Andrea Gaspar (Casa Arcoiris co-founder and board member) is a queer Mexican Ñuu Savi person born in San Diego and raised in Tijuana, Kumeyaay Territory. She is earning her PhD in Ethnic Studies from the University of California San Diego. Her current work focuses on the development of life-affirming institutions and community spaces centering the healing and autonomy of Indigenous, Black, migrant, queer and trans peoples. She has sixteen years of community and coalition organizing experience on education, racial, economic, environmental and housing justice.
Edith Méndez (Casa Arcoiris general coordinator) is a Social Work graduate with a community focus from the University of Guanajuato. Feminist, lesbian, IVE (Voluntary Interruption of Pregnancy) companion, activist, and artist. She has collaborated with different civil associations and public institutions accompanying community organizational processes, attention to gender violence, community cultural management, and intervention with Indigenous migrant populations, LGBTIQ+, and women in vulnerable situations.
Modalidad: Virtual
Enlace Zoom:
https://us02web.zoom.us/j/86035694754?pwd=OWo2UTNqaUV0dzR3QWxkU3FvMW1xUT09
Pionera de la antropología brasileña, Alcida Rita Ramos es profesora emérita en la Universidad de Brasilia, siendo la primera etnóloga brasileña en obtener un doctorado. Originaria de Portugal, se mudó a Brasil a los 13 años y desarrolló un interés por la antropología mientras estudiaba geografía en la Universidad Federal Fluminense. Participaría posteriormente en el primer curso de especialización en antropología de Brasil en el Museo Nacional de Río de Janeiro.
Ramos realizó su doctorado en la Universidad de Wisconsin-Madison, donde se centró en las comunidades indígenas, particularmente en el pueblo Sanumá, un subgrupo Yanomami en la frontera entre Brasil y Venezuela. Su trabajo etnográfico desafió conceptos erróneos y prejuicios sobre los Yanomami, abordando temas de identidad cultural, parentesco y los impactos de las interacciones con no indígenas.
Fue fundamental en el establecimiento de programas de posgrado en antropología en las principales universidades de Brasil. Su militancia antropológica se intensificó durante la dictadura militar, cuando destacó en universidades europeas y ONG´s la precaria situación de las comunidades indígenas.
Ramos desempeñó un papel crucial en la demarcación oficial de la Tierra Yanomami en medio de amenazas externas. Aboga por un cambio en el enfoque de la antropología, pasando de modelos teóricos a estudios etnográficos. Más tarde, amplió su investigación para comparar el indigenismo en Brasil, Argentina y Colombia. A través de su trabajo, Ramos ha dejado un impacto duradero en la antropología y los derechos indígenas, inspirando a futuros académicos y activistas.
Inglés:
Alcida Rita Ramos is a pioneer of Brazilian anthropology, serving as an emeritus professor at the University of Brasília, and being the first female Brazilian ethnologist to earn a Ph.D. Originally from Portugal, she moved to Brazil at 13 and developed an interest in anthropology while studying geography at Fluminense Federal University. She later participated in Brazil's first specialization course in anthropology at the National Museum of Rio de Janeiro.
Ramos pursued her Ph.D. at the University of Wisconsin-Madison, where she focused on Indigenous communities, particularly the Sanuma people, a subgroup of the Yanomami on the Brazil-Venezuela border. Her ethnographic work challenged misconceptions about the Yanomami, addressing themes of cultural identity, kinship, and the impacts of non-Indigenous interactions.
She was instrumental in establishing graduate programs in anthropology at the main universities of Brazil. Her advocacy intensified during the military dictatorship when she highlighted the precarious situation of Indigenous communities, ultimately speaking out at European universities and NGOs.
Ramos played a crucial role in the official demarcation of Yanomami Land amidst external threats. She calls for a shift in anthropology's focus from theoretical models to ethnographic studies. Later, she expanded her research to compare indigenism across Brazil, Argentina, and Colombia. Through her work, Ramos has made a lasting impact on anthropology and Indigenous rights, inspiring future scholars and activists.
Could improvisation—the process of creative interaction between the playing musician and a musical model—provide vital clues about a musical tradition? An examination of the history of improvisation reveals that far from being a minor, mystical, and exceptional practice, improvisation forms a basic part of most musical activity (Solis 2014). Improvisational practices have existed in tango music from its origins in the late 19th century in the Rioplatense region, where musicians performed from memory, right up to today’s electronic tango music. Scholars Gould and Keaton argue that “all improvisation in music performance relies upon the foundations of the particular musical tradition in which the work exists.” It is clear that tango’s improvisational practices convey crucial information about its evolution and performance style. In this musical discourse, the input of the performer is essential in the process of creation, not only as an interpreter but also an agent of cultural transmission and renewal. Most of the techniques peculiar to tango, however, have been passed down through oral tradition (collective and individual memory), which means that the only way of understanding and reconstructing them is through listening (research) and through the first-hand experience of performance (creation).
In this talk, Juan Sebastian Delgado, the Faculty Fellow for Diversity in the Arts, will discuss and analyze different works featuring his instrument, the cello by prominent living composers that showcase a distinctive style, musical narrative, and contemporary practices.
