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"Collecting essays by fourteen expert contributors into a trans-oceanic celebration and critique, Mamadou Diouf and Ifeoma Kiddoe Nwankwo show how music, dance, and popular culture turn ways of remembering Africa into African ways of remembering. With a mix of Nuyorican, Cuban, Haitian, Kenyan, Senegalese, Trinidagonian, and Brazilian beats, Rhythms of the Afro-Atlantic World proves that the pleasures of poly-rhythm belong to the realm of the discursive as well as the sonic and the kinesthetic." ---Joseph Roach, Sterling Professor of Theater, Yale University "As necessary as it is brilliant, Rhythms of the Afro-Atlantic World dances across, beyond, and within the Black Atlantic Diaspora with the aplomb and skill befitting its editors and contributors." ---Mark Anthony Neal, author of Soul Babies: Black Popular Culture and the Post-Soul Aesthetic Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic---Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others---highlighting contemporary popular, folkloric, and religious music and dance. By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance are the living evidence of a constant (re)composition and (re)mixing of local sounds and gestures. Rhythms of the Afro-Atlantic World distinguishes itself as a collection focusing on the circulation of cultural forms across the Atlantic world, tracing the paths trod by a range of music and dance forms within, across, or beyond the variety of locales that constitute the Atlantic world. The editors and contributors do so, however, without assuming that these paths have been either always in line with national, regional, or continental boundaries or always transnational, transgressive, and perfectly hybrid/syncretic. This collection seeks to reorient the discourse on cultural forms moving in the Atlantic world by being attentive to the specifics of the forms---their specific geneses, the specific uses to which they are put by their creators and consumers, and the specific ways in which they travel or churn in place. Mamadou Diouf is Leitner Family Professor of African Studies, Director of the Institute of African Studies, and Professor of History at Columbia University. Ifeoma Kiddoe Nwankwo is Associate Professor of English at Vanderbilt University. Jacket photograph by Elias Irizarry
Vodou has often served as a scapegoat for Haiti’s problems, from political upheavals to natural disasters. This tradition of scapegoating stretches back to the nation’s founding and forms part of a contest over the legitimacy of the religion, both beyond and within Haiti’s borders. The Spirits and the Law examines that vexed history, asking why, from 1835 to 1987, Haiti banned many popular ritual practices. To find out, Kate Ramsey begins with the Haitian Revolution and its aftermath. Fearful of an independent black nation inspiring similar revolts, the United States, France, and the rest of Europe ostracized Haiti. Successive Haitian governments, seeking to counter the image of Haiti as primitive as well as contain popular organization and leadership, outlawed “spells” and, later, “superstitious practices.” While not often strictly enforced, these laws were at times the basis for attacks on Vodou by the Haitian state, the Catholic Church, and occupying U.S. forces. Beyond such offensives, Ramsey argues that in prohibiting practices considered essential for maintaining relations with the spirits, anti-Vodou laws reinforced the political marginalization, social stigmatization, and economic exploitation of the Haitian majority. At the same time, she examines the ways communities across Haiti evaded, subverted, redirected, and shaped enforcement of the laws. Analyzing the long genealogy of anti-Vodou rhetoric, Ramsey thoroughly dissects claims that the religion has impeded Haiti’s development.
Haiti has long been both a source of immense pride--because of the Haitian Revolution--and of profound disappointment--because of the unshakable realities of poverty, political instability, and violence--to the black diasporic imagination. Charting the long history of these multiple meanings is the focus of Millery Polyne's rich and critical transnational history of U.S. African Americans and Haitians. Stretching from the thoughts and words of American intellectuals such as Frederick Douglass, Robert Moton, and Claude Barnett to the Civil Rights era, Polyne's temporal scope is breathtaking. But just as impressive is the thematic range of the work, which carefully examines the political, economic, and cultural relations between U.S. African Americans and Haitians. From Douglass to Duvalier examines the creative and critical ways U.S. African Americans and Haitians engaged the idealized tenets of Pan Americanism--mutual cooperation, egalitarianism, and nonintervention between nation-states--in order to strengthen Haiti's social, economic, and political growth and stability. The depth of Polyne's research allows him to speak confidently about the convoluted ways that these groups have viewed modernization, "uplift," and racial unity, as well as the shifting meanings and importance of the concepts over time.
This textbook provides a comprehensive and structured vocabulary for all levels of undergraduate French courses, including relevant higher and further education courses. It offers a broad coverage of concrete and abstract vocabulary relating to the physical, cultural, social, commercial and political environment, as well as exposure to commonly encountered technical terminology. Within each section, words and phrases have been grouped into manageable, assimilable units and broadly 'graded' according to likely usefulness and difficulty. The accompanying exercises for private study and classroom use are designed to reinforce the work done on lists, to develop good dictionary use, to encourage independent and collaborative learning, to promote precision and awareness of nuance and register, and to offer the opportunity for the development of cognate transferable skills, such as communicative competence, teamwork and problem-solving. The division of the book into twenty thematic sections allows it to be easily integrated into a modular course structure.
A light-hearted story with a detailed French-English bilingual glossary and text for upper-intermediate French learners. A book that will increase your enthusiasm for learning French and help you conquer the B2 level. The relatable plotline ensures that readers of all ages, from young to middle-aged and older, can enjoy the book. ((This book is also available in French - Traditional Chinese and French - Japanese.) Features of this book include: · 12 stories with the essential grammatical terms and synonyms · Key vocabulary and colloquial expressions at the B2 level · A detailed glossary in French and English for easy reading without a dictionary · A bilingual presentation of French texts and English translations for a better understanding of the story · Exercise A: a summary of the story to help you review vocabulary and expressions, conjugate verbs and agree adjectives · Exercise B: another short, entertaining story that allows you to use fundamental expressions and consolidate your knowledge · The audiobook, sold separately, takes you into the virtual world of the protagonist! Growing up with a twin brother who was the complete opposite in every way, Maximilien always felt overshadowed and inadequate. But with a hint of humour, he takes us on a nostalgic journey back to his childhood, where we discover his hopes, frustrations, and the beginnings of his first romantic feelings. If you’ve ever enjoyed reading funny diaries or novels, you’ll love "Les souvenirs de jeunesse de Maximilien".
Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cuban dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, Schwall shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.
Designed for intermediate-level players, this eBook includes both the full score and a comprehensive set of parts : 3 Bb Soprano Clarinets and a Bass Clarinet, with optional parts for Alto Eb Clarinet and Eb Piccolo Clarinet, accommodating various ensemble configurations. In addition to the musical scores, this eBook is enhanced with informative sheets that delve into the cultural and historical context of "La Bamba." These sheets are thoughtfully presented in multiple languages, catering to a global audience. Languages include English, French, German, Spanish, Portuguese, and Italian, making it a versatile resource for musicians and educators alike. This arrangement not only allows clarinet players to explore the rhythmic vitality and rich cultural heritage of "La Bamba" but also serves as an educational tool, providing insights into one of Mexico's most celebrated musical traditions. It's a perfect blend of musical enjoyment and cultural learning, ideal for music classrooms, ensemble performances, and individual practice.