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2015 Review from the Director
2015 REVIEW From the Director I am often asked, “Where is the Center going?” Looking of our Smithsonian Capital Campaign goal of $4 million, forward to 2016, I am happy to share in the following and we plan to build on our cultural sustainability and pages several accomplishments from the past year that fundraising efforts in 2016. illustrate where we’re headed next. This year we invested in strengthening our research and At the top of my list of priorities for 2016 is strengthening outreach by publishing an astonishing 56 pieces, growing our two signatures programs, the Smithsonian Folklife our reputation for serious scholarship and expanding Festival and Smithsonian Folkways Recordings. For the our audience. We plan to expand on this work by hiring Festival, we are transitioning to a new funding model a curator with expertise in digital and emerging media and reorganizing to ensure the event enters its fiftieth and Latino culture in 2016. We also improved care for our anniversary year on a solid foundation. We embarked on collections by hiring two new staff archivists and stabilizing a search for a new director and curator of Smithsonian access to funds for our Ralph Rinzler Folklife Archives and Folkways as Daniel Sheehy prepares for retirement, Collections. We are investing in deeper public engagement and we look forward to welcoming a new leader to the by embarking on a strategic communications planning Smithsonian’s nonprofit record label this year. While 2015 project, staffing communications work, and expanding our was a year of transition for both programs, I am confident digital offerings. -
1 Eugenio Maria De Hostos Community College / CUNY
Eugenio Maria de Hostos Community College / CUNY Humanities Department Visual & Performing Arts Unit Academic Program Review Fall 2016 Second Draft Academic Program Mission Statement The Visual & Performing Arts Unit fosters and maintains the history and practice of all aspects of artistic endeavor in the College and the community. Through its curriculum, members of the College community and other members of the urban community explore, interpret, and apply the artistic practices that lead to a better understanding of themselves, their environment, and their roles in society. Description of the Unit The VPA Unit is the largest unit of the Humanities Department. It serves approximately 1,125 students from all majors at Hostos every semester. With courses as far ranging as painting and drawing, art history, public speaking, acting, music, and photography, students can pursue many possible creative paths. Those who elect to earn credits in the visual and performing arts will find a variety of approaches to learning that include lecture and studio based classes as well as workshops that allow for the exploration of extracurricular interests or even for the development of career centered skill sets vital to the pursuit of employment opportunities. The successful completion of courses in the arts are a useful and, in many cases, essential basis for study in other disciplines. They are also a valuable source for personal development. Students interested in planning a concentration in the visual and performing arts are advised to consult with the Visual and Performing Arts Coordinator. The Media Design Programs were originally housed in the VPA Unit, but operate as a separate unit due to the considerable growth of students and courses. -
José Gabriel Muñoz Interview Transcript
Raíces Digital Archive Oral History Transcript José Gabriel Muñoz - Cuatrista October 20, 2019 [0:11] José Gabriel Muñoz: My name is José Gabriel Muñoz and I play the Puerto Rican cuatro. It’s used mostly for the folkloric music of Puerto Rico. [0:20] I grew up listening to the music in my household. My dad would always play the music. I was born in Puerto Rico so I had those roots of the music and the culture was always in my family. And my dad would always play the music so growing up, I was always listening to it, it was always basically a part of me. [41:00] But when I was about fourteen years old I saw someone play it in front of me for the first time, and it happened to be a young man, my same age, about fourteen-thirteen, fourteen, at the time, and that’s when it became palpable and real to me. Up until then it was listening to eight-tracks and cassettes, you know, the old guard of the music, as I would call it. [1:03] And so, many young people, as myself at the time, would interpret that as just music for old people, music of my grandfathers, of my older uncles and such. It wasn’t the here and now, hip type music. Up until I watched this young man play, right in front of me, and it became alive to me, and from that moment on is where the interest grew. [1:32] Nicole Wines: Can you talk a little bit about the instrument itself? [1:38] JGM: The instrument comes from the lute family, it is my understanding. -
Improvisation in Latin Dance Music: History and Style
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1998 Improvisation in Latin Dance Music: History and style Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/318 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CHAPTER Srx Improvisation in Latin Dance Music: History and Style PETER MANUEL Latin dance music constitutes one of the most dynamic and sophisticated urban popular music traditions in the Americas. Improvisation plays an important role in this set of genres, and its styles are sufficiently distinctive, complex, and internally significant as to merit book-length treatment along the lines of Paul Berliner's volume Thinking in Jazz (1994 ). To date, however, the subject of Latin improvisation has received only marginal and cursory analytical treat ment, primarily in recent pedagogical guidebooks and videos. 1 While a single chijpter such as this can hardly do justice to the subject, an attempt will be made here to sketch some aspects of the historical development of Latin im provisational styles, to outline the sorts of improvisation occurring in main stream contemporary Latin music, and to take a more focused look at improvi sational styles of one representative instrument, the piano. An ultimate and only partially realized goal in this study is to hypothesize a unified, coherent aesthetic of Latin improvisation in general. -
Jíbaro a Smithsonian Folkways Lesson Designed By: Sandra Sanchez University of Miami
Jíbaro A Smithsonian Folkways Lesson Designed by: Sandra Sanchez University of Miami Summary: Puerto Rican culture is a representation of the diverse heritages of three cultural groups: Taíno Indians, Africans, and Spaniards. This lesson focuses on the Spanish influences found in Puerto Rico’s musical culture by studying jíbaro music. Suggested Grade Level: Grades 3-5, 6-8 Country: Puerto Rico Region: Caribbean Culture Groups: Puerto Rican, Spanish Genre: Instruments: Cuatro, Orff Instruments, Güiro Language: Spanish Co-curricular Areas: Language Arts, Social Studies National Standards: 1, 2, 3, 4, 6, 7, 8, 9 Prerequisites: Students should have had some experience using Orff instruments. Objectives • Students will be able to create lyrics using an assigned rhyming structure. • Students will be able to create rhythms to the lyrics of a décima. • Students will be able to improvise a melody with a given rhythm on an Orff instrument. • Students will be able to sing the response section to a call-and-response song. Materials 1. Mohr, Nicholasa and Antonio Martorell. 1995. The song of el coquí and other tales of Puerto Rico. New York: Viking. 2. Orff Instruments 3. Güiro and pua (güiro stick) 4. Musica del Pueblo Website: http://www.musicadelpueblo.org/ 5. Smithsonian Folkways, “Y amo la libertad (And I Love Freedom)” by Ecos de Borinquen from Jíbaro Hasta el Hueso: Mountain Music of Puerto Rico: http://www.folkways.si.edu/ecos-de-borinquen/jibaro-hasta-el-hueso-mountain- music-of-puerto-rico/latin-world/album/smithsonian 6. Smithsonian Folkways, “Seis Salinés” by Cuerdas de Borínquen from Puerto Rico in Washington: http://www.folkways.si.edu/puerto-rico-in-washington/caribbean-latin- world/music/album/smithsonian Lesson Segments 1. -
Isolation on and Off the Island: the Politics of Displacement in Contemporary Spanish Caribbean Fiction
ISOLATION ON AND OFF THE ISLAND: THE POLITICS OF DISPLACEMENT IN CONTEMPORARY SPANISH CARIBBEAN FICTION By Gretchen Susan Selcke Dissertation Submitted by the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Spanish August, 2015 Nashville, Tennessee Approved: William Luis, Ph.D. Cathy L. Jrade, Ph.D. Benigno Trigo, Ph.D. Lorraine M. López, Ph.D. Copyright © 2015 by Gretchen Susan Selcke All Rights Reserved To my husband Phil for his unwavering love and support and To my daughter Belén Amanda iii ACKNOWLEDGEMENTS This work would not have been possible without Vanderbilt University’s Department of Spanish and Portuguese. I am grateful for financial support from Vanderbilt’s Graduate Select Scholars Award, the Center for the Americas’ Fellowship, the Library Dean’s Fellowship for the Manuel Zapata Olivella Correspondence Collection, and the E. Inman Fox Graduate Teaching Award. These awards and fellowships, among others, helped me to complete this project. I am especially indebted to Professor William Luis, my first and greatest champion. He is a wonderful mentor and scholar whose lasting contributions to Latino Studies shape the field. Thank you to Professor Cathy Jrade, who as Department Chair for most of my tenure at Vanderbilt, provided guidance and set an example of professional excellence. To Professor Benigno Trigo, thank you for your careful attention and support. To Professor Lorraine López, thank you for your encouragement and willingness to support graduate education. My committee has been tested, and I am forever in their debt. I am grateful to all of those with whom I have had the honor to work during this and other projects. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
About the Puerto Rican Arts Alliance (PRAA)
_________________________________________________________________________________ 3000 N. Elbridge Ave., Chicago, IL 60618 - 773-342-8865 - praachicago.org - facebook.com/PuertoRicanArtsAlliance About the Puerto Rican Arts Alliance (PRAA) The Puerto Rican Arts Alliance (PRAA) is dedicated to preserving culture by maintaining traditions, promoting the arts, providing educational opportunities, and cultivating pride in heritage for future generations. The organization works toward this mission through separate - but interconnected - program areas and activities that include school-based programs, workshops, community outreach, and exhibitions. The organization has more than 20 years of experience working within the community, specifically with youth. PRAA offers unique programs that increase knowledge, impact identity, and inspire creativity. Through programs at three community locations -- Humboldt Park Field House, PRAA Center and the Latin Music Project Center – PRAA serves a diverse audience of 30,000 individuals each year. About the Latin Music Project The Latin Music Project (LMP) is an afterschool program offering classes in cuatro, guitar, violin, ensemble performance and Latin music fundamentals. Classes are offered for children/youth from all backgrounds, aged 4-18 years. Participants will learn how to read music, how to play traditional Latin American songs and how to perform as a group. Classes are held at the Latin Music Project Center (2958 N Milwaukee Ave, Chicago). Advanced students may audition to join PRAA's Latin Music Project Ensemble, gaining additional experience performing at community events and practicing once per week year-round. 2020-2021 Program Dates: Fall Classes September 28 – December 16, 2020 Fall Final Concert Thursday, December 17, 2020, 6-8pm Spring Classes February 1 – April 26, 2021 Spring Final Concert Thursday, April 37, 2021, 6-8pm No classes are held when CPS is closed. -
Redalyc.Salsa Music As Expressive Liberation
Centro Journal ISSN: 1538-6279 [email protected] The City University of New York Estados Unidos Berrios-Miranda, Marisol Salsa Music as Expressive Liberation Centro Journal, vol. XVI, núm. 2, fall, 2004, pp. 158-173 The City University of New York New York, Estados Unidos Available in: http://www.redalyc.org/articulo.oa?id=37716211 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 Berrios(v7).qxd 3/1/05 7:33 AM Page 158 CENTRO Journal Volume7 xv1 Number 2 fall 2004 Salsa) Salsa Music as Expressive Liberation1 MARISOL BERRIOS-MIRANDA ABSTRACT In the span of a singe decade, the 1970s, young people in urban centers all over Latin America came to embrace salsa music as their preferred musical style and expression. Salsa’s unprecedented international popularity resulted from the confluence of several distinct social conditions and historical events: the Puerto Rican dilemma of colonial status, the civil rights and black pride movements in the U.S., the Cuban revolution’s promise of upliftment for the lower classes, urban migration, and the need for a Latino alter- native to the hegemony of Anglo rock. In this paper I will argue that salsa’s popularity needs to be understood in terms of a musical sound and a social style that responded effectively to these circumstances, captured beautifully in the film Our Latin Thing. I propose, furthermore, that the colonial dilemma of Puerto Ricans in the island and in New York motivated their creative contributions to salsa, which they experienced as a form expressive liberation and decolonization. -
Volume-7-No-3
iro y Maraca Volume 7, Number 3 July 2003 A Publication of the Segunda Quimbamba Folkloric Center, Inc. La Monoestrellada in the Lone Star State: The Meteoric Rise of Austin's Puerto Rican Folkloric Dance By Juan Cartagena In the southern part of Texas, San Antonio and beyond, three flags with slow, undulating waves in a hot, unforgiving Texan sun are prominent in airports and other locales. In the center, the stars and stripes hold court. To the left, the unflinching waves of the lone star state flag of Texas is noticeable. To the right are the proud red, white and green colors of the bandera de Mexico. The flags are a clear reminder of the profound relationships, tor- tured and at times complementary, between Texas and the land of Aztlan. About 70 miles north in Austin, Texas, the impact of Mexican life and culture within the state capitol does not wane, despite the city's reputation as the most diverse of Texas' communities. It is representative of the extensive and ever growing Mexican influence in all things Latino within the United States; a growing influence that every Latina and Latino should recognize with- in the U.S. — that the Latinization of the United States is dominated by Mexico, no matter how prominent and com- mercialized Cuban and Puerto Rican images have manifested themselves in recent years. It is the music of Mexico and its offshoots, banda and norteno music that is far and away the biggest selling music among Latinos in this country. For decades now, Mexican Americans have composed approximately 60% of the Latino population of the United States. -
John Ahearn and Rigoberto Torres the Bronx Comes to La John Ahearn and Rigoberto Torres the Bronx Comes to La
JOHN AHEARN AND RIGOBERTO TORRES THE BRONX COMES TO LA JOHN AHEARN AND RIGOBERTO TORRES THE BRONX COMES TO LA Charlie James Gallery is very proud to present The Bronx Comes to LA, a two-person show celebrating the artistic partnership of seminal New York artists John Ahearn and Rigoberto Torres, a partnership spanning over 40 years. The artists first met at the Fashion Moda alternative space in the Bronx in 1979, where Ahearn was doing live castings of people in front of the storefront window, and hanging the painted portraits as an exhibit. Torres, then 18, had a keen understanding of what Ahearn was doing, having grown up working in his uncle’s religious statuary factory. The two artists worked together, visiting the statuary factory and installing the group of casts as The South Bronx Hall of Fame at the neighborhood Con Edison Building. After the Times Square Show in the summer of 1980 they opened a casting workshop together in Torres’s neighborhood on Walton Avenue. In the early Eighties they installed several permanent fiberglass relief murals in the Bronx. Ahearn and Torres have completed numerous sculpture projects together, in Baltimore, Rotterdam, Taiwan, Brazil, and Puerto Rico. The life casting process that Ahearn and Torres’s subjects submitted to in the Bronx in 1979 is effectively the same process the artists use today: Subjects’ faces and shoulders are covered with a molding material called alginate, similar to what dentists use to make molds. Then a layer of plaster bandages are applied, forming a rigid shell mold around the alginate. -
Ment in Puerto Rican Chicago by Karen Serwer Secrist
Construyendo nuestro pedacito de patria: Space and Dis(place)ment in Puerto Rican Chicago by Karen Serwer Secrist Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Antonio Viego, Supervisor ___________________________ Esther Gabara ___________________________ Walter Mignolo ___________________________ Claudia Milián ___________________________ Richard Rosa Dissertation submitted in partial fulfillment of the requirements for the degree of PhD of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2009 ABSTRACT Construyendo nuestro pedacito de patria: Space and Dis(place)ment in Puerto Rican Chicago by Karen Serwer Secrist Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Antonio Viego, Supervisor ___________________________ Esther Gabara ___________________________ Walter Mignolo ___________________________ Claudia Milián ___________________________ Richard Rosa An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of PhD in the Department of Romance Studies in the Graduate School of Duke University 2009 Copyright by Karen Serwer Secrist 2009 Abstract This dissertation explores the relationship between identity and place in the imagination, performance and production of post-World War II Puerto Rican urban space in Chicago. Specifically, I contend that the articulation of Puerto Rican spatiality in the city has emerged primarily as a response to the threat of local displacement as a byproduct of urban renewal and gentrification. I further argue the experience of displacement, manifested through territorial attachment, works to deepen the desire for community and belonging. Through a performance and cultural studies approach, this project works to track this recent history of Puerto Rican geographic and psychic displacement within Chicago as it is evidenced by various performative spatial interventions and manifested within the community’s expressive culture.