Breve Historia Del Folclore Argentino
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Author | : Charlotte A. Lerg |
Publisher | : Walter de Gruyter GmbH & Co KG |
Total Pages | : 284 |
Release | : 2022-10-24 |
Genre | : History |
ISBN | : 3110748924 |
With concepts of participation discussed in multiple disciplines from media studies to anthropology, from political sciences to sociology, the first issue of the new yearbook History of Intellectual Culture (HIC) dedicates a thematic section to the way knowledge can and arguably must be conceptualized as "participatory". Introducing and exploring "participatory knowledge", the volume aims to draw attention to the potential of looking at knowledge formation and circulation through a new lens and to open a dialogue about how and what concepts and theories of participation can contribute to the history of knowledge. By asking who gets to participate in defining what counts as knowledge and in deciding whose knowledge is circulated, modes of participation enter into the examination of knowledge on various levels and within multiple cultural contexts. The articles in this volume attest to the great variety of approaches, contexts, and interpretations of "participatory knowledge", from the sociological projects of the Frankfurt School to the Uppsala-based Institute for Race Biology, from the Argentinian National Folklore Survey to current hashtag activism and Covid-19-archive projects. HIC sees knowledge as rooted in social and political structures, determined by modes of transfer and produced in collaborative processes. The notion of "participatory knowledge" highlights in a compelling way how knowledge is rooted in cultural practices and social configurations.
Author | : Matthew B. Karush |
Publisher | : Duke University Press |
Total Pages | : 295 |
Release | : 2017-01-06 |
Genre | : History |
ISBN | : 0822373777 |
In Musicians in Transit Matthew B. Karush examines the transnational careers of seven of the most influential Argentine musicians of the twentieth century: Afro-Argentine swing guitarist Oscar Alemán, jazz saxophonist Gato Barbieri, composer Lalo Schifrin, tango innovator Astor Piazzolla, balada singer Sandro, folksinger Mercedes Sosa, and rock musician Gustavo Santaolalla. As active participants in the globalized music business, these artists interacted with musicians and audiences in the United States, Europe, and Latin America and contended with genre distinctions, marketing conventions, and ethnic stereotypes. By responding creatively to these constraints, they made innovative music that provided Argentines with new ways of understanding their nation’s place in the world. Eventually, these musicians produced expressions of Latin identity that reverberated beyond Argentina, including a novel form of pop ballad; an anti-imperialist, revolutionary folk genre; and a style of rock built on a pastiche of Latin American and global genres. A website with links to recordings by each musician accompanies the book.
Author | : Oscar Chamosa |
Publisher | : |
Total Pages | : 199 |
Release | : 2012 |
Genre | : Folklore |
ISBN | : |
Author | : Ericka Kim Verba |
Publisher | : UNC Press Books |
Total Pages | : 313 |
Release | : 2025-01-14 |
Genre | : Biography & Autobiography |
ISBN | : 1469679639 |
Chilean musician and artist Violeta Parra (1917–1967) is an inspiration to generations of artists and activists across the globe. Her music is synonymous with resistance, and it animated both the Chilean folk revival and the protest music movement Nueva Cancion (New Song). Her renowned song "Gracias a la vida" has been covered countless times, including by Joan Baez, Mercedes Sosa, and Kacey Musgraves. A self-taught visual artist, Parra was the first Latin American to have a solo exhibition at the Museum of Decorative Arts in the Louvre. In this remarkable biography, Ericka Verba traces Parra's radical life and multifaceted artistic trajectory across Latin America and Europe and on both sides of the Iron Curtain. Drawing on decades of research, Verba paints a vivid and nuanced picture of Parra's life. From her modest beginnings in southern Chile to her untimely death, Parra was an exceptionally complex and talented woman who exposed social injustice in Latin America to the world through her powerful and poignant songwriting. This examination of her creative, political, and personal life, flaws and all, illuminates the depth and agency of Parra's journey as she invented and reinvented herself in her struggle to be recognized as an artist on her own terms.
Author | : Fernando Rios |
Publisher | : Oxford University Press |
Total Pages | : 297 |
Release | : 2020-09-09 |
Genre | : Music |
ISBN | : 0190692308 |
Melodious panpipes and kena flutes. The shimmering strums of a charango. Poncho-clad musicians playing "El Cóndor Pasa" at subway stops or street corners while selling their recordings. These sounds and images no doubt come to mind for many "world music" fans when they recall their early encounters with Andean music groups. Ensembles of this type — known as "Andean conjuntos" or "pan-Andean bands" — have long formed part of the world music circuit in the Global North. In the major cities of Latin America, too, Andean conjuntos have been present in the local music scene for decades, not only in Peru, Bolivia, and Ecuador (i.e., in the Andean countries), but also in Argentina, Chile, Colombia, and Mexico. It is solely in Bolivia, however, that the Andean conjunto has represented the preeminent folkloric-popular music ensemble configuration for interpreting national musical genres from the late 1960s onward. Despite its frequent association with indigenous villages, the music of Andean conjuntos bears little resemblance to the indigenous musical expressions of the Southern Andes. Created by urban criollo and mestizo folkloric artists, the Andean conjunto tradition represents a form of mass-mediated folkloric music, one that is only loosely based on indigenous musical practices. Panpipes & Ponchos reveals that in the early-to-mid 20th century, a diverse range of musicians and ensembles, including estudiantinas, female vocal duos, bolero trios, art-classical composers, and mestizo panpipe groups, laid the groundwork for the Andean conjunto format to eventually take root in the Bolivian folklore scene amid the boom decade of the 1960s. Author Fernando Rios analyzes local musical trends in conjunction with government initiatives in nation-building and the ideologies of indigenismo and mestizaje. Beyond the local level, Rios also examines key developments in Bolivian national musical practices through their transnational links with trends in Peru, Argentina, Chile, Mexico, and France. As the first book-length study that chronicles how Bolivia's folkloric music movement articulated, on the one hand, with Bolivian state projects, and on the other, with transnational artistic currents, for the pivotal era spanning the 1920s to 1960s, Panpipes & Ponchos offers new perspectives on the Andean conjunto's emergence as Bolivia's favored ensemble line-up in the field of national folkloric-popular music.
Author | : E. Bradford Burns |
Publisher | : University of Texas Press |
Total Pages | : 166 |
Release | : 2014-12-15 |
Genre | : History |
ISBN | : 1477305696 |
The interactions between the elites and the lower classes of Latin America are explored from the divergent perspectives of three eminent historians in this volume. The result is a counterbalance of viewpoints on the urban and the rural, the rich and the poor, and the Europeanized and the traditional of Latin America during the late nineteenth and early twentieth centuries. E. Bradford Burns advances the view that two cultures were in conflict in nineteenth-century Latin America: that of the modernizing, European-oriented elite, and that of the “common folk” of mixed racial background who lived close to the earth. Thomas E. Skidmore discusses the emerging field of labor history in twentieth-century Latin America, suggesting that the historical roots of today’s exacerbated tensions lie in the secular struggle of army against workers that he describes. In the introduction, Richard Graham takes issue with both authors on certain basic premises and points out implications of their essays for the understanding of North American as well as Latin American history.
Author | : Paulina L. Alberto |
Publisher | : Cambridge University Press |
Total Pages | : 529 |
Release | : 2022-01-06 |
Genre | : History |
ISBN | : 1108988512 |
Celebrities live their lives in constant dialogue with stories about them. But when these stories are shaped by durable racist myths, they wield undue power to ruin lives and obliterate communities. Black Legend is the haunting story of an Afro-Argentine, Raúl Grigera ('el negro Raúl'), who in the early 1900s audaciously fashioned himself into an alluring Black icon of Buenos Aires' bohemian nightlife, only to have defamatory storytellers unmake him. In this gripping history, Paulina Alberto exposes the destructive power of racial storytelling and narrates a new history of Black Argentina and Argentine Blackness across two centuries. With the extraordinary Raúl Grigera at its center, Black Legend opens new windows into lived experiences of Blackness in a 'white' nation, and illuminates how Raúl's experience of celebrity was not far removed from more ordinary experiences of racial stories in the flesh.
Author | : G K HALL |
Publisher | : Macmillan Reference USA |
Total Pages | : 1086 |
Release | : 1997-07 |
Genre | : History |
ISBN | : 9780783817644 |
Author | : Guy A. Marco |
Publisher | : Littleton, Colo. : Libraries Unlimited |
Total Pages | : 304 |
Release | : 1977 |
Genre | : Music |
ISBN | : |
Author | : Lavayén Lavayén |
Publisher | : Trafford Publishing |
Total Pages | : 144 |
Release | : 2005-05-27 |
Genre | : Family & Relationships |
ISBN | : 1412052475 |
Memoir uncovers truth about effects of ghost story and family dynamic in Argentine Childhood The transition from childhood to adulthood is difficult no matter what the circumstances. When more stress is added from societal and familial pressures, that transition is even shorter and harsher. The Shadow of the Baron by American-Argentinian author Laura Lavayén is a memoir of her childhood in Argentina, living on the land of a deceased landholder. The Baron was a fanatic and kept repeating that, if Germany lost the war, he would commit suicide. He did. The Baron starved to death after destroying all his belongings brought from Germany. The only things left, very close to Laura's home, were a pine tree – also brought from Germany – and his grave surrounded by an iron railing. Soon after the Baron's death, people said that his spirit wandered in the area. It is in this environment that the memoir begins, before quickly moving into the difficult childhood that fills the book. Lavayén’s memories of her older half-sister, Caty, a mentally handicapped girl who died very young, her gaucho father who was a storyteller and she loved dearly, and stories of scarcity and lack of understanding, mainly from her mother who never agreed with her behavior, flavor much of the text. The old ranch where the family lived was in the outskirts of beautiful Bariloche. Not far from the place where she used to play with her brothers and sisters, they found broken remains from the former inhabitants in the area, or so they thought. Later on, they learned that they had belonged to the German Baron Ludwig von Bulow. His spirit wandering in the area was a recurring nightmare for Laura… ------------------------------------------ La Sombra del Barón El primer volumen de sus memorias narra su infancia en la estancia donde vivía con su familia y donde trabajaba su padre, cerca a Bariloche. La propiedad pertenecía a un barón alemán, Ludwig von Bulow, quien había dicho que se suicidaría si Alemania perdía la guerra, y así hizo, se dejó morir de hambre. La Sombra del Barón contiene el secreto para que la vida de Laura se haya desarrollado como lo hizo. El libro presenta recuerdos de su media hermana mayor Caty, quien murió muy joven, su padre, un gaucho por excelencia, quien era un gran narrador de historias y a quien ella amaba especialmente, e historias de carencias y falta de compresión, principalmente por parte de su madre, quien nunca entendió el comportamiento de su hija. El día que ella mira hacia la tumba que tanto la atemorizaba junto a sus hermanos, pues se decía que el fantasma del barón rondaba la estancia, y no sintió miedo ni del barón, ella se marchó… todo se desencadenó cuando se enteró de un secreto que su familia guardaba, lo que la hace entender que su padre tenía razón cuando decía que «No es a los muertos a quien hay que tenerles miedo, sino a los vivos». Esta realidad la hacer perder el miedo a que el espíritu del Barón pudiera aparecérsele y la empuja a dejar la casa de sus padres… siendo aún una adolescente.