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Murray, Peggy L. "Dancing in the Seminary: Reconstructing Dances for a 1749 Viceregal Peruvian Opera." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1448985385.
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Gainer, Natalie. "Dancing Latinidad: Salsa Practices and Latino/a Identity at Brasil's Nightclub." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/396279.
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DanceM.A.
This thesis investigates Brasil’s Nightclub, a Philadelphia salsa club, as a site at which notions of Latino/a identity are produced and performed. Research for the thesis was conducted over the course of five months and was ethnographic in nature. From February 2016 until June 2016, the author attended Brasil’s Nightclub and collected participant observations and interviews. Findings reveal how the club accommodates multiple conflicting narratives of Latino/a identity and how these narratives are embodied through salsa dance practices.
Temple University--Theses
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Shindler, Nicholas. "Feature Assessment for the Analysis of Latin Dance Modeling Two-Person Dance with Machine Learning." Thesis, Örebro universitet, Institutionen för naturvetenskap och teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-84466.
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Pietrobruno, Sheenagh. "Salsa and its transnational moves : the commodification of latin dance in Montreal." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38417.
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In Montreal, salsa dancing is both an expression of Latin identity and a cultural commodity. Many Montrealers of Latin descent adopt salsa dance as part of their cultural heritage only after arriving in Canada, connecting, through salsa, to a transnational Latin identity that crosses the Americas. This situation illustrates how cultural affiliations are not necessarily fixed, but can be acquired in response to changing circumstances. Since salsa is not indigenous to the city, residents of Montreal can only access it through cultural institutions and community media outlets. This commodification influences the manner in which salsa expresses Latin identity in the city. At the same time that salsa dancing proclaims Latin identity for certain individuals in the city, the practice thrives in a multicultural context: the Montreal salsa scene comprises diverse individuals who promote, teach, and dance salsa. This dissertation addresses points of division and cooperation among diverse cultures, ethnicities, races, and both sexes, as they are played out in aspects of salsa dancing in the city. The unfolding of these relationships is influenced by both the commodification of salsa dancing and its link to Latin culture. This analysis seeks to provide a theoretical account of the tension between salsa's expression of identity and its status as a commodified cultural practice. This perspective integrates various approaches to the study of dance and culture stemming from anthropology, sociology and cultural studies. Analyzing the Montreal salsa scene, I draw from in-depth interviews with individuals involved in the promotion of Latin dance and music, as well as participant observations in salsa dance classes, clubs and events. The methodology of this research combines ethnography with various areas of concern: the history of salsa, Latin immigration patterns in Montreal, theories of multiculturalism, transnationalism and diaspora, the Latin influence in ballroom dance, Europe
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Domene, Pablo A. "Efficacy of Latin dance as a health-enhancing leisure activity for adults." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/34532/.
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Despite acceptance that physical activity serves as a protective agent against the burden of non-communicable disease, half of all adults in the developed world remain insufficiently physically active. The promotion of physical activity is therefore of paramount importance to public health researchers and practitioners. Dance, as a leisure or social activity, can play a role in the engagement of adults in physically active pursuits that are not necessarily thought of as traditional exercise per se. This is especially important for those individuals not currently meeting physical activity guidelines and is fully congruent with the current public health message that "some activity is better than none". A holistic exploration of Latin dance was undertaken in this thesis in the context of physical activity and psychosocial health promotion in non-clinical adults. The research encompassed a quantitative assessment of physiological and psychological measures related to dance. Over a 3 yr period, eighty-four women and men were enrolled in a series of four interrelated Latin dance (salsa) and Latin-themed aerobic dance (Zumba fitness) studies. Research grade motion sensing and heart rate monitors were used to evaluate the physiological responses to dance, and a novel activity-specific value calibration method was developed to process the data. The monitors, which are small and unobtrusive to wear, were then utilised for collection of data during performance of dance in naturalistic settings. Psychological measures associated with dance participation were captured using previously validated questionnaires. Results indicate that Latin dance elicits physiological responses representative of moderate to vigorous physical activity when performed primarily for leisure purposes. Modest improvements were observed post-dance in measures of cardiorespiratory fitness, body composition, and inflammatory biomarkers in relation to cardiovascular health. Moreover, participation fostered interest, enjoyment, and a positive psychological outlook, and enhanced well-being, mood, and health-related quality of life with large magnitude effects. The findings of this thesis may be relevant for researchers and practitioners interested in the efficacy of dance as an expressive and creative medium for the promotion of physical and mental health.
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Limon, Elvia. "The Struggling Dance: The Latino Journalist Experience Covering Hispanic and Latino Communities in Dallas." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984266/.
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This qualitative study addresses how the Dallas Morning News and Al Día reporters and editors determine what type of news related to the Dallas Latino and Hispanic communities gets covered. It also looks into how and why each newspaper tackles the coverage of these communities. Through a systematic analysis of 8 in-depth interviews and a 6-month ethnography, the findings of this study suggest that Latino and Hispanic journalists in Dallas feel the Latino and Hispanic communities are regarded as the "other." This study suggests the newsroom's hegemony and its news production routines influence the way Latino and Hispanic communities are covered in Dallas, and the way Latino and Hispanic reporters and editors who primarily cover these communities are treated. Though the newsrooms have made an effort to diversity its staff, reporters and editors claim they still have a long way to go before the staff accurately represents the large Hispanic and Latino population in the city.
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Oriol, Rachel Anne. "Bodies of Knowledge: Representations of Dancing Bodies in Latina Literature." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1595121438676286.
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Stenquist, Nathalie. "Normkritisk analys av pardans." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33615.
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I denna uppsats undersöks erfarenheterna och attityderna som sex pardansare har kring heteronormativitet inom dansen. Deras tankar kring olika roller och betydelser kring danserna fångas upp i intervjuer och tolkas och analyseras sedan via queerteorin och det dramaturgiska perspektivet som utgångspunkten i analysen av sociala situationer. Resultaten visar att heteronormativiteten lever inom sporten pardans via traditioner från förr och de regleringar som finns idag men också genom de attityder som ungdomarna besitter och uttrycker. Dansarna själva uttryckte sig om att förändring inom dansen kan rubba dansen värdegrunder och göra sporten till något helt annat än vad den alltid har varit.Pardansen har inte ofta varit objekt för forskning vilket medfört att jag förlitar mig på mina intervjuer och väljer att göra en icke generaliserbar uppsats då det är erfarenheter, individuella tankar och tolkningar står som grund för min analys. Jag har även plockat alla dansare från samma klubb vilket har genererat till att de har haft liknande svar till den del frågor vilket kan tänkas leda till deras tränare som jag därefter har intervjuat med andra frågor.Min slutsats är den att pardansen i sig ses som en feminin sport men utövar heteronormativa värden som präglar dansarna då det enligt utövarna är otänkbart att hålla kvar vid dansens värdegrunder och samtidigt dansa samkönat på elitnivå. Pardansenarna i denna skåneförening har en heteronormativ syn på dansen och dess betydelse som idrott och kulturbevarande aktivitet.This thesis explore the experiences of heteronormativity of six ballroom dancers. Their own thoughts on different roles and meaning behind the dances have been captured in interviews. Later translated and analysed through Queer theory and Erving Goffmans dramaturgical perspective theory where he enlightens us about his perspective on social situations as performances based upon the conviction of persuasion. Discovering that heteronormativity lives within the sport as traditions from past times and upheld by rules and guidelines, and attitudes expressed by the dancers. The dancers themselves agree on changing the rules of the sport is making the meaning of ballroom dancing less accurate matching the history of the sport which seems to be the pillar of ballroom dancing. Heteronormativity is the main subject of this thesis.
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Enríquez, Arana Eddy Magaliel. "The dynamics of salsiology in contemporary Germany reconstructing German cultural identity through salsa music and dance /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1177697944.
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Lanuza, Celeste. "How Jose Limon's cultural identity influenced three of his choreographic works| Danzas Mexicanas (1939), La Malinche (1949), and Missa Brevis." Thesis, University of California, Irvine, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10006291.
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This research focuses on the life and work of Jose Limon, (1908-1972), one of the most influential figures in twentieth-century modern concert dance. The way in which his Mexican and immigrant heritage influenced his unique contribution to American modern dance will be discussed in relation to three of his works: Danzas Mexicanas (1939), La Malinche (1949), and Missa Brevis (1948). As a dancer of Mexican heritage, I seek to better understand my artistic path and potential through this study of Jose Limon. The introduction includes a brief description of Jose Limon's personal and professional life, and my connection to it as a Latina dance artist. The first three chapters present analysis of three Limon choreographies selected because they exemplify his deeply rooted and personal invocations of Mexican culture and an introspective relationship to self-identity and community. The final chapter is a description of my thesis concert inspired by Jose Limon's life and work. The sources of information used in this work are books, academic articles, newspapers, archival documents, magazines, and photographs. This thesis includes interviews with artists who worked with Limon, danced in his company, and continue to dedicate their artistic endeavors to his work.
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Curtis, Lauren. "On with the Dance! Imagining the Chorus in Augustan Poetry." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10991.
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This dissertation investigates how Augustan poetry imagines, redefines and reconfigures the idea of the chorus. It argues that the chorus, a quintessential marker of Greek culture, was translated and transformed into a peculiarly Roman phenomenon whereby poets invented their relationship with an imagined past and implicated it in the present. Augustan poets, I suggest, created a sustained and intensely intertextual choral poetics that played into contemporary poetic debates about the power of writing versus song and the complexity of responding to performance culture through multiple layers of written tradition. Focusing in particular on Virgil’s Aeneid, Propertius’ Elegies and Horace’s Odes, the dissertation uses a series of case studies to trace the role played by scenes of embedded choral song and dance in Augustan poetics. The scene is set by comparing how a range of texts respond differently to a single fundamental aspect of Greek choral culture—the figure of the chorus leader—and by establishing Catullus as an important predecessor to Augustan choral discourse. The dissertation then turns to explore how choral language and imagery become involved in some of the central issues of Augustan poetry: Latin love poetry’s construction of female desirability and male anxiety, the creation of poetic authority in Augustan lyric and elegy, and the search for the origins of Roman ritual in Virgil’s Aeneid. Finally, these embedded scenes are juxtaposed with Horace’s Carmen Saeculare, a text composed, remarkably, for choral performance on the Roman civic stage, which is shown to activate the choral metaphor that had been created by the Latin literary imagination. By demonstrating Augustan poetry’s engagement with this aspect of Greek performance culture, the study sheds new light on the relationship between Greek and Roman poetry, shifting the focus from the reinvention of Greek genres and the study of particular sites of allusion towards an understanding of the complex dynamics of reception and reconfiguration at work in these poets’ reappropriation of both a literary and cultural idea.The Classics
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De, La Torre Krista. "Social Movements and Environmental Law: A Case Study of Politically Disenfranchised Communities in Ecuador and Argentina." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1849.
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Despite their progressive on-the-books environmental legislation, Ecuador and Argentina have hosted increasing amounts of extraction projections in their borders over the last few decades. Beyond increased environmental degradation, the expansion of extraction economies in these countries has drove mass scale social movements orchestrated by disenfranchised peoples. This thesis investigates the link between social movements and environmental law reformation, and whether such social movements are able to strengthen the national legal and institutional framework for environmental management. To evaluate this inquiry, this thesis explores socials movements in Ecuador in the late twentieth century and in Argentina in the early twenty first century.
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Gibson, Alison J. "A Scarlet Ending." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/398.
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Bush, Jason Alton. ""Staging lo Andino: The Scissors Dance, Spectacle, and Indigenous Citizenship in the New Peru"." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308262142.
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Eid, Félix Ceneviva. "Música e identidade na América Latina : o caso de Agustín Barrios "Mangoré" /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/91611.
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Orientador: Alberto Tsuyoshi IkedaBanca: Gisela Gomes Pupo Nogueira
Banca: Renato Braz Oliveira de Seixas
Resumo: A presente dissertação tem como objeto de estudo a música latino-americana que, estando vinculada a preceitos da música européia ocidental, foi inspirada em músicas populares latinoamericanas, o que a caracteriza como música híbrida. Devido à magnitude deste objeto, foi estudado o caso específico do violonista e compositor paraguaio Agustín Barrios (1885-1944), que compôs, para o violão de concerto, peças inspiradas em expressões musicais populares de diversas regiões e países da América Latina. Com o propósito de compreender melhor as características da música popular que estas peças mantêm quando levadas às salas de concerto, foi analisada uma obra dele, Cueca, a partir de um estudo da dança popular na qual foi inspirada. Na dissertação também foi apresentado, por meio de pesquisa bibliográfica, o contexto sóciocultural e histórico em que surgiu esta música híbrida na América Latina, assim como a sua relevância na atualidade. A partir disto foram propostos alguns elementos de reflexão que podem servir nos campos da interpretação, ensino/aprendizagem, composição e pesquisa de músicas híbridas latino-americanas
Abstract: The object of study of this dissertation is the music in Latin America that, being linked to precepts of West European music, was inspired by Latin American popular music, which characterizes it as being hybrid. Due to the magnitude of such object, the specific case of Paraguayan guitarist and composer Agustín Barrios (1885-1944) was studied. Barrios composed, for the concert guitar, works inspired by popular music expressions of many different regions and countries of Latin America. Aiming to better understand the characteristics of the popular music that these pieces keep when taken to the concert halls, a piece by this composer, Cueca, was analyzed. This analysis was based on a study of the popular dance that inspired the work. This dissertation also presents, through a bibliographical research, the social, cultural and historical context in which this hybrid music originated in Latin America, as well as its relevance in the present. Finally, some points of reflection were brought forward, aiming to contribute in the fields of interpretation, teaching/learning, composition and research of Latin American hybrid music
Mestre
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Eid, Félix Ceneviva [UNESP]. "Música e identidade na América Latina: o caso de Agustín Barrios Mangoré." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/91611.
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eid_fc_me_ia.pdf: 1891972 bytes, checksum: e747f2151e63d6df3afcd1522918d24a (MD5)A presente dissertação tem como objeto de estudo a música latino-americana que, estando vinculada a preceitos da música européia ocidental, foi inspirada em músicas populares latinoamericanas, o que a caracteriza como música híbrida. Devido à magnitude deste objeto, foi estudado o caso específico do violonista e compositor paraguaio Agustín Barrios (1885-1944), que compôs, para o violão de concerto, peças inspiradas em expressões musicais populares de diversas regiões e países da América Latina. Com o propósito de compreender melhor as características da música popular que estas peças mantêm quando levadas às salas de concerto, foi analisada uma obra dele, Cueca, a partir de um estudo da dança popular na qual foi inspirada. Na dissertação também foi apresentado, por meio de pesquisa bibliográfica, o contexto sóciocultural e histórico em que surgiu esta música híbrida na América Latina, assim como a sua relevância na atualidade. A partir disto foram propostos alguns elementos de reflexão que podem servir nos campos da interpretação, ensino/aprendizagem, composição e pesquisa de músicas híbridas latino-americanas
The object of study of this dissertation is the music in Latin America that, being linked to precepts of West European music, was inspired by Latin American popular music, which characterizes it as being hybrid. Due to the magnitude of such object, the specific case of Paraguayan guitarist and composer Agustín Barrios (1885-1944) was studied. Barrios composed, for the concert guitar, works inspired by popular music expressions of many different regions and countries of Latin America. Aiming to better understand the characteristics of the popular music that these pieces keep when taken to the concert halls, a piece by this composer, Cueca, was analyzed. This analysis was based on a study of the popular dance that inspired the work. This dissertation also presents, through a bibliographical research, the social, cultural and historical context in which this hybrid music originated in Latin America, as well as its relevance in the present. Finally, some points of reflection were brought forward, aiming to contribute in the fields of interpretation, teaching/learning, composition and research of Latin American hybrid music
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Kosstrin, Hannah Joy. "Honest Bodies: Jewishness, Radicalism, and Modernism in Anna Sokolow's Choreography from 1927-1961." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300761075.
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Tome, Lester. "THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/116137.
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DancePh.D.
In the 1940s, Alicia Alonso became the first Latin American dancer to achieve prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba, particularly after the Cuban Revolution (1959). This dissertation integrates historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined the identity of the Cuban ballet. The study examines the historical context of the development of ballet in Cuba, Alonso's rationale for the practice of this dance form on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso insisted that the cultivation of ballet in her country was not an act of cultural colonialism. For her, the development of the Cuban ballet amounted to an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. Her rationale for the practice of ballet in Cuba captured the tension between cosmopolitan and nationalist forces that defined the country's artistic production throughout the twentieth century. Alonso defended the legitimacy of the Cuban dancers' performances of European classics such as Giselle and Swan Lake. She cast Cuban dancers as both heirs of the European nineteenth-century classics, but also proponents of a distinctive national aesthetics defined by the accents that they brought to the performance of this repertory and that, in her opinion, were expressive of the Cuban culture. Alonso proposed that, among other elements, a special sense of musicality distinguished Cuban dancers: she recycled the image of Cubans as a musical people, a trope that commonly informs representations of Cubans and their culture. The phenomenon of Alonso and the Cuban ballet helped to redraw the international boundaries of this dance form, disassociating the notion of ownership of ballet's legacy from its geographic and cultural origins in Europe. In today's dance world, increasingly marked by the international flow of dance genres, the study of Alonso's promotion of ballet in Cuba sheds light on the practices and discourses through which dancers assimilate and take ownership of foreign traditions.
Temple University--Theses
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Batista, Henrique Medeiros. ""Africa! Africa! Africa!" Black Identity in Marlos Nobre's Rhythmetron." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586866469586654.
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Viddal, Grete Tove. "Vodú Chic: Cuba's Haitian Heritage, the Folkloric Imaginary, and the State." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11315.
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Hundreds of thousands of Haitian agricultural laborers arrived in Cuba to cut cane as the Cuban sugar industry was expanding between the 1910s and the 1930s, and many settled permanently on the island. Historically, Haitian laborers occupied the lowest strata in Cuban society. Until relatively recently, the maintenance of Haitian traditions in Cuba was associated with rural isolation and poverty. Today however, the continuation of Haitian customs is no longer associated with isolation, but exactly the opposite. Cuba's Haitian communities are increasingly linked with cultural institutes, heritage festivals, music promoters, and the tourism industry. In Cuba's socialist economy, "folklore" is a valuable resource that demonstrates the unity of a multi-racial and multi-ethnic nation and attracts tourists. Music, dance, and rituals associated with Vodú have been re-imagined for the public stage. The "folkloric imaginary" creates new careers and opportunities for people of Haitian descent in Cuba. Haitiano-cubanos themselves have found innovative ways to transform the once abject into the now exotic, and are currently gaining a public presence in Cuba through folkloric performance.African and African American Studies
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Hester, Zoe. "Storytelling through Movement: An Analysis of the Connections between Dance & Literature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/470.
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Movement and storytelling are the links between past and present; both dance and literature have the same artistic and primal origins. We began to dance to express and communicate, to worship and feel. We tell stories for the same reasons: to learn from the past and to be able to communicate in the present.
This work explores the many connections between literature and dance through examinations of six dance forms: Native American, Bharatanatyam, West African, Ballet, Modern, and Post-Modern dance.
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Lewis, Abby N. "How Disassociating the Past Reassociates the Present: Distilling the Magic out of Magic Realism in Susan Power’s The Grass Dancer." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/421.
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American Indian author Susan Power’s novel The Grass Dancer is often categorized as magical realism, yet Power has stated the novel is a representation of her reality and that it is not a magical realist text. The term magical realism was first applied to the work of Latin American authors such as Gabriel García Márquez whose writing depicts magical events in a matter-of-fact narrative tone. It has since expanded to include other cultures. The question is whether it is a term that can readily be applied to the literary work of all cultures. The closest Wendy B. Faris, one of the most prominent experts on magical realism, comes to discussing the term in relation to the work of American Indian authors is by simply acknowledging Ojibwe writer Louise Erdrich’s label as a magical realist author. In order to aid Power in her rejection of the association, I delve into both her Dakota heritage and her life through the lens of biographical criticism in order to obtain a working image of her reality. By locating and examining the seeds of truth in her fiction, I explain the magical qualities of her novel in a rational and logical manner.
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Osborn, Shyla Elizabeth. "Hybrid spectacles: Performance and power in the circulation of Latinidad /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181119.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 264-268). Also available for download via the World Wide Web; free to University of Oregon users.
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Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Ruggiero, Diana Mabel. "Más allá del fútbol: La Bomba, the Afrochoteño Subaltern, and Cultural Change in Ecuador’s Chota-Mira Valley." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273711996.
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Salas, Maya. "Young Chicanx on the Move: Folklórico Dance Education as a Mechanism of Self-Assertion and Social Empowerment." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1042.
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In the context of Chicanx experiences in the United States, where varying generations of Chicanxs experience bicultural realities, this study shows how embodied knowledge performed through the body’s movements in folklórico dance by Chicanx youth from multiple generations, acts as a mechanism for reconnecting youth to cultural ties, reevaluating educational practices, and emplacing within youth, the ability to foster the confidence to express and create imagined futures. Data collection incorporated a series of interviews with eight Chicanx youth and adults who have either taught or danced folklórico in the Phoenix, Los Angeles, or Coachella Valley areas. Interview participants revealed a strong sense of cultural orgullo that acts as a bedrock for their cultural identity affirmation and reclamation. This orgullo and other cultural knowledges such as familismo and collective consciousness were emphasized through pedagogies of embodiment. Dancers described learning these cultural knowledges not just through the embodiment of physical dance steps but through the embodiment of social customs honored by their folklórico communities. Much of these social customs centered around fostering and maintaining relationships of genuine, holistic caring. These relationships were foundational for personal, mental, and emotional growth of dancers. Through these relationships, individual identities found the support to thrive within collective communities. Given the influx of educational pedagogies that attempt to depersonalize, depoliticize, and de-emotionalize the education through the implementation of tracking systems, standardized tests, and culturally inaccessible curriculums, these stories suggest alternate forms of learning that may account for students’ entire well-being. While this project is very much about reclaiming historical pasts, it is also about re-envisioning educational possibilities, discovering inner potentials and building collective communities that recognize and rejoice in those potentials. Through this study, a deeper understanding of the functions of movement and dance will strengthen platforms that push arts education and ethnic studies to greater educationalist agendas.
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Thiemann, Amy. "Embracing Internationalism: An Examination of Mario Lavista with an Analysis of Cinco Danzas Breves." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984228/.
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Mario Lavista (b.1943) is widely acknowledged as one of Mexico's foremost living composers. Having acquired his music education in his native Mexico and in Europe alike, he is similar to numerous other Latin composers who were building a career in the latter half of the twentieth century. During this time, composers were relying on international aspects of avant-garde techniques, and using nationalistic Latin rhythms and melodies less. Lavista embraced internationalism, and aimed to compose works devoid of identifiable elements of nationalism. This document argues that the absence of nationalistic elements in Lavista's music has affected his notoriety outside of Mexico. The role of nationalism is assessed through a brief examination of influential Mexican composers and educators prior to 1950, followed by a discussion of education and composition in the latter half of the twentieth century. These aspects are investigated with regard to Lavista's education and resulting compositional style. A theoretical analysis of Cinco Danzas Breves para quinteto de alientos (1994) serves as a representative example of Lavista's compositional style and influence. This document aims to highlight and increase exposure of Mexican composers outside of Latin America who do not compose nationalistic music.
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Farquhar, Alexander J. K. "Arthur Johnston and the fostering of Scottish letters." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:b649c8ca-f9f8-4562-9dfd-d57b9399ceb7.
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Traditionally, Arthur Johnston has been judged proxime accessit to George Buchanan in the world of Scottish neo-Latin poetry, and particularly in the versification of the Book of Psalms. The thesis offers a counterpoint to that theme. More of his poetry came under scrutiny at the close of the nineteenth century, when an edition of his Parerga and Epigrammata of 1632, turned scholarly attention to his secular poems. This study examines the poems written between 1599 and 1622 during Johnston’s peregrenatio academica in Europe – poems which depict him at the moment of his emergence onto the public stage, and which offer insights into his life, and the worlds he occupied, during those years. Part one of the thesis will examine his early years and his move into the academic world in Aberdeen and at Heidelberg University. Part two will consider the years he passed as a teacher of philosophy at the Huguenot Academy in Sedan, the independent principality on the northern border of France. It will look, too, at the evidence of his year spent in Padua, where he studied to become a physician. Part three will focus on the years 1619-22 when his longest secular poems were composed. He wrote and published with an eye to achieving a post in the medical circle around James VI and I. The thesis concludes by considering the retreat he made from Europe and London to his home in Aberdeen, and looks briefly at one of the small poems he wrote in 1623-24. Throughout, themes emerge of Johnston’s irenic preferences, and his response to the disturbance to intellectual life brought about by Calvinist division, and by the crisis heralded by the Bohemian Revolt.
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Wolkowicz, Vera. "Inventing Inca music : indigenist discourses in nationalist and Americanist art music in Peru, Ecuador and Argentina (1910-1930)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/274908.
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The Latin American centennial celebrations of independence (ca.1909-1925) constituted a key moment in the consolidation of national symbols and tropes, while also producing a renewed focus on transnational affinities that generated a series of discourses on continental unity. At the same time, a boom in archaeological explorations, within a general climate of scientific positivism, provided Latin Americans with new information about their ‘grandiose’ former civilisations, such as the Inca and the Aztec, which some then argued for as an American equivalent to ancient Greek and Egyptian cultures. These discourses moved from the political to the cultural sphere, themselves shaping ideas about Latin American national and continental identity. In the arts, and particularly in music, artists as a result began to move from using European techniques and depicting European themes, to produce an art that could be considered Latin American. This dissertation explores discourses surrounding the Inca in particular as a source for the creation of a ‘national’ and ‘continental’ art music during the first three decades of the twentieth century, with a concentration on ‘nationalist’ composers of Peru, Ecuador and Argentina. Three main topics bind together my analysis: interpretations of the Inca musical system, the postcolonial style called yaraví, and the composition of opera. To this end, I look into early twentieth-century writings on Inca music and its origins, investigate attempts to reconstruct it, describe how certain composers applied ‘Inca’ techniques into their own works, and consider how this music was perceived by local audiences. Ultimately, I argue that faced with the difficulties of constructing national unity at the time, the turn to Inca culture and music in pursuit of such unity could only succeed within particular intellectual circles, and that the idea that the Inca example could produce a ‘music of America’ would ultimately remain a utopia.
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Almonte, Michelle. "History, Material Culture, and the Search for the Mythic American Dream in Angie Cruz’s Let it Rain Coffee." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3175.
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This thesis examines the connection between Dominican history, the influence of American material culture, and the mythic American Dream as catalysts for migration. The two U.S. occupations and American propaganda through media had a great effect on the deceptive perception of an American life as an effortless method for attaining wealth. Let it Rain Coffee by Angie Cruz, will focus on the character, Esperanza Colon, and her obsession with the lavish lifestyle she views on the television show, Dallas. Material objects, as argued by Daniel Miller in his book, Stuff, work in subtle yet significant ways and determine our function, identification, and experience in society. If the ideal purpose of material culture is to presuppose our roles as individuals, one can conclude that the novel showcases the issues of a subordinate class struggling to attain the material goods that represent economic wealth while maintaining a sense of self-identification and self-agency.
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Lakshmanan-Minet, Nicolas. "La danse des temps dans l'épopée, d'Homère au Roland." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMR089/document.
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Les épopées d’Homère et de Virgile, la Chanson de Roland sont marquées par une alternance qui peut paraître capricieuse. En fait, on la saisit beaucoup mieux dès lors qu’on prend en compte la présence des corps : ceux du jongleur, de l’aède, du récitant ; le corps du public. Postures, gestuelle, mouvements, regard, souffle, musique s’articulent à cette alternance pour en faire une véritable danse. Cette thèse étudie d’abord comment dansent chacun des temps principaux du récit dans ces épopées, en accordant la priorité à Homère et au Roland ; puis elle étudie comment cette danse des temps prend corps dans chacune des petites pièces dont nous décelons que sont composées les épopées anciennes comme le Roland : les laissesThe Homeric and Virgilian epics, as well as the Chanson de Roland are full of tenseswitching, the use of which might seem capricious to the modern reader. It is in fact much better understood when bodies’ presence is taken into account — these bodies being the bard’s one as well as the audience’s. Postures, gestures, moves, eyes, breath, music are joint partners to tenseswitching, so that tenses really dance in epics. This study is firstly about how each one of the main narrative tenses dances in Homer and the Roland, and also in the Æneid. Then it studies the way tenses dance in each of the small pieces we find in the classical epics as well as in the Roland : the laisses
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Harrington, Jesse Patrick. "Vengeance and saintly cursing in the saints' Lives of England and Ireland, c. 1060-1215." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277930.
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This dissertation concerns the narrative and theological role of divine vengeance and saintly cursing in the saints’ Lives of England and Ireland, c. 1060-1215. The dissertation considers four case studies of primary material: the hagiographical and historical writings of the English Benedictines (Goscelin of Saint-Bertin, Eadmer of Canterbury, and William of Malmesbury), the English Cistercians (Aelred and Walter Daniel of Rievaulx, John of Forde), the cross-cultural hagiographer Jocelin of Furness, and the Irish (examining key textual clusters connected with St. Máedóc of Ferns and St. Ruadán of Lorrha, whose authors are anonymous). This material is predominantly in Latin, with the exception of the Irish material, for which some vernacular (Middle Irish) hagiographical and historical/saga material is also considered. The first four chapters (I-IV) focus discretely on these respective source-based case studies. Each is framed by a discussion of those textual clusters in terms of their given authors, provenances, audiences, patrons, agendas and outlooks, to show how the representation of cursing and vengeance operated according to the logic of the texts and their authors. The methods in each case include discerning and explaining the editorial processes at work as a basis for drawing out broader patterns in these clusters with respect to the overall theme. The fifth chapter (V) frames a more thematic and comparative discussion of the foregoing material, dealing with the more general questions of language, sources, and theological convergences compared across the four source bases. This chapter reveals in particular the common influence and creative reuse of key biblical texts, the Dialogues of Gregory the Great, and the Life of Martin of Tours. Similar discussion is made of a range of common ‘paradigms’ according to which hagiographical vengeance episodes were represented. In a normative theology in which punitive miracles, divine vengeance and ritual sanction are chiefly understood as redemptive, episodes in which vengeance episodes are fatal can be considered in terms of specific sociological imperatives placing such theology under pressure. The dissertation additionally considers the question of ‘coercive fasting’ as a subset of cursing which has been hitherto studied chiefly in terms of the Irish material, but which can also be found among the Anglo-Latin writers also. Here it is argued that both bodies of material partake in an essentially shared Christian literary and theological culture, albeit one that comes under pressure from particular local, political and sociological circumstances. Looking at material on both sides of the Irish Sea in an age of reform, the dissertation ultimately considers the commonalities and differences across diverse cultural and regional outlooks with regard to their respective understandings of vengeance and cursing.
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Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.
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CHIU, LIN-YUN, and 邱琳云. "A Study of Recuerdos: Three Traditional Latin-American Dances for Two Pianos by William Bolcom." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/feh3xt.
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Yu, Yung-ching, and 游詠晴. "The Research of William Bolcom''s Recuerdos – Three Traditional Latin-American Dances for Two Pianos." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/msw246.
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碩士國立中山大學
音樂學系研究所
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Combining traditional source and modern technique in musical composition has become one of the major trends in the contemporary music development. William Bolcom (1938- ) is an important composer in the 20th century, who followed this trend to compose the two-piano work Recuerdos – Three Traditional Latin-American Dances for Two Pianos (1991). Inspired by characteristics of traditional Latin American dance, Bolcom employed the elements of the Latin American music as the structural foundation. In each of the three movements, Bolcom has tried to recall the stylistic features of the folk music in Brazil, Argentina, and Venezuela, as well as musical languages of Ernesto Nazareth (1863-1934), Louis Moreau Gottschalk (1829-1869), Ramón Delgado Palacios (1863-1902). Bolcom uses a lot of Latin America music materials in Recuerdos, and also applied contemporary compositional technique to this work, such as polytonality, serialism, collage, etc. Chapter One in this paper will introduce Bolcom’s life background and musical composition experience, and the special characteristics of his five two-piano works. Chapter Two contains the historical background of Recuerdos, mainly discussing musical styles of three countries and three composers which Bolcom wanted to evoke in this composition. Chapter Three includes the compositional manners of Choro, Paseo, and Valse Venezolano, and researches how Bolcom intergrating diverse musical materials and still creating the unity among three movements.
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"Para Mi Alma for Chamber Wind Ensemble." Master's thesis, 2019. http://hdl.handle.net/2286/R.I.53851.
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abstract: Para Mi Alma is a composition for chamber wind ensemble comprised of an Introduction, two dance movements, and a concluding movement featuring the full ensemble in a chorale-like finale. This piece follows the narrative of an abusive relationship, and the emotional rollercoaster that one experiences during the self extrication and consequential rebirth of identity. Para Mi Alma (For My Soul) is scored for chamber wind ensemble with the following instrumentation: piccolo/flute, Bb clarinet, bass clarinet, bassoon; soprano, tenor, and baritone saxophone; trumpet, trumpet/flugelhorn, horn in F, tenor and bass trombone; double bass, and three percussionists - marimba/congas, auxiliary percussion (wind chimes, suspended cymbal, triangle, bass drum, snare drum, double cowbell, tam-tam), and timpani/timbales. The duration of this work is approximately 11’00”.
Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth.Dissertation/Thesis
Masters Thesis Music 2019
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Hlaváčková, Radka. "Problematika hudebnosti v esteticko-koordinačních sportech." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-341495.
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Title: The Problematics of musicality in aesthetic-coordination sports Objectives:. This thesis deals with the problematics of musicality in conjunction with aesthetic-coordination sports, particularly acrobatic rock and roll, Latin American dances and modern gymnastics. The aim is to determine the level of musicality in active individuals operating in these sports sectors and compare these results. Method: The research was made by using standardized test of musicality by Arnold Bentley. The research group consists of competitors of early school age in acrobatic rock and roll (10), Latin American dances (10) and modern gymnastics (10). The results are interpreted by using the tables of frequency and bar graphs through a functions in Excel. Results: The Ranking aesthetic-coordination sports by success in the test musicality by Arnold Bentley is folowing: 1) Acrobatic rock and roll (58,1%), 2) Latin American dances (56,5%), 3) modern gymnastics (55,5%). Keywords: acrobatic rock and roll, music-movement relationships, Latin American dances, early school age, modern gymnastics
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Figueroa, Brianna Lynn. "Dancing Latina identity : a rendering of contemporary Latina self-representation in American concert dance." 2013. http://hdl.handle.net/2152/22463.
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When considering the Latina dancer in the United States it is easy to conjure images of a fruit crowned Carmen Miranda shimming in front of the camera, videos of Jennifer Lopez swinging her hips in dark and crowded clubs, sultry salsa dancers rocking and twisting on their bedazzled stilettos, or Jalisco girls who swirl the hemlines of their rainbow colored skirts as they parade down the street. These depictions of the Latina dancer are duly noted for creating a means of visibility for an otherwise invisible demographic. However, they also function to reinforce stereotypical ideas of the Latina moving body which limit Latina agency by positioning dancing Latinas within a set of prescribed representational practices. My study bridges Latina/o studies with dance studies in order to ask how Latina women are utilizing modern and contemporary dance styles to upset and redefine notions of the dancing Latina. I focus on the choreography of four women in particular; Michelle Manzanales, Maray Gutierrez, Annabelle Lopez Ochoa, and Nancy Turano who each presented work in association with Luna Negra Dance Theatre’s Latina Choreographers Project. Through my study I place the project’s mission into dialog with the corpus of choreography commissioned during its three-year lifespan (2006-2009). My close analysis serves to elucidate the stories that the choreographers chose to tell. For some, the deconstruction of icons provided the most compelling exercise in the process of excavating beneath quintessential Latino facades. For others, the strong recollections of home and the feeling of not being able to assert a defined location characterized their investigations of cultural identity. The Latina Choreographers Project, I contend, sets a historical precedent by pursuing and presenting the work of Latina choreographers in a field that has traditional excluded the Latina voice. I argue that by engaging four choreographers with extraordinarily diverse relationships to Latinidad and presenting them to an American audience, the Latina Choreographer Project presents an invaluable opportunity for intercultural and cross-cultural dialog that aims to relay the complexity and nuances of a contemporary Latina experience.text
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"Florencia Grimaldi: Latin America's Soprano Heroine." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.17749.
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abstract: Although opera is the last musical genre one typically associates with Latin America, Mexican composer Daniel Catán (1949-2011) found surprising success across the United States and overseas with his opera Florencia en el Amazonas (1996). Catán blends colorful music with literary elements to create a representation of Latin American culture through language, drama, scenery, and music. Among these elements is realism mágico (magical realism), a significant characteristic of Latin American literature. Indeed, the plot of the opera is influenced by Gabriel García Márquez's novel, El amor en los tiempos del cólera (Love in the Time of Cholera, 1985), as well as the poem "Mariposa de obsidiana" (Obsidian Butterfly, 1951) and the short story "La hija de Rappaccini" (Rappaccini's Daughter, 1953), both by Octavio Paz. To create his protagonist in the opera, Florencia Grimaldi, Catán combines the dramatic qualities of several European soprano heroines. This figure's character development is conveyed largely through her Act I, Scene 2, aria, "Florencia Grimaldi," and her Act II, Scene 17, aria, "Escúchame." An overview of the opera places these two arias into context, and their musical content and text-setting are closely examined in relation to the character of Florencia. Finally, how Daniel Catán creates a soprano heroine from the Latin American perspective is discussed.Dissertation/Thesis
D.M.A. Music 2013
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Connelly, Christine Diane. "Cross-body lead, counterbody motion : political and poetic notes towards a sociology of globalization, nation-building and transcultural performativity in Toronto salsa /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442492&T=F.
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Ortiz, Albert A. "Daniel James a cold war correspondent in Latin America /." 1988. http://books.google.com/books?id=q5tZAAAAMAAJ.
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Chmelík, Lukáš. "Deskripce somatotypu jako součást sportovního výkonu ve sportovním tanci." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-341491.
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Title: Description of somatotype as part of sports performance in sports dance. Objectives: Create images of selected portions of the structure of sport performance in sport dancing. Help everyone in this sport. Establish model Czech dance couples in the world's top closer, only with a certain measurement for certain segments of the exercise. Methods: For the Purposes of this paper we will work with methods: analysis of scientific literature, the method of interviewing, observation method. Results: The aim was to show the close similarity between the partners and partner dancing couples individually and as a whole. These results I was able to prove (the differences were minimal). Based on my research, it is possible to generalize the model, which is important for dance and sport for all athletes who want to get closer world leaders. Keywords: Sports performance, sports dance, posture, BMI, WHR, height, weight, Latin American and Standard dances, somatotype.
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Nell, Jan Elizabeth. "An Investigation of the Perceptions of Latino High School Males Who Were in Danger of Dropping Out but Persevered." Thesis, 2010. http://hdl.handle.net/1969.1/ETD-TAMU-2010-12-8771.
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The purpose of this qualitative study was to investigate perceptions and experiences of four Latino male students who obtained their high school diploma despite considerable adversity. An in-depth examination of the participants' academic experiences, familial impact on their education, and societal acculturation were explored to elucidate Latino male academic achievement in public high school.
The dropout conundrum has serious economic and societal implications for the United States. In addition, the explosion of the Latino population in the southwestern portion of the U.S. adds another dimension to this dilemma since Latinos have a greater dropout rate than their white counterparts. However, there has been minimal qualitative literature that has given voice to students and their perceptions of academic success. Therefore, this study was conducted with individual, semi-structured interviews to give the students' voice to their story and create rich, thick descriptions for educators to understand the reasons these students were successful in school.
Participants were selected from a randomized purposeful sample from the same high school. In addition, each student was interviewed three times to ensure prolonged engagement. Interviews were audio-taped and then transcribed by the researcher. Member checking, peer debriefing, artifact collection, and reflexive journaling were utilized to establish trustworthiness. The transcribed interviews were categorized to establish patterns and themes in the data.
Even though the four participants were very different from each other in generational status, family environment, and personal interests, they were all able to obtain their high school diploma despite the hardships that have played a role in the failure in school of others much like these four. The students clearly articulated that treatment by the staff at school was a major factor in their academic achievement, and, even though they all came from non-traditional families, education was valued and encouraged in their homes. Recommendations for future studies include research on Latino college achievement and the role of Latino parents in their children's education.
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Černocká, Michaela. "Vliv kinesiotapingu na změnu prahu bolesti v oblasti dolních končetin a pánve u sportovních tanečních párů latinskoamerických tanců." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-339662.
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Title: The Effect of Kinesiotaping on Pain Threshold Alteration of Lower Limbs and Pelvis in Latin American Sport Dance Couples Objectives: The aim of this study is to monitor the alteration of the pain threshold in predilective points of lower limbs and pelvis during loaded regime and to compare these changes with the control group with no kinesio tape. Methods: This experimental study employs intervention of kinesio tape applied to inhibit m. gastrocnemius medialis et lateralis and for mechanical correction of hallux valgus. There were five couples in experimental group and five couples in control group. The pain threshold change was objectivised by pressure algometer. Results: The measured data showed that the kinesiotaping has a positive influence on pain threshold in sport dance couples. In most dancers (9 out of 10) kinesio tape contributed to increasing or smaller decreasing of pain threshold with respect to the other lower limb. In comparison with the control group, pain threshold of dancers in the experimental group increased or decreased less even despite acute or subacute injury of the taped lower limb. One more finding is that the postural function has an influence on the pain threshold change after load. Pain threshold had a downward tendency in investigated persons with a worse...
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Šťastná, Zuzana. "Systémy hodnocení soutěží v tanečním sportu z pohledu porotců." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404313.
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Title: Judging systems of competitions in dance sport from judges point of view Objectives: The main goal of the thesis is to introduce the absolute judging system used on a dances sport competitions 3.0 to a wider public, and to describe differences between absolute judging systems 2.0, 2.1 and 3.0. Next goal is to map opinions, knowledge and attitudes of the TOP judges of the CDSF towards the judging systems of the dance sport. Methods: To obtain the necessary data for the elaboration of the thesis was used a method of electronic questionnaires. For the elaboration of a theoretical part of the thesis were used primary sources, professional literature and experts' own materials. Result: The thesis maps used systems of dance sport in the Czech Republic and abroad and their main progress towards objective and measurable judging. Based on survey, the questionnaire reveals the knowledge, opinions and attitudes of the Czech TOP judges towards System 3.0. In fact, the thesis is a breakthrough, because even though the absolute judging system 3.0 is already used in practice, there is still no Czech written documentation of its work or usage. Keywords: Dance sport, Latin, Ballroom, Dance, Judges, Judging systems, Sport, The questionnaire
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Smutná, Petra. ""Nosotros no bailamos así": Salsa jako globální komercializovaný fenomén v lokálním prostředí." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435551.
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This thesis deals with the musical and dance style known as "Salsa" which roots can be traced to the Caribbean of Latin America. In this work, salsa is investigated as a global phenomenon in the local context of Prague and at the same time as a commercialized product. In terms of salsa as a global phenomenon, the work deals with the characteristics of salsa as a social dance in the local context and tries to trace its social functions. In addition to the effects of the commercialization and tropicalized ideas of salsa and Latin American cultures on its form, the thesis also touches on topics such as internal negotiation and external construction of Latin American identity (latinidad), which are related to salsa as a global phenomenon and its commercialization. The work is based on several months of ethnographic research and semi- structured interviews conducted mainly with salseros from Latin America, the Czech Republic and others, not only European countries. Key words: salsa, social dance, global phenomenon, commercialization, product, commodification of culture, Latin American identity, latinidad , tropicalization, imagination
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Bellaviti, Sean. "Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica Popular." Thesis, 2013. http://hdl.handle.net/1807/35775.
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This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavour to show that early on in its history música típica popular epitomized Panama’s (liberalist-identified) national ethos of progressive modernity and cultural cosmopolitanism while at the same time maintaining alignments to specific territories and musical practices significant to Panamanian vernacular imaginaries.
The historical outline covers música típica popular’s development beginning from the late nineteenth century to the present. Its focus is on the genre’s tandem commercialisation and massification, performance and production technologies and associated performance modalities, shared musical/sonic traits, repertoire and approaches to innovation through musical mixing or fusión (fusion). One of the central goals here is to trace and examine points of alignment between música típica popular and dominant paradigms governing isthmian geo-cultural self-identification—particularly the interplay between a rural-identified “vernacular” culture and the perceived urban cosmopolitanism of Panamanian metropolites.
Through ethnographic research this study also aims to examine the various sonic, social and economic factors that contribute to notions of música típica popular as a particular socio-musical collectivity actively in dialogue with discourses of Panamanian national and cultural identity. To this end, notions of “genre” and “style” provide an analytical framework particularly for coming to terms with the interplay between sensibilities of convention and common practice, and a need for meaningful differentiation among practitioners. It is my contention that while música típica popular practitioners actively cultivate links both to themes of Panamanian music-cultural vernacularism and cosmopolitanism, on the whole the relationship of the genre to nationalist discourse should be more properly understood as one of sustained ambiguity: not wholly aligned to one theme or the other, and in fact doggedly and often productively resistant to such binary categorizations.
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Newman, Jonathan M. "Satire of Counsel, Counsel of Satire: Representing Advisory Relations in Later Medieval Literature." Thesis, 2008. http://hdl.handle.net/1807/16806.
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Satire and counsel recur together in the secular literature of the High and Late
Middle Ages. I analyze their collocation in Latin, Old Occitan, and Middle English texts
from the twelfth to the fifteenth century in works by Walter Map, Alan of Lille, John of
Salisbury, Daniel of Beccles, John Gower, William of Poitiers, Thomas Hoccleve, and
John Skelton. As types of discourse, satire and counsel resemble each other in the way
they reproduce scenarios of social interaction. Authors combine satire and counsel to
reproduce these scenarios according to the protocols of real-life social interaction.
Informed by linguistic pragmatics, discourse analysis, sociolinguistics and cultural
anthropology, I examine the relational rhetoric of these texts to uncover a sometimes
complex and reflective ethical discourse on power which sometimes implicates itself in
the practices it condemns. The dissertation draws throughout on sociolinguistic methods
for examining verbal interaction between unequals, and assesses what this focus can
contribute to recent scholarly debates on the interrelation of social and literary practices
in the later Middle Ages.
In the first chapter I introduce the concepts and methodologies that inform this
dissertation through a detailed consideration of Distinction One of Walter Map’s De
nugis curialium . While looking at how Walter Map combines discourses of satire and
counsel to negotiate a new social role for the learned cleric at court, I advocate treating
satire as a mode of expression more general than ‘literary’ genre and introduce the
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theories and methods that inform my treatment of literary texts as social interaction,
considering also how these approaches can complement new historicist interpretation.
Chapter two looks at how twelfth-century authors of didactic poetry appropriate
relational discourses from school and household to claim the authoritative roles of teacher
and father. In the third chapter, I focus on texts that depict relations between princes and
courtiers, especially the Prologue of the Confessio Amantis which idealizes its author
John Gower as an honest counselor and depicts King Richard II (in its first recension) as
receptive to honest counsel. The fourth chapter turns to poets with the uncertain social
identities of literate functionaries at court. Articulating their alienation and satirizing the
ploys of courtiers—including even satire itself—Thomas Hoccleve in the Regement of
Princes and John Skelton in The Bowge of Court undermine the satirist-counselor’s claim
to authenticity. In concluding, I consider how this study revises understanding of the
genre of satire in the Middle Ages and what such an approach might contribute to the
study of Jean de Meun and Geoffrey Chaucer.
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Zavala, Oswaldo. "Literature to infinity: a Borgesian genealogy of contemporary Mexican narrative." Thesis, 2006. http://hdl.handle.net/2152/3012.
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