Cuba, the EU Strengthen Cooperation Ties
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Policy & Practice A Development Education Review ISSN: 1748-135X Editor: Stephen McCloskey "The views expressed herein are those of individual authors and can in no way be taken to reflect the official opinion of Irish Aid." © Centre for Global Education 2017 The Centre for Global Education is accepted as a charity by Inland Revenue under reference number XR73713 and is a Company Limited by Guarantee Number 25290 Contents Editorial Refugee Crisis or Humanitarian Crisis? Eoin Devereux 1 Focus Migration and Public Policy in a Fragmenting European Union Gerard McCann 6 Experiences, Barriers and Identity: The Development of a Workshop to Promote Understanding of and Empathy for the Migrant Experience Brighid Golden and Matt Cannon 26 The Role of Development Education in Highlighting the Realities and Challenging the Myths of Migration from the Global South to the Global North Simon Eten 47 Perspectives In Solving Refugee Issues Solidarity Must Come First Susan McMonagle 70 Development Education and the Psychosocial Dynamics of Migration Joram Tarusarira 88 Higher Education for Refugees: The Case of Syria Helen Avery and Salam Said 104 Policy & Practice: A Development Education Review i |P a g e News versus Newsfeed: The Impact of Social Media on Global Citizenship Education Emma Somers 126 The Role of Economic Citizenship Education in Advancing Global Education Jared Penner and Janita Sanderse 138 Viewpoint Brexit, Trump and Development Education Stephen McCloskey 159 Resource reviews Education, Learning and the Transformation of Development -
Omara Portuondo, La Voz Que Acaricia
Omara Portuondo, la voz que acaricia Por ALEJANDRO C. MORENO y MARRERO. En anteriores artículos he profundizado en la vida y obra de grandes compositores de la música latinoamericana de todos los tiempos. Sin embargo, en esta ocasión he considerado oportuno dedicar el presente monográfico a la figura de la cantante cubana Omara Portuondo, la mejor intérprete que he tenido el placer de escuchar. Omara Portuondo Peláez nace en la ciudad de La Habana (Cuba) en 1930. De madre perteneciente a una familia de la alta sociedad española y padre cubano, tuvo la gran fortuna de crecer en un ambiente propicio para el arte. Ambos eran grandes aficionados a la música y supieron transmitir a la pequeña Omara el conocimiento del folklore tradicional de su país. Al igual que su hermana Haydee, Omara inició su trayectoria artística como bailarina del famoso Ballet Tropicana; sin embargo, pronto comenzaron a reunirse asiduamente con personalidades de la talla de César Portillo de la Luz (autor de “Contigo en la distancia”), José Antonio Méndez y el pianista Frank Emilio Flynn para interpretar música cubana con fuertes influencias de bossa nova y jazz, lo que luego sería denominado feeling (sentimiento). No hay bella melodía En que no surjas tú Y no puedo escucharla Si no la escuchas tú Y es que te has convertido En parte de mi alma Ya nada me conforma Si no estás tú también Más allá de tus manos Del sol y las estrellas Contigo en la distancia Amada mía estoy. (Fragmento de “Contigo en la distancia”). Su primera aventura musical como voz femenina tuvo lugar en el grupo Lokibambia, donde conoce a la cantante Elena Burke, quien introduce a Omara Portuondo en el Cuarteto de Orlando de la Rosa (agrupación con la que recorre Estados Unidos en una gira que duró alrededor de seis meses). -
Artelogie, 16 | 2021 Diaspora, De/Reterritorialization and Negotiation of Identitary Music Practic
Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 16 | 2021 Fotografía y migraciones, siglos XIX-XXI. Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores Electronic version URL: https://journals.openedition.org/artelogie/9381 DOI: 10.4000/artelogie.9381 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Iván César Morales Flores, “Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid”, Artelogie [Online], 16 | 2021, Online since 27 January 2021, connection on 03 September 2021. URL: http://journals.openedition.org/artelogie/9381 ; DOI: https://doi.org/10.4000/artelogie. 9381 This text was automatically generated on 3 September 2021. Association ESCAL Diaspora, de/reterritorialization and negotiation of identitary music practic... 1 Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores This text is part of the article “La Rumba de Pedro Pablo: de/reterritorialization of Cuban folkloric, traditional and popular practices in the Madrid music scene of the 21st century” published in Spanish in the dossier “Abre la muralla: refracciones latinoamericanas en la música popular española desde los años 1960”, Celsa Alonso and Julio Ogas (coords.), in Cuadernos de Etnomusicología, Nº 13, 2019, as a result of the Research Project I+D+i: “Música en conflicto en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI)” HAR2015-64285- C2-1-P. -
Buena Vista Social Club Presents
Buena Vista Social Club Presents Mikhail remains amphibious: she follow-up her banduras salute too probabilistically? Dumpy Luciano usually disannuls some weighers or disregards desperately. Misguided Emerson supper flip-flap while Howard always nationalize his basinful siwash outward, he edifies so mostly. Choose which paid for the singer and directed a private profile with the club presents ibrahim ferrer himself as the dance music account menu American adult in your region to remove this anytime by copying the same musicians whose voice of the terms and their array of. The only way out is through. We do not have a specific date when it will be coming. Music to stream this or just about every other song ever recorded and get experts to recommend the right music for you. Cuban musicians finally given their due. These individuals were just as uplifting as musicians. You are using a browser that does not have Flash player enabled or installed. Music or even shout out of mariano merceron, as selections from its spanish genre of sound could not a great. An illustration of text ellipses. The songs Buena Vista sings are often not their own compositions. You have a right to erasure regarding data that is no longer required for the original purposes or that is processed unlawfully, sebos ou com amigos. Despite having embarked on social club presents songs they go out of the creation of cuban revolution promised a member. Awaiting repress titles are usually played by an illustration of this is an album, and in apple id in one more boleros throughout latin music? Buena vista social. -
Omara Portuondo English Biography
OMARA PORTUONDO Biography The story of the life of Omara Portuondo (Havana, 1930) reads like something out of a film script. The daughter of a well-to-do family and a mother of Spanish descent, she relinquished everything to marry a handsome black member of the Cuban national baseball team – a fact that she kept secret since mixed marriages were frowned upon in Cuba at that time – Omaraʼs first encounter with music was at a very early age. Just as in any other Cuban home, the future singer and her siblings grew up with the songs which her parents, for lack of a gramophone, sang to them. Those melodies, some of which still form part of her repertoire, were young Omaraʼs informal introduction to the world of music. However, before taking up singing as a career, a fortuitous event led her to first try her hand at dancing, following in the footsteps of her sister Haydee, who was a member of the dance company of the famous Tropicana cabaret. One day, in 1945, two days before the opening night of a big new show, one of the dancers gave in her notice. Having watched her sister rehearse for hours on end, Omara knew the steps by heart and so was offered the vacant place in the company. “It was a very classy cabaret”, Omara recalls, “but it didnʼt make any sense. I was a shy girl and was embarrassed at showing my legs”. It was her mother who actually convinced her not to let the opportunity go by and so she began a dancing career that led her to form a legendary duo with Rolando Espinosa and, in 1961, to become a teacher of popular dance at the Escuela de Instructores de Arte. -
Roberto Fonseca Band Feat. Omara Portuondo Roberto Fonseca Piano
Autour du monde / iPhil 13–17 ans / Luxembourg Festival 2014 Mercredi / Mittwoch / Wednesday 12.11.2014 20:00 Grand Auditorium Roberto Fonseca Band feat. Omara Portuondo Roberto Fonseca piano, keyboards, vocals Joel Hierrezuelo Cuban percussions, coros Ramsés Rodríguez drums Yandi Martínez bass, double bass Omara Portuondo vocals Dans le cadre de Luxembourg Festival L’éternelle pulsation Roberto Fonseca Band feat. Omara Portuondo Guillaume Bregeras La main droite attaquant les aigus du clavier. La gauche suspen- due en l’air. Les yeux clos puis grands ouverts, le regard perdu loin. Très loin. Roberto Fonseca accompagne chacune des notes de «Llego Cachaito», hymne pour ses fidèles, par un trait saillant qui jaillit de son visage. Expressif, il l’est. Attachant, tout autant. Suspendu, au-dessus de tout, lorsqu’il s’installe derrière son pia- no, l’icône de la nouvelle génération des maîtres cubains marche sur l’air. La loi de la gravité ne semble pas s’appliquer à lui com- me à ses semblables, c’est aussi simple que cela. Pour compren- dre sa musique, il faut lâcher prise, la laisser infuser dans son esprit comme une évidence. Délicieuse évidence… Un tempo d’avance Sans en rajouter, il indique la route à suivre avec grâce. Il est de la trempe de ceux qui connaissent instinctivement la voie, la bonne voie. Ceux qui créent le chemin là où personne n’imagine passer. Comme un maître d’échec, il anticipe toujours un coup d’avance. Cette dynamique, aussi inexplicable qu’elle puisse être en musique, se comprend pourtant très bien. Elle est d’abord le fruit d’une réflexion, d’une préparation. -
Latin American Critical Thought Latin American Critical Thought: Theory and Practice / Compilado Por Alberto L
Jorge Arzate Salgado Este libro contiene una serie de trabajos que desdoblan el sentido Latin American Jorge Arzate Salgado de la pobreza como carencia, es decir, presentan las situaciones Doctor en Sociología (Universidad de Salamanca). Doctor en Sociología (Universidad de Salamanca). de pobreza en tanto que formas de vida. Para la tarea se acude al Docente e investigador en la Facultad de Ciencias Docente e investigador en la Facultad de Ciencias uso de categorías sociológicas como la de clase, género, espacio Critical Thought Políticas y Sociales de la Universidad Autónoma del Políticas y Sociales de la Universidad Autónoma del regional, etnia, estructura social. Cada texto presenta una versión Estado de México. Miembro del Sistema Nacional de Estado de México. Miembro del Sistema Nacional de crítica de lo que es la reproducción de la pobreza, por lo que ésta Investigadores. Ha publicado más de cincuenta Investigadores. Ha publicado más de cincuenta es descentrada de su orden estadístico y es colocada como Theory and Practice trabajos académicos y ha sido conferencista en trabajos académicos y ha sido conferencista en referencia a un sistema de relaciones sociales y económicas diversos países de Iberoamérica. diversos países de Iberoamérica. situadas históricamente. Los actores aparecen no sólo como reproductores pasivos de las situaciones de carencia, sino Alicia B. Gutiérrez Alicia B. Gutiérrez como sujetos activos que construyen su tiempo vital, sus Doctora en Sociología (EHSS) y Doctora en Antropología instituciones sociales y económicas, -
JUAN DE MARCOS & the AFRO-CUBAN ALL STARS After
JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS After gaining international fame for reviving the classic sound of Cuban son, tres master Juan de Marcos turned the Afro-Cuban All Stars into a sensational showcase for Cuba’s most prodigious young musicians. While long revered in Latin America and Europe as a founding member of Cuba’s great son revival band Sierra Maestra, de Marcos first gained notice in the US as founder of the Buena Vista Social Club. It was de Marcos who assembled Ibrahim Ferrer, Eliades Ochoa, Ruben Gonzalez and the rest of the crew for Ry Cooder when he came to Havana looking for illustrious old timers. But de Marcos is just as interested in promoting Cuba’s brilliant young musicians as in highlighting Cuba’s senior talent. The Afro-Cuban All Stars not only features a rotating, multi-generational cast; the group draws on both classic Cuban styles, like son and danzón, and contemporary dance rhythms like timba. “What I’m trying to do is create a bridge between contemporary and traditional Cuban music,” de Marcos says. “I’m trying to mix both things so people can realize that Cuban music didn’t stop in time, that it developed in this long period when Cuban music disappeared from the market.” Juan de Marcos was born in Havana in 1954 and grew up surrounded by music (his father was a singer and played with Arsenio Rodríguez amongst others). At university he studied hydraulic engineering and Russian before working as a consultant at the Agronomic Science Institute, gaining his doctorate in 1989. -
Presentación De `Magia Negra´: Omara Portuondo, Mágica, Irrepetible Y Siempre Cubana Martes, 20 De Enero De 2015
Presentación de `Magia Negra´: Omara Portuondo, mágica, irrepetible y siempre cubana Martes, 20 de Enero de 2015 En la presentación de su Magia Negra, la Diva del Buena Vista Social Club interpretó temas que se incluyen en esta entrega como Ogguere y una versión del clásico That Old Black Magic, y otros que siempre son bien recibidos como Adiós felicidad, Tal vez y La sitiera. Concierto de Roberto Fonseca, su grupo Temperamento y Omara Portuondo, presentando el CD Magia Negra, en el Teatro Mella. La Habana, Cuba. Foto: Yander Zamora Alain Valdés Sierra - Granma.- Omara Portuondo fue acompañada por Roberto Fonseca y otros músicos de probada valía. Un concierto de Omara Portuondo siempre es un suceso bien recibido. La Diva cubana se las ingenia para hacer de cada aparición un momento único, memorable y emotivo. Omara, a secas, como me gustaría llamarla, si ella lo permite claro está, hace gala en cada momento de esa criollez que la ha convertido en una artista universal y de la que se aprovecha, gracias por eso, para lograr ese ambiente íntimo en sus conciertos, sea cual sea el motivo. Ahora la razón es la presentación de su más reciente disco titulado Magia Negra, The Begining (Sello Colibrí del Instituto Cubano de la Música), que compartió este domingo con un público que abarrotó el habanero teatro Mella. Para la ocasión la Novia del Feeling se hizo acompañar de músicos de probadísimas dotes interpretativas y que, capitaneados por el reconocido pianista Roberto Fonseca, le imprimieron a la presentación un sello único, en parte por la calidad de los arreglos hechos a cada uno de los temas. -
“¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova
“¿QUÉ DICE USTED?”: DISCOURSES OF FEMININITY IN NUEVA TROVA CUBANA by JULIANNE L. GRAPER A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2014 THESIS APPROVAL PAGE Student: Julianne L. Graper Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Juan Eduardo Wolf Chairperson Loren Kajikawa Member Carlos Aguirre Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Julianne L Graper iii THESIS ABSTRACT Julianne L. Graper Master of Arts School of Music and Dance June 2014 Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana Following the Revolution of 1959, the Cuban government implemented policy reforms geared towards increasing women’s rights. Despite these efforts, however, sexism persists in Cuban society. This difference between rhetoric and reality is reflected in the song genre, nueva trova, which foregrounds a progressive agenda for women’s rights but continues to marginalize their participation. Prominent nueva trova performers Silvio Rodríguez and Pablo Milanés advocate women’s rights in their songs, but their music remains couched in patriarchal structures that prevent women from speaking for themselves. Sara González, one of the first prominent female nueva trova composers, was able to integrate into government-supported trova institutions by adopting a masculine, revolutionary aesthetic, which she then adapted to feminist themes to combat the ideological disparity. -
OMARA PORTUONDO 85Th Anniversary
OMARA PORTUONDO 85th Anniversary Buena Vista Social Club™ Diva celebrates her music and life with a special tour accompanied by special guests “With our music we Cubans have exported more dreams and pleasures than with our tobacco, more sweetness and energy than with all our sugar. Afro-Cuban music is fire, savour and smoke; it is syrup, charm and relief. It is like sonorous rum, which brings people together and makes them treat each other as equals. It brings the senses to dynamic life.” Fernando Ortiz There was fresh spring rain in Havana when I strolled into Egrem Studios in the first weeks of the new millennium, a studio where decades of gorgeous music have seeped into the walls. Hearing the warm voice of Omara Portuondo live and close up is always a joy and there she was, singing her version of “He Perdido Contigo” (“I’m lost without you”) a typically swooning , romantic song. Omara was recording an album “a dark, smoky, two-in-the-morning record, full of yearning and lost love” as producer Nick Gold described it. The album was her first solo album since the miraculous success of the Buena Vista Social Club. It was through that record and Wim Wenders’ film of the same name that many non-Cubans discovered Omara. For Wenders and so many others, the highlight of the film was the touching duet of her and Ibrahim Ferrer singing “Silencio” “And my soul, sad and sorrowful/wants to keep secret its bitter pain.” As they take the applause, a tear forms in Omara’s eye and Ibrahim removes his handkerchief from his pocket and gently wipes away the tear. -
1 an Unseen Truth 1
Notes 1 An Unseen Truth 1. Geoffrey R. Stone, Perilous Times, W.W. Norton & Company, Inc. New York, 2004, p. 419. 2. http://georgewbush-whitehouse.archives.gov/newsack:/releases/2001/09 /20010920–8.html. 3. Paul K. Davis, Besieged, 100 Great Sieges From Jericho to Sarajevo, Oxford University Press, New York, 2003. 4. It led the then US secretary of state Madeline Albright to say the death of 500,000 Iraqi children as result of sanctions was “worth it.” John Pilger, “Squeezed to Death,” Guardian, March 4, 2000. 5. http://www.nytimes.com/2010/04/24/us/politics/24immig.html. 6. FOX hypes stories to claim “Christmas Under Siege”: http://mediamatters. org/research/200412100006 (December 10, 2004). 7. Charlie Savage, Democratic Senators Issue Strong Warning about Use of the Patriot Act, March 16, 2012. 8. www.wired.com/dangeroom2011/07. 9. www.dhs.gov/xabout/laws/law_regulation_rule_0011.shtm. 10. Found in the former President’s autobiography, Decision Points, Crown Publishing, 2010. 11. Weekly Standard, December 5, 2005. 12. http://news.antiwar.com/2011/03/07/obama-approves-indefinite-detention- without-trial/. 13. Janine Jackson, “Whistling Past the Wreckage of Civil Liberties,” Extra, September 2011, p. 13. 14. Chris Anders, Senators Demand the Military Lock Up of American Citizens in a “Battlefield” They Define as Being Right Outside Your Window://www.aclu .org/ (November 2011). 15. http://www.aclu.org/blog/national-security/president-obama-signs- indefinite-detention-law. A New York judge tried to block the legislation in June 2012. Susan Madrak, Federal Judge Blocks NDAA Indefinite Detention, Crooks and Liars.