, 119 ; and Cold Acosta, Oscar “Zeta,” xix , 60 , 168 , 176n2 War themes, 79 – 80 , 81 , 82 , 86 , 87 ; Across a Hundred Mountains (Reyna and education, 94 ; fi ction of, xx ; and Grande 2006), xxi , 240 , 242 – 243 invisibility, 124 – 125n41 ; and migration Acuña, Rudy, 153 narratives, 231 , 235 – 236 , 237 , 239 , 243 ; administrative colonialism, xxviii , 52 and multicultural canon, 111 ; personal Adventures of Juan Chicaspatas, The essays of, 172 – 173 ; poetry of, 149 (Rodolfo Anaya 1985), 107 Alvarez de Toledo, José, 4 aesthetics of politics, 58 , 64 . See also cultural Always Running (Luis Rodriguez 1993), xxi , nationalism 171 – 172 affi rmative action, 108 – 109 Ambientes: New Queer Latino Writing African Americans, 37 , 131 , 195 – 196 (2011), 190 African American women, xxx American Dream: Latina/o perspectives Afro-Latinos, 152 , 196 , 199 , 205 on, 26 – 29 ; and migration narratives, Agosin, Marjorie, 149 234 , 236 – 237 , 238 – 242 , 243 , 244 ; Agüero Sisters, The (Cristina García and minority literature, 231 – 232 ; and 1997), 84 1990s, 119 ; and Puerto Rican diaspora, AIDS crisis, xxx , 77 – 78 , 93 , 108 , 206n3 45 , 48 – 49 ; and reverse migration, 168 ; Alarcón, Francisco X., 157 – 158 underside of, 108 ; and U.S. -
La Saeta Flamenca Ou Chanter Pour Le Nazareno Et La Dolorosa
LA PASSION SELON LES ANDALOUS : LA SaETa FLaMEnCa OU CHANTER POUR LE nazaREnO ET LA DOLOROSA MERCEDES GOMEZ-GARCIA PLATA Université de PaRIS III ¿Quién me presta una escalera, para subir al madero, para quitarle los clavos a Jesús el Nazareno? Saeta Popular ès les origines du Christianisme, l’attitude de la hiérarchie ecclésiastique à l’égard de la musique en général et du chant en particulier a été partagée entre méfiance et intérêt militant. Les Pères de l’Église, en effet, se méfient de la musique – davantage D 1 de sa manifestation instrumentale que vocale – pour deux raisons essentielles. En premier lieu, ils la considèrent comme un danger en raison de son pouvoir sur les passions et les émotions qui font d’elle un objet de jouissance ; en second lieu, ils la voient comme un cheval de Troie par lequel peuvent s’infiltrer des éléments profanes dans le domaine sacré – c’est le cas des premières hymnes chrétiennes qui s’inspirent de mélodies profanes. Cependant, ils perçoivent aussi que, mise au service de la grandeur de l’Église, la musique, grâce à sa dimension symbolique, peut être utilisée comme un formidable outil de propagande susceptible d’impressionner et d’éduquer les fidèles. Cette double perception de la musique conduit l’Église chrétienne occidentale, dès les premiers siècles, à admettre la légitimité du recours au chant dans le culte et les célébrations liturgiques – tout en réglementant strictement les modalités de ce recours2. C’est pourquoi elle a aussi intégré, au cours de son histoire, dans le corpus des musiques sacrées, les chants populaires pratiqués par les fidèles lors des fêtes religieuses du calendrier liturgique, en particulier les chants de Noël et de la Passion3. -
The Original Festival Flamenco Gitano 1965
THE ORIGINAL FESTIVAL FLAMENCO GITANO 1965 THE ORIGINAL FESTVAL FLAMENCO GITANO 1965 EMO 9301-2 LC 5774 German Release Date: July 1, 1993 The authentic Spanish Flamenco art is artistically the richest. and liveliest folk-music in Europe. For some reason, although not lacking in popularity, this is less well known in the greater part of Europe. There are several reasons for its comparitive obscurity and they call to mind the situation of Blues in America before its "discovery" in Europe: confusion of concepts and standards, mixing with popular fashions in music, cabaret and night-clubs. Most of those activities do not display the true Flamenco art. The desire to open the door to a wider understanding of the Flamenco art and its artists and to make known the music which has inspired a wide range of contemporary music and especially Jazz, led to the resolve to call exclusively upon those who formed this art, and who preserve its essential nature in the closed circles of their own communities: the GITANOS, the Spanish Gipsies. Federico Garcia Lorca said: "... these people have united the most ancient elements of our country with the oldest they brought with them to Andalusia, and given the definite form to what we call the CANTE JONDO. They are the soul of our soul...." THE FLAMENCO IS THE BLUES OF EUROPE. Both have strong African roots and both were created and kept alive over the century by depressed minorities. In November 1965, Lippmann and Rau, the organizers of the American Folk Blues Festival, followed this successful event with the Festival Flamenco Gitano.