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CURRICULUM VITAE Akira ICHIKAWA Address
March 11, 2021 CURRICULUM VITAE Akira ICHIKAWA Address Office: Hale Science Building, Department of Anthropology, University of Colorado Boulder E-mail: [email protected] Positions 2019.8- Present JSPS Overseas Research Fellow, University of Colorado Boulder, United States. 2015.4- 2020.3 Designated Assistant Professor, Institute for Advanced Research, Nagoya University, Japan. 2014.4- Present Visiting Researcher, Institute for Latin American Studies of Kyoto University of Foreign Studies, Japan. 2013.4-2015.3 Postdoctoral Research Fellow of Japan Society for the Promotion of Science (JSPS), Department of Social Research, National Museum of Ethnology, Japan 2011.4-2013.3 Young Research Fellow of Japan Society for the Promotion of Science (JSPS), Graduate School of Letters, Nagoya University, Japan 2009.5-2009.11 Japanese International Cooperation Agency (Short term voluntter, School of Anthropology, Universidad Tecnológica de El Salvador, El Salvador) 2007.11-2008.2 Japanese International Cooperation Agency (Short term volunteer, Department of Archaeology, National Council of Culture and Art, El Salvador) 2005.4-2007.8 Japanese International Cooperation Agency (Long term volunteer, Department of Archaeology, National Council of Culture and Art, El Salvador) 2002.4-2005.3 Researcher (Part time), Museum of the History of Jomon, Miyagi, Japan. Education Junior High School 1995 Sekimoto Junior High School, Ibaraki, Japan High School 1998 Hitachi First High School, Ibaraki, Japan Bachelor 2002 University of Tohoku-Gakuin, Miyagi, -
Cerro Danush: an Exploration of the Late Classic Transition in the Tlacolula Valley, Oaxaca
FAMSI © 2008: Ronald Faulseit Cerro Danush: An Exploration of the Late Classic Transition in the Tlacolula Valley, Oaxaca. Research Year: 2007 Culture: Zapotec Chronology: Late Classic Location: Oaxaca Valley, México Site: Dainzú-Macuilxóchitl Table of Contents Abstract Resumen Introduction Notes on Dating and Ceramic Phases for the Valley of Oaxaca Project Goals and Theoretical Approach Field Operations 2007 – 2008 Introduction Site Mapping Procedures Discussion of Features Mapped on Cerro Danush Rock Paintings Natural Springs Caves Man-Made Terraces Surface Collection Procedures Artifact Analysis Procedures 1 Initial Conclusions and Interpretations Cerro Danush in the Late Postclassic Period, A.D. 1200-1521 Cerro Danush: Ritual Landscape and the Festival of the Cross Cerro Danush in the Early Postclassic Period, A.D. 900 – 1200 The Oaxaca Valley in the Late Classic Period, A.D. 500 – 900 Dainzú-Macuilxóchitl in the Late Classic Period, A.D. 500 – 900 Dainzú-Macuilxóchitl as a District Center List of Figures Sources Cited Abstract This report describes and provides preliminary interpretations for the 2007-2008 field season of mapping and surface collection conducted on Cerro Danush at the site of Dainzú-Macuilxóchitl in Oaxaca, Mexico. Dainzú-Macuilxóchitl is an expansive settlement that was an important part of the Prehispanic Zapotec tradition. Over 130 man-made terraces were mapped, all dating to the Late Classic period (500-900 A.D.), and a large terrace complex found at the summit of Cerro Danush is interpreted as the civic-ceremonial center of the site during that time. I argue that the Late Classic shift in civic-ceremonial focus away from Cerro Dainzú to Cerro Danush implies direct involvement at the site from the nearby urban center of Monte Albán. -
February 2, 2020
Assumption B.V.M. Parish / Parroquia de la Asunción Reverend Arturo2434 J. S. Pérez California-Rodriguez Ave., Chicago IL, 60608 Pastor/Párroco773- 247-6644 / fax 773-247-0665 Email: [email protected] Website: www.assumptionofbvm.org Religious Education Coordinator/ Coordinador del ProgramaFr. Jason Religioso: Malave, Administrator Liliana Santos, Coordinator of Religious Education Alvaro Davila Mayra Guzman de Muñoz, Parish Secretary Edward Estrada, Secretary for Religious Education Rectory/Rectoria:Victor Hernandez, Custodian 2434 S. California Avenue Kolbe House Jail Ministry Chicago, Ministerio Illinois 60608 a Los Encarcelados (773) 247-6644 773-247-0070 Website: www.kolbehouseministry.org Fax: (773) 247-0665 MaryClare Birmingham, Director Deacon Pablo Perez, Associate Director Gloria Hernandez, Office Manager https://www.givecentral.org/ Emily Cortina, Outreach Program Coordinator Edward Estrada, Evening Receptionist Feast of the Presentation of the Lord February 2, 2020 MASS SCHEDULE HORARIO DE MISAS Feast of the Presentation of the Lord SATURDAY / SABADO 5:00 pm - Bilingual / Bilingüe English / Spanish SUNDAY / DOMINGO 9:00 am - Español 11:00 am - English 1:00 pm - Español WEEKDAYS / ENTRE SEMANA 7:45 am - Español Misa—lunes, miercoles, y viernes (Servicio de comunion—martes y jueves) PARISH OFFICE HOURS / HORARIO DE LA OFICINA Monday - Friday❖Lunes - Viernes 8:30 am - 7:00 pm Saturday/Sábado: 9:00 am - 2:00 pm Fiesta de la Presentación del Señor Chicago a cappella will be celebrating the colorful and dynamic music of Mexico, from the 16th century to today. National Museum of Mexican Art in Chicago Saturday, Feb. 15th, 8pm For additional information or tickets: chicagoacappella.org / 773-281-7820 Chicago a capella estará celebrando la música colorida y dinámica de México, desde el siglo XVI hasta la actualidad. -
MUSIC] Expanded Course Outline
CALIFORNIA STATE POLYTECHNIC UNIVERSITY, POMONA [CLASS ] [MUSIC] Expanded Course Outline Course Subject Area: MU Course Number: 3110 Course Title: Music of Mexico Units: 3 C/S Classification #: 02 Component: Lecture Grading Basis: (graded only, CR/NC only, student’s Graded only choice) Repeat Basis: (may be taken once, taken multiple times, taken multiple times only with different topics) Taken once Cross Listed Course: (if offered with another department) Dual Listed Course: (if offered as lower/upper division or undergraduate/graduate) Major course/Service course/GE Course: (pick all that Major course/Service course apply) General Education Area/Subarea: (as appropriate) Date Prepared: 3.27.15 Prepared by: Dr. Dave Kopplin I. Catalog Description Survey of music and dance of Mexico focusing on folk instruments and music patterns, cultural crossover between Hispanic and indigenous music heritages. II. Required Coursework and Background NONE III. Expected Outcomes Students will acquire: 1. A clear understanding of the place of traditional musics in Mexican society 2. A general knowledge of the regional styles throughout Mexico 3. A thorough familiarity with at least one specific musical style from Mexico 4. An ability to participate in some way in the cultural life of Mexico through the performing arts. The outcomes of this course relate to the following Music Department Student Learning Outcomes: 1 #2: Communicate effectively--verbally and in writing--about specific musical works and musicians, about the creative process in music, and about music’s role in human culture. #4: Demonstrate and articulate personal growth as a musician and student of music in the world. #5: Articulate a holistic understanding of the many influences on any musical endeavor (e.g., cultural, artistic, technological, economic, etc.). -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Amphibian Alliance for Zero Extinction Sites in Chiapas and Oaxaca
Amphibian Alliance for Zero Extinction Sites in Chiapas and Oaxaca John F. Lamoreux, Meghan W. McKnight, and Rodolfo Cabrera Hernandez Occasional Paper of the IUCN Species Survival Commission No. 53 Amphibian Alliance for Zero Extinction Sites in Chiapas and Oaxaca John F. Lamoreux, Meghan W. McKnight, and Rodolfo Cabrera Hernandez Occasional Paper of the IUCN Species Survival Commission No. 53 The designation of geographical entities in this book, and the presentation of the material, do not imply the expression of any opinion whatsoever on the part of IUCN concerning the legal status of any country, territory, or area, or of its authorities, or concerning the delimitation of its frontiers or boundaries. The views expressed in this publication do not necessarily reflect those of IUCN or other participating organizations. Published by: IUCN, Gland, Switzerland Copyright: © 2015 International Union for Conservation of Nature and Natural Resources Reproduction of this publication for educational or other non-commercial purposes is authorized without prior written permission from the copyright holder provided the source is fully acknowledged. Reproduction of this publication for resale or other commercial purposes is prohibited without prior written permission of the copyright holder. Citation: Lamoreux, J. F., McKnight, M. W., and R. Cabrera Hernandez (2015). Amphibian Alliance for Zero Extinction Sites in Chiapas and Oaxaca. Gland, Switzerland: IUCN. xxiv + 320pp. ISBN: 978-2-8317-1717-3 DOI: 10.2305/IUCN.CH.2015.SSC-OP.53.en Cover photographs: Totontepec landscape; new Plectrohyla species, Ixalotriton niger, Concepción Pápalo, Thorius minutissimus, Craugastor pozo (panels, left to right) Back cover photograph: Collecting in Chamula, Chiapas Photo credits: The cover photographs were taken by the authors under grant agreements with the two main project funders: NGS and CEPF. -
Title: the Avant-Garde in the Architecture and Visual Arts of Post
1 Title: The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico Author: Fernando N. Winfield Architecture_media_politics_society. vol. 1, no.3. November 2012 Mexico City / Portrait of an Architect with the City as Background. Painting by Juan O´Gorman (1949). Museum of Modern Art, Mexico. Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque.’1 Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function.” Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the twentieth century, modern architecture was perhaps above all else, a tool for propaganda. ARCHITECTURE_MEDIA_POLITICS_SOCIETY Vol. 1, no.3. November 2012 1 2 In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque.” In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico. -
The Casa Cristo Gardens in Guadalajara, Jalisco, Mexico
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2001 Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The aC sa Cristo Gardens in Guadalajara, Jalisco, Mexico Marcela De Obaldia Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Landscape Architecture Commons Recommended Citation De Obaldia, Marcela, "Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The asC a Cristo Gardens in Guadalajara, Jalisco, Mexico" (2001). LSU Master's Theses. 2239. https://digitalcommons.lsu.edu/gradschool_theses/2239 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. TOWARDS ESTABLISHING A PROCESS FOR PRESERVING HISTORIC LANDSCAPES IN MEXICO: THE CASA CRISTO GARDENS IN GUADALAJARA, JALISCO, MEXICO. A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master in Landscape Architecture in The Department of Landscape Architecture by Marcela De Obaldia B.Arch., Universidad Autónoma de Guadalajara, 1998 May 2002 DEDICATION To my parents, Idalia and José, for encouraging me to be always better. To my family, for their support, love, and for having faith in me. To Alejandro, for his unconditional help, and commitment. ii ACKNOWLEDGEMENTS I would like to thank all the people in the Department of Landscape Architecture for helping me to recognize the sensibility, kindness, and greatness behind a landscape, and the noble tasks that a landscape architect has in shaping them. -
Ancient Mesoamerica– Geoffrey E
Ancient Mexico Earn 8 to 12 University of California academic units in Anthropology 2014 155S: Ancient Mesoamerica– Geoffrey E. Braswell Highland Mexico, June 19-July 5. Dept. Anthropology, UCSD Visit eight museums and 24 ancient 9500 Gilman Drive, MC 0532 cities & sites. Program led by La Jolla, CA 92093-0532 Professor Geoffrey E. Braswell, (858) 822-0726 UCSD, Department of Anthropology. [email protected] Ancient Mesoamerica – Highland Mexico ITINERARY Day 1: Fly to Villahermosa, welcome dinner. Night: Villahermosa) Day 2: Parque La Venta,La Venta, San Lorenzo Tenochtitlan (Night: Acayucan) Day 3: Breakfast in Veracruz, Cempoala, Museo Xalapa (Night: Xalapa) Day 4: Rafting trip in the Rio Filobos with visits to the sites of Cuajilote and Filobobos (Night: Costa Esmeralda beach) Day 5: Costa Esmeralda beach, El Tajin, Escamoles with Pulque (Night: San Juan Teotihuacan) Day 6: Teotihuacan (Night: Puebla) Day 7: Cantona, Cacaxtla, Museo Amparo (Night: Puebla) Day 8: Museo Tehuacan, San Jose Mogote (Night: Oaxaca) Day 9: Monte Alban, Zaachila, Museo Regional (Night: Oaxaca) Day 10: Mitla, Yagul, Lambityeco, Dainzu (Night: Oaxaca) Day 11: Chalcatzingo, Museo Cortes (Night: Cuernavaca) Day 12: Tepozteco, Xochicalco (Night: Taxco) Day 13: Acapulco beach day, return to Taxco (Night: Taxco)* Day 14: Teotenango, Tzintzuntzan, Ihuatzio (Night: Morelia) Day 15: Tula, Templo Mayor (Night: Mexico, D.F.) Day 16: Museo Nacional (Night: Mexico, D.F.) Day 17: Return to San Diego *Note: If not enough students sign up, we will cut this day to keep costs down. UNIVERSITY OF CALIFORNIA, SAN DIEGO BERKELEY • DAVIS • IRVINE • LOS ANGELES • RIVERSIDE • SAN DIEGO • SAN FRANCISCO SANTA BARBARA • SANTA CRUZ DEPARTMENT OF ANTHROPOLOGY 9500 GILMAN DRIVE DEPT 0532 LA JOLLA CALIFORNIA 92093-0532 17 December 2014 Dear Study Abroad Ancient Mexico Student (ANAR 155S & 100): Welcome! On behalf of the Department of Anthropology and UCSD Summer Session, I would like to thank you for your interest in the eight (or 12) unit study abroad course to be held in Mexico, 19 June – 5 July, 2014. -
Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present,” in Progress
DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by Mónica Rocío Salazar APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Charles Hatfield, Co-Chair ___________________________________________ Charissa N. Terranova, Co-Chair ___________________________________________ Mark Rosen ___________________________________________ Shilyh Warren ___________________________________________ Roberto Tejada Copyright 2016 Mónica Salazar All Rights Reserved A mi papá. DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by MÓNICA ROCÍO SALAZAR, BS, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS December 2016 ACKNOWLEDGMENTS Research and writing of this dissertation was undertaken with the support of the Edith O’Donnell Institute of Art History. I thank Mrs. O’Donnell for her generosity and Dr. Richard Brettell for his kind support. I am especially grateful to Dr. Charles Hatfield and Dr. Charissa Terranova, co- chairs of this dissertation, for their guidance and encouragement. I thank Dr. Mark Rosen, Dr. Shilyh Warren, and Dr. Roberto Tejada for their time and commitment to this project. I also want to thank Dr. Adam Herring for his helpful advice. I am grateful for the advice and stimulating conversations with other UT Dallas professors—Dr. Luis Martín, Dr. Dianne Goode, Dr. Fernando Rodríguez Miaja—as well as enriching discussions with fellow PhD students—Lori Gerard, Debbie Dewitte, Elpida Vouitis, and Mindy MacVay—that benefited this project. I also thank Dr. Shilyh Warren and Dr. Beatriz Balanta for creating the Affective Theory Cluster, which introduced me to affect theory and helped me shape my argument in chapter 4. -
Final-Spanish-Language-Catalog.Pdf
NARRACIÓN TALLADA: LOS HERMANOS CHÁVEZ MORADO 14 de septiembre de 2017 – 3 de junio de 2017 Anne Rowe Página anterior Detalle de La gran tehuana, José Chávez Morado. Foto Lance Gerber, 2016 Esta página Detalle de Tehuana, Tomás Chávez Morado. Foto Lance Gerber, 2016 Índice de contenido Texto, diseño y todas las imágenes © The Annenberg Foundation Trust at Sunnylands 2017 En muchos casos, las imágenes han sido suministradas por los propietarios Los Annenberg y México Embajador David J. Lane página 6 o custodios de la obra. Es posible que las obras de arte individuales que aparecen aquí estén protegidas por derechos de autor en los Estados Unidos Una fuente para Sunnylands páginas 8 – 17 de América o en cualquier otro lugar, y no puedan ser reproducidas de ninguna manera sin el permiso de los titulares de los derechos. El arquitecto Pedro Ramírez Vázquez páginas 18 – 20 Para reproducir las imágenes contenidas en esta publicación, The Annenberg Los hermanos y su obra páginas 21 – 27 Foundation Trust at Sunnylands obtuvo, cuando fue posible, la autorización de los titulares de los derechos. En algunos casos, el Fideicomiso no pudo ubicar al titular de los derechos, a pesar de los esfuerzos de buena fe realizados. El José Chávez Morado páginas 28 – 31 Fideicomiso solicita que cualquier información de contacto referente a tales titulares de los derechos le sea remitida con el fin de contactarlos para futuras Tomás Chávez Morado páginas 32 – 35 ediciones. Publicado por primera vez en 2017 por The Annenberg Foundation Trust at Sunnylands, 37977 Bob Hope Drive, Rancho Mirage, CA 92270, Museo José y Tomás Chávez Morado página 36 Estados Unidos de América. -
Federico Ibarra - a Case Study
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-29-2019 11:00 AM Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study Francisco Eduardo Barradas Galván The University of Western Ontario Supervisor Ansari, Emily. The University of Western Ontario Co-Supervisor Wiebe, Thomas. The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Francisco Eduardo Barradas Galván 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Barradas Galván, Francisco Eduardo, "Contexts for Musical Modernism in Post-1945 Mexico: Federico Ibarra - A Case Study" (2019). Electronic Thesis and Dissertation Repository. 6131. https://ir.lib.uwo.ca/etd/6131 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the musical modernist era in Mexico between 1945 and the 1970s. It aims to provide a new understanding of the eclecticism achieved by Mexican composers during this era, using three different focal points. First, I examine the cultural and musical context of this period of Mexican music history. I scrutinize the major events, personalities, and projects that precipitated Mexican composers’ move away from government-promoted musical nationalism during this period toward an embrace of international trends. I then provide a case study through which to better understand this era, examining the early life, education, and formative influences of Mexican composer Federico Ibarra (b.1946), focusing particularly on the 1960s and 1970s.