UNION TANGUERA + KATE WEARE COMPANY Sin Salida
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Is a Genre of Dance Performance That Developed During the Mid-Twentieth
Contemporary Dance Dance 3-4 -Is a genre of dance performance that developed during the mid-twentieth century - Has grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. -Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. -It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. -Involves exploration of unpredictable changes in rhythm, speed, and direction. -Sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh. -Contemporary dance draws on both classical ballet and modern dance -Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. -Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies. -There is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. -Choreography is determined based on its relation to the music or sounds that is danced to. . -
Betty White Vately on the Ing.” Particular Characteristic: They Are Falsifi- More Than Half a Century Ago, a Inside
page 2 ..................Opinion page 14................Senior Safety page 4 ..........................Weird News Coming Up! page 15............SRDA Menu page 5..................Health Happy Father’s Day page 16.............Finances page 7...............Social Security & You Congratulations Class of 2008 page 18...............Senior Classifieds page 8............Light for the Journey page 22..............Fremont/Custer Menu SeniorIF YOU ARE 50 OR OLDER YOUBeacon SHOULD READ IT!! SB JUNE, 2008 Vol. 26: No. 11 Established Aug., 1982 311 Consecutive Months! Potpourri Of Subjects To Tickle Your Fancy by James R. Grasso, Publisher, Chief Cook/Bottle Washer for Senior Beacon flexologist extraordinaire comes Yes, those were pictures of my daughter, Robin the following: Lynn you saw in the Pueblo West View and The Pueblo Here is something not Chieftain in late May. She is the same child that many of many of us get to see, unless you prayed for and continue to pray for beginning in early you live near there - Mt. St. Hel- 2000. It has been eight-plus very demanding years for Rob- ens at sunrise. in Lynn and her immediate family as well as our extended Mt. St.. Helens contin- Senior Beacon family. I’ve tried to keep you all updated ues to spew ash, while it is form- over the years while still trying to keep Robin’s privacy intact. ing a lava dome in the crater and Through all of her trials and tribulations she has persevered and flourished. still having minor tremors. My family and I are very proud of her and her many accomplishments, most espe- Here in this sunrise cially finishing as Valedictorian of her class at Pueblo West High School. -
An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
Ska Y Punk En Bogotá. Santiago Montealegre Juan
ANÁLISIS HISTÓRICO DE LAS RELACIONES CULTURA POLÍTICA – COMUNICACIÓN: SKA Y PUNK EN BOGOTÁ. SANTIAGO MONTEALEGRE JUAN CARLOS GUTIÉRREZ DIAZ DIRECTOR: CARLOS ARTURO REINA RODRIGUEZ UNIVERSIDAD FRANCISCO JOSE DE CALDAS FACULTAD DE CIENCIAS Y EDUCACIÓN MAESTRÍA COMUNICACIÓN - EDUCACIÓN LINEA CULTURA POLÍTICA BOGOTÁ 2019 Dedicatoria Un especial agradecimiento a mi madre, mis hermanos, Paulita y Jenny por brindarme su amor y apoyo en los proyectos que he emprendido. Juan Carlos Gutiérrez. A Santi, Isa, Clau, mi madre, mi padre y mi hermana quienes a diario me rodean de tanto amor y felicidad, gracias por ese apoyo incondicional, por permitirnos construir lo mejor cada día. Santiago Montealegre. Al profesor Carlos Arturo Reina por orientar este trabajo. Usted preguntará por qué cantamos, Cantamos por el niño y porque todo y porque algún futuro y porque el pueblo, Cantamos porque el grito no es bastante y no es bastante el llanto ni la bronca, Cantamos porque creemos en la gente, Cantamos porque llueve sobre el surco y somos militantes de la vida Y porque no podemos ni queremos dejar que la canción se haga ceniza. MARIO BENEDETTI 2 TABLA DE CONTENIDO RESUMEN ............................................................................................................................. 5 INTRODUCCIÓN ................................................................................................................. 7 CAPITULO I ........................................................................................................................ 11 -
Alessandro Rocco Università Di Bari, Italia
REVISTA DE CRÍTICA LITERARIA LATINOAMERICANA Año XXXVII, No 73. Lima-Boston, 1er semestre de 2011, pp. 229-252 JOSÉ REVUELTAS, ESCRITOR DE CINE: EL GUION LA OTRA Alessandro Rocco Università di Bari, Italia Resumen En 1944, el escritor José Revueltas empieza su aventura en el cine mexicano. A partir de esa fecha, y hasta el año 1960, Revueltas aparecerá como argumentista y/o adaptador en los créditos de veinticuatro películas, a las que hay que añadir, en 1975, la adaptación de El apando. Existen también cuatro guiones completos publicados (La otra, Tierra y libertad, Los albañiles, El apando). Este artículo pro- pone un análisis crítico del guion de José Revueltas, La otra (1946), con el ob- jetivo de estudiar su funcionamiento narrativo en cuanto texto fílmico; y con el intento de colocarlo en el contexto de la producción narrativa de Revueltas, en cuanto texto narrativo de autor. Presencia del espejo y del reflejo como elemento central en la representación de la temática de la identidad y del doble; espacio de la cárcel como signo y representación de la enajenación; culpa (fratricidio) y castigo; actitud piadosa hacia el personaje (femenino) culpable: estos elementos demuestran que el guion La otra no es un texto extraño al universo narrativo y a las preocupaciones literarias de José Revueltas. Palabras clave: cine y literatura, guion cinematográfico, relato fílmico, José Re- vueltas, Roberto Gavaldón, La otra, cine mexicano. Abstract In 1944 the Mexican writer José Revueltas began his adventure in Mexican ci- nema. Since then, and until 1960, Revueltas will appear as screenwriter in the credits of twenty-four Mexican movies, and in one more in 1975: the adapta- tion of his own novel El apando. -
It Takes Two by Carolyn Merritt
Photo: Keira Heu-Jwyn Chang It Takes Two by Carolyn Merritt What will become of us if we can’t learn to see and be with others? Can we see ourselves as others do, in order to navigate the path toward greater communication and understanding, without relinquishing our identity in the process? Together, Union Tanguera and Kate Weare Dance Company probe these questions in Sin Salida, their stunning cross-pollination of Argentine tango and contemporary dance recently presented at the Annenberg Center. Titled after Jean-Paul Sartre’s 1944 play No Exit (Huis clos in French), the production weaves together essential elements of each form with points of connection and tension, positing dance as a metaphorical map for human relations. Five chairs mark the upstage space and a single light hangs above a piano downstage left, evoking a tense audition. Film images, in negative, appear against the backdrop—a woman tending her hair at a vanity, a couple framed in a doorway, their essence muddied in the wash of black. Union Tanguera Co-Artistic Directors Claudia Codega and Esteban Moreno dance an elegant, salon-style tango that combines the outward focus and enlarged vocabulary of stage tango with the inward intention of the improvised, social Argentine form. They spin as if in balancé turns to the sounds of tango waltz, heads and focus trailing behind. Moreno lifts Codega to fan her legs wide in a split en l’air. Their costuming—stiletto heels and a tight red, knee-length dress slit to the hip for Codega, and dark dress shirt and slacks for Moreno—reference “traditional” tango aesthetics and gender dynamics. -
Esto No Es Una Casa. La Casa Sin Salida En El Cine De Roman Polanski" [En Línea]
RODRÍGUEZ DE PARTEARROYO, Manuela (2014): "Esto no es una casa. La casa sin salida en el cine de Roman Polanski" [en línea]. En: Ángulo Recto. Revista de estudios sobre la ciudad como espacio plural, vol. 6, núm. 1, pp. 77-96. En: http://www.ucm.es/info/angulo/volumen/Volumen06-1/varia01.htm. ISSN: 1989-4015 http://dx.doi.org/10.5209/rev_ANRE.2014.v6.n1.45324 Esto no es una casa. La casa sin salida en el cine de Roman Polanski Manuela RODRÍGUEZ DE PARTEARROYO Departamento de Filología Italiana Universidad Complutense de Madrid [email protected] Recibido: 13/09/2013 Modificado: 31/03/2014 Aceptado: 25/04/2014 Resumen Desde sus orígenes, el cine de Roman Polanski ha mantenido intacto su poder de fascinación sobre el espectador cinematográfico, tanto por su incansable modernidad, como por la inevitable polémica que siempre arrastran sus películas. En este caso, pretenderemos acercarnos a dos comedias, escasas en su filmografía, como son What? (1972) y Carnage (2011), muy distantes en el tiempo aunque con interesantes coincidencias temáticas y narrativas. Nuestro interés primordial será ahondar en su retrato de las figuras femeninas de ambas obras y su ubicación, física y metafórica, en el espacio de la casa. Siguiendo la estela de maestros como Luis Buñuel, Marco Ferreri o Stanley Kubrick, Polanski encerrará a sus mujeres en un refugio hostil y sin salida para que vaya cayéndose progresivamente la máscara de la sociedad moderna, dejando salir, poco a poco, al animal primitivo que nunca hemos dejado de ser. Esto no es una casa, sino una balsa llena de náufragos tratando de sobrevivir. -
EL CAMBIO CLIMÁTICO Y LA GRAN INACCIÓN Nuevas Perspectivas Sindicales
Documento de trabajo No.2 EL CAMBIO CLIMÁTICO Y LA GRAN INACCIÓN Nuevas perspectivas sindicales Índice El cambio climático y la gran inacción Nuevas perspectivas sindicales Varsovia: El fin del comienzo.......................................................................................................2 La CMNUCC y el proceso de Kioto..............................................................................................4 Fe en el mercado......................................................................................................................5 Trabajos, transición justa, diálogo social...................................................................................5 La economía verde y el PNUMA.........................................................................................7 La gran recesión y la alternativa verde.....................................................................................8 Ciencia y solidaridad.....................................................................................................................9 Tiro al blanco: La AFL-CIO.............................................................................................................9 El fiasco de Copenhague—y después......................................................................................10 Emisiones de países en vías de desarrollo..............................................................................11 Déficit de emisiones...................................................................................................................12 -
El Debate 19341107
EL TIEMPO (S. Meteorológico N.).—Probable hasta las seis de la tarde de hoy. Centro y Oeste de Andalucía: Vientos, del Noroeste y cielo nuboso. Resto de España: La hechicera del Monte Melton Vientos del Oeste y algunos chubascos. Temperatura: dramática y sugestiva novela, que se ptiDlTca Tnte^a máxima de ayer, 20 en Castellón y Murcia; mínima, 1 l en la gran revlsCa en Zamora. En Madrid: máxima, 12,5 (12,50 ra.); míni ma, 5 (5,40 m.). (Véase en séptima plana el Boletín Meteorológico.) LECTURAS PARA TODOS E Primera paiie, esta semana. Segunda parle, la semana prSuma. MADRID—Año XXIV.—Núm. 7.783 * Miércoles 7 ae noviembre de 1984 CINCO EDICIONES DIARIAS Apartado 466. — Red. y Admón., ALFONSO XI, 4.—Teléfonos 21090, 21092, 21093, 21094, 21095 y 21096 La huelga general decretada por la C. N. T. ha fracasado rotundamente Ante otro intento criminal LO DEL DÍA ¡Consejo de guerra para Las Caries otorgaron su confianza al Gobierno después de un •• ^«^ •• Intento de lanzar a los obreros a la huelga general en Zaragoza. Con decir Primero, la responsabilidad los diputados general se ahorran muchas aclaraciones. Quiere decirse que es revolucionaria civil de la revolución discurso de Gil Robles y que, empezada en estos momentos, guarda estrecha conexión con la pasada La Sala segunda se inhibe en el • • mmm • • intentona y la continúa. No hay por qué sentir alarma de ninguna especie. Pero Se empiezan a proponer arbitrios sí hay razón para que la sociedad y el Gobierno, como llamado a defenderla, para la reconstrucción de Oviedo des caso de Prieto truida, y de la maltrecha zona de As —«- - "Cuando se venza la nueva insurrección, que será la última, se exigirán tomen buena cuenta de lo que ocurre y aprovechen muy seriamente la lección. -
Jacob's Pillow Presents Canada's Red Sky
NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations & Communications Manager 413.243.9919 x132 [email protected] JACOB’S PILLOW PRESENTS CANADA’S RED SKY PERFORMANCE, AUGUST 7-11; CENTERPIECE OF WEEKLONG CELEBRATION OF INDIGENOUS DANCE AND CULTURE July 22, 2019 – (Becket, MA) Red Sky Performance makes their Doris Duke Theatre debut with the U.S. Premiere of Trace, August 7-11. Red Sky is a leading company of contemporary Indigenous performance in Canada and worldwide, led by Artistic Director Sandra Laronde. “Magnificent in the scope of its imagination” (Globe and Mail), Trace is a highly kinetic contemporary dance work influenced by Anishinaabe sky and star stories, offering a glimpse into Indigenous origins. The U.S. premiere of Trace is the centerpiece of The Land On Which We Dance, a landmark gathering of Indigenous dance and culture at Jacob’s Pillow, curated by Sandra Laronde in association with Hawaiian dancer/choreographer Christopher K. Morgan and Massachusetts-based Nipmuc Elder Larry Spotted Crow Mann. “Jacob’s Pillow’s identity is entwined with the beauty and majesty of our land and natural surroundings. It is important to welcome back to the Pillow the original inhabitants of this land with a landmark celebration that will not only assemble local elders and artists, but also a premiere company like Red Sky Performance, whose work acts as a vehicle for storytelling and transformation,” says Jacob’s Pillow Director Pamela Tatge. In an interview with the Smithsonian’s American Indian Magazine, Laronde says, “The idea of Trace came from the notion that all things are traceable and what we leave behind as humans, as a culture, as a nation, and as an individual is our legacy.” In creating the work, Laronde realized all traces have origins, and then began to question the origin of Indigenous people and more specifically, Anishinaabe people. -
The Political Kiaesthetics of Contemporary Dance:—
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective Permalink https://escholarship.org/uc/item/5gg5d9cm Author Seetoo, Chia-Yi Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Miryam Sas, Chair Professor Catherine Cole Professor Sophie Volpp Professor Andrew F. Jones Spring 2013 Copyright 2013 Chia-Yi Seetoo All Rights Reserved Abstract The Political Kinesthetics of Contemporary Dance: Taiwan in Transnational Perspective By Chia-Yi Seetoo University of California, Berkeley Doctor of Philosophy in Performance Studies Professor Miryam Sas, Chair This dissertation considers dance practices emerging out of post-1980s conditions in Taiwan to theorize how contemporary dance negotiates temporality as a political kinesthetic performance. The dissertation attends to the ways dance kinesthetically responds to and mediates the flows of time, cultural identity, and social and political forces in its transnational movement. Dances negotiate disjunctures in the temporality of modernization as locally experienced and their global geotemporal mapping. The movement of performers and works pushes this simultaneous negotiation to the surface, as the aesthetics of the performances registers the complexity of the forces they are grappling with and their strategies of response. By calling these strategies “political kinesthetic” performance, I wish to highlight how politics, aesthetics, and kinesthetics converge in dance, and to show how political and affective economies operate with and through fully sensate, efforted, laboring bodies. -
Compagnie Tangokinesis
Compagnie Tangokinesis La Compagnie TANGOKINESIS se caractérise non seulement par son originalité à fondre deux langages chorégraphiques (Danse Moderne et Tango) mais aussi parce qu'elle mêle des danseurs d’univers différents : les femmes sont de formation classique et moderne et les hommes proviennent du Tango et du Folklore, et tous marient avec talent leurs différentes techniques Après sa carrière jalonnée de grands succès comme danseuse, chorégraphe et Directeur du Ballet Contemporain du Théâtre San Martín, Ana María Stekelman, a commencé son travail de recherche sur le Tango et sa fusion avec la Danse Moderne. Cette tâche a évolué jusqu'à la création de sa Compagnie, TANGOKINESIS en 1992. Depuis lors les voyages et les représentations dans les Festivals et les Théâtres plus importants se succèdent dans le monde entier - entre autres : Parc de la Villette (Paris- France) - Festival de Jérusalem - Festival d'Automne – Festival de Madrid - Festival de Lyon (France) - Coloré Dansez Festival (U.S.A.) - American Dansez Festival (U.S.A.) - World Financial Center de New York - Kennedy Center (U.S.A.) - Festival d'Avignon (France). LA COMPAGNIE 1997 Chorégraphie du film « Tango » réalisateur : Carlos Saura Opéra Garnier de Paris – soirée de gala -« Consécration du Tango » avec Julio Bocca et le Ballet Argentin. Chorégraphie d’Ana Maria Stekelman 1999 « Palais » a été la seule chorégraphie invitée à la clôture du Festival d’Avignon dans la cour d’Honneur du Palais des Papes 2002 La Compagnie tourne dans un documentaire pour Arte réalisé par