Table of Contents
Working as an Artist
Peace Between the Sexes
Middle Eastern Music
Intro to Algorithms
World Music II
West African Performance
A Mindfulness Stress Reduction Workbook
World Music at Texas State
Rough Guides Rough Guide CDs Writing About Music
Working as an Artist
Maria-Rosario Jackson, et. al. Investing in Creativity: A Study of Support for U.S. Artists. Washington D.C.: Urban Institute, July 2003. http:// www.urban.org/ UploadedPDF/411311_investing_in_creativity.pdf
Markusen, Ann and Amanda Johnson. Artist Centers. Minneapolis: Humphrey Institute of Public Affairs, 2006. 9-30. www.hhh.umn.edu/ projects/prie/pdf/artists_centers.pdf
Markusen, Ann, et. al. Crossover: How Artists Build Careers Across Commercial, Nonprofit, and Community Work. 2006. 11-20. PDF at www.hhh.umn.edu/projects/prie
Dissanayake, Ellen. “The Universality of the Arts in Human Life.” Understanding the Arts and Creative Sector in the United States. Joni Maya Cherbo, Ruth Ann Stewart, and Margaret Jane Wyszomirski, eds. New Brunswick: Rutgers University Press, 2008. 61-74. (P)
Carlson, Phillip. “Interview with Fran Dorn.” The Actors Center Journal 2.3 (2010):17- 22 (P)
Patsy Rodenberg, “Why I Do Theatre.” TED Talks.
Jackie Battenfield. The Artist's Guide: How to Make a Living Doing What You Love. New York: Da Capo P, 2009. 46-61.
Rae-Dupree, Janet. “Innovative Minds Don’t Think Alike.” The New York Times. 30 December 2007.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. New York: Verso, 1991. 1-7.
Kammen, Michael. Visual Shock: A History of Art Controversies in America. New York: Alfred A. Knopf, 2006. 88-118.
Shell, Ellen Ruppel. Cheap. New York: Penguin, 2009. 55-87, 207-232, 251-254, 277- 279.
“The Tough Room.” This American Life. Prod. Ira Glass. Original Air “Act One. Make ‘Em Laugh” @ 04:30 and “Act Four. Tough News Room” @ 45:50.
The Fresh Air Interview with Jay-Z transcripts. http://www.npr.org/ 2010/11/15/131334322/the-fresh-air-interview-jay-z-decoded
Lynn, Kirk and Shawn Sides. “Collective Dramaturgy: A Co- Consideration of the Dramaturgical Role in Collaborative Creation.” Theatre Topics 13.1 (2003), 111- 115.
Caves, Richard. Creative Industries. Cambridge, MA: Harvard UP, 2000. 1-36; 73-83. Markusen, Ann, et. al. Crossover: How Artists Build Careers Across Commercial, Nonprofit, and Community Work. 2006. 11-20. PDF at www.hhh.umn.edu/projects/prie
Jay Z. Decoded. New York: Spiegal and Grau, 2010. 128-31. Esparza, Debra S. “Managing Money and Basic Financial Skills.” Business of Art. Los
Angeles: Center for Cultural Innovation, 2008. 150-165.
Yankee, Steve. “How to Make More Money by Working Less.” EventDV 19.4(2006): 46.
Hyde, Lewis. “The Children of John Adams: A Historical View of the Fight Over Arts Funding.” Art Matters: How the Culture Wars Changed America. Brian Wallace, Marianne Weems, and Philp Yenawine, eds. New York: New York University Press, 1999. 253-75.
Kreidler, John. “Leverage Lost: Evolution in the Nonprofit Arts Ecosystem.” The Politics of Culture: Policy Perspectives for Individuals, Institutions, and Communities. Gigi Bradford, Michael Gary, and Glenn Wallach, eds. New York: New Press, 2000. 147-168.
INCITE! Women of Color Against Violence. The Revolution Will Not Be Funded: Against the No-Profit Industrial Complex. Boston: South End Press, 2009. 1-18.
Anderson, Sheila McNerney Anderson. “The Founding of Theater Arts Philanthropy in America: W. McNeil Lowry and the Ford Foundation, 1957-65.” Angels in the American Theatre: Patrons, Patronage, and Philanthropy. Robert A. Schanke, ed. Carbondale: Southern Ilinois University Press, 2007. 173-89.
http://lincnet.net (see the Creative Communities links) http://npnweb.org (identify an NPN partner http://www.tcg.org/artsearch/ Email address: email@example.com password: utaustinjobs http://nyfa.org
Markusen, Ann and Amanda Johnson. Artist Centers. Minneapolis: Humphrey Institute of Public Affairs, 2006. 9-30. http://www.hhh.umn.edu/projects/prie/pdf/artists_centers.pdf.
Quinn, Susan. Furious Improvisation. How the WPA and a Cast of Thousands Made High Art out of Desperate Times. New York: Walker, 2009. 162-85 (P). Witham, Barry. The Federal Theatre Project: A Case Study. Cambridge: Cambridge
University Press, 2003. 1-6.
Isaacs, Edith. “National Theatre 1940: A Record and a Prophecy.” Theatre Arts 30.9 (1946) 55-63.
Porterfield, Robert. “Theatre for the State.” Theatre Arts 30.9 (1946) 512-13. Thomas, Senator Elbert. “The Theatre and the Nation.” Theatre Arts 30.9 (1946) 509-11.
National Endowment for the Arts 1965-1995: A Brief Chronology of Federal Involvement for the Arts. Washington DC: Office of Communication National Endowment for the Arts, 1996. 7-17.
Binkiewicz, Donna. Federalizing the Muse: United States Arts Policy and National Endowment for the Arts, 1965-1980. Chapel Hill: University of North Carolina Press, 2006. 11-33. National Endowment for the Arts and Humanities of 1965. Public Law 2009-89th Congress.
Phelan, Peggy. “Serrano, Mappelthorpe, the NEA and You: ‘Money Talks:’ October 1989.” TDR 34.1 (Spring 1990): 4-15.
Schulman, Sarah. My American History: Lesbian and Gay Life During the Reagan/ Bush Years. New York: Routledge, 1994. 199-203. Hughes, Holly. Preaching to the Perverted.
Maria-Rosario Jackson, et. al. Investing in Creativity: A Study of Support for U.S. Artists. Washington D.C.: Urban Institute, July 2003. http://www.urban.org/UploadedPDF/411311_investing_in_creativity.pdf.
http://creative-capital.org/ http://creative-capital.org/aboutus/story http://creative- capital.org/pages/ourprogram http://creative- capital.org/pages/approach http:// creative-capital.org/pages/apply http://creative- capital.org/artistsupport/about/past_grant_rounds/year: 8#textContent http://creative- capital.org/aboutus/ancillary
“Work Like an Artist, Think Like an Entrepreneur.” Business of Art. Los Angeles: Center for Cultural Innovation, 2008. 5-53.
“Law is Not a Four-Letter Word.” Business of Art. Los Angeles: Center for Cultural Innovation, 2008. 167-197.
Womanhood - Reality
Shawn Meghan Burn, Women Across Cultures: A Global Perspective, 3rd edition (McGraw Hill, 2011)
Tooley, Wolf-Devine, and Jaggar, Abortion: Three Perspectives (Oxford University Press, 2009)
The Gendered Society, 2nd edition by Michael Kimmel 2004
Theorizing Feminism: A Reader edited by Elizabeth Hackett and Sally Haslanger 2006
Jennifer Mather Saul, Feminism: Issues & Arguments 2003
Lijun Yuan, Reconceiving Women’s Equality in China (Lanham: Lexington Books 2005)
Eva Feder Kittay, Love’s Labor Thomas and Marques, Abortion
One is not born a woman, but becomes one. ~Simone de Beauvoir
Mexican Americanness Burkhart, 1997, Mexica Women Galvez 2009, Our Lady of Guadalupe Image Broyles-Gonzalez, 2002, Indianizing Catholicism Menchaca 2001, Racial Formations Castaneda 1998, California Gender, Sexuality, and Family
Oboler 1997, Hispanic Homogenization. Montoya 2007 BioEthnic Race Rosaldo 1997, Cultural Citizenship.
Zavella 2011, The Working Poor, Ch 3. Nathan 2005, Community and Diversity
Castas, Racial-Ethnic Identities and Mestizaje Political Economy and Ecology of Colonization
Conchas and Vigil 2010, Marginality and Education Valenzuela 1999, Teacher-Student Relations, Ch 3 Velez-Ibanez 2012, Politics of Arizona, Anzaldua 1987, Wild Tongues
Marchi 2009, Ancient and Mod Festivals Marchi 2009, Mexico's Special Relationship to Day of Dead Juarez and Salazar, 2010, Commercializing Death and Desegregating Gender Anzaldua, 1987, La Consciencia Mestiza Garcia 1994 Chicana Feminism Guttman 2000, Cultural History of Machos and Hombres Calvo 2010, Lesbian Bimujeres Trans Identities Zavella, 2011, Migrant Family Formations
Hirsch et. Al 2006, Companionate Marriage and STD's Romero 1997, Maid's Daughter Erickson 2006, Romantic Love Gonzalez-Lopez 2004, Fathering Latina Sexualities Zavella, 2011, Transnational Cultural Memory, Ch 6 Limon 1994, Native Dances.
Sandoval 2003, Cruising Lowrider Culture Chappell 2010, Custom Contestations Trujillo 2006, Northern New Mexican Fix Fernandez-Kelly 2007, Moral Monster
Kenji Yoshino, ‘The pressure to cover’.
E. Spelman, excerpts from ‘Woman as body: ancient and contemporary views’ pp. 111-119
Claire Chow, excerpts from Leaving deep water.
Sandra Guzman, ‘Joy of being nueva Latina’, from The Latina’s bible.
Toi Derricotte, excerpts from The black notebooks.
Jennifer Camper, Ramadan.
Paul Spickard, ‘The illogic of American racial categories’.
Bliss Broyard’s story on NPR
Musical selection: Esperanza Spalding.
Betsy Lucal, ‘What it means to be gendered me: life on the boundaries of a dichotomous gender system’.
Cheryl Chase, ‘Affronting reason’. Riki Wilchins, ‘It’s your gender, stupid!” Rutu Modan, ‘Queen of the Scottish fairies’. ‘Where the bois are’. Mike Godwin, ‘Crossing the net: gender swapping on line’. Viewing: Max (dir: Monika Treut) Musical selections: Nancy Kwan/BJ Baker, ‘I enjoy being a girl’, Tribe 8,‘Estrofemme’, Etta James, ‘Only women bleed’,
‘The cult of true womanhood: 1820-1860’. Malvina Shanklin Harlan, excerpts from
Some memories of a long life, 1854-1911.
Shirley Carlson, ‘Black ideals of womanhood in the late Victorian era’.
Arlene Stein, ‘The year of the lustful lesbian’.
‘When Jill becomes Jack’.
Rosa Maria Gil and Carmen Inoa Vazquez, ‘Do not forget a woman’s place’, excerpts from The Maria paradox.
‘Babies to heroes: a field guide to Big-Screen men’. Musical selections: ‘Someday my prince will come’ (from Snow white)
Rayna Green, ‘The Pocahontas perplex: the image of Indian women in American culture’.
Gloria Anzáldua, ‘Coatlalopeuh: she who has dominion over serpents’. Musical selections: Chavela Vargas, ‘La llorona’, Lola Beltrán (with Lucha Villa), ‘Pelgaria Guadalupana’, John Phillips, excerpts from Eve: the history of an idea.
Excerpts from The Book of Genesis. Excerpts from The Quran. Wikipedia entry on Lilith. Alix Olson, ‘Eve’s mouth’.
Ai, ‘The mother’s tale’. Lucille Clifton, ‘Eve thinking’. YouTube selection: Adam & Eve & the serpent. R. Crumb, excerpts from The book of Genesis, illustrated. Musical selections: Meshell Ndegéocello, ‘Adam’ and ‘Eve’, Alix Olson, ‘Eve’s mouth’. Mary Gaitskill, ‘On not being a victim’. bell hooks, ‘Seduced by violence no more’.
Excerpt from the Antioch College Sexual-Offense Policy.
Keesa Schreane, ‘Appraising God’s property’.
Elissa Nelson, ‘Girl picnic’.
Julie Dash, ‘The quiet blessings’ (excerpt from Daughters of the dust).
Ana Juarez and Stella Kerl, ‘The right (white) way to be sexual’.
Muelenhard and Peterson, ‘Wanting and not wanting sex: the missing discourse of ambivalence’.
Musical selections: Sophie Hawkins, ‘Damn, I wish I was your lover’,
Katy Perry, ‘I kissed a girl’,
Tracy Chapman, ‘Give me one reason’.
Diamanda Galas on mothering.‘Why I don’t ever want to be a mother’.
Patricia Hill Collins, ‘The meaning of motherhood in Black culture and Black mother/ daughter relationships’.
Rachel Pepper, ‘Beyond white picket fences’. Sonia Shah, ‘Tight jeans and chania chorris’. Sandra Cisneros, ‘Little miracles, kept promises’. Musical selections: Sheila Chandra, ‘Woman and child’. A.S. Byatt, ‘Medusa’s ankles’ (from The Matisse stories). Leslie Marmon Silko, ‘Yellow woman and a beauty of the spirit’. Susan Bordo, ‘Reading the slender body’.
Hanah Al-Shaykh, ‘Inside a Moroccan woman’s bath’. Youtube selections: Jennifer Aniston for L’Oreal, Jennifer Lopez for L’Oreal.
Jennifer Dye, ‘Consuming constructions’. Orlan, a performance artist of/on/in the flesh. Musical selections: India.Arie, ‘I am not my hair’.
Peace between Sexes •
Hoods, by Angela Betzien, Currency Press The Yellow Boat, by David Saar, Anchorage Press Tomato Plant Girl, by Wesley Middleton, Salt & Pepper, by Jose Cruz Gonzalez Nobody’s Perfect, by Doug Cooney Wiley and The Hairy Man, by Suzan Zeder, Anchorage Press
Hare, Amy’s View Edgar, Pentecost Sierz, In-yer-face Theatre; Kane, Blasted Caryl Churchill, Far Away Hammond, Steward,Verbatim Verbatim Norton-Taylor, The Colour of Justice Gupta, White Boy Theatre de Complicite,A Disappearing Number Keefe, Murray, Physical Theatres Burke, Black Watch Greig, Europe Gough, Crossing the Bar Edwards, Franco’s Bastard Loane, To Be Sure Friel, The Home Place Caldwell, Leaves
Pure Data class with the Miller Puckette videos online
Middle Eastern Music
Ezan (adhan) from Turkey;
Sufi dikhr from Egypt;
Ottoman mehter from Turkey+Western European style march for Sultan;
North African Moroccan nauba suite.
rhythmic modes; iqa/usul?
How are patterns created out of dum, tek and es?
Musical ex. of maqamat;
introduction to maqam rast; waslah in maqam rast.
call to prayer; qu’ranic chant; mevlud.
ritual zikhr/dikhr ceremonies and sema?
Listening: Mevlevi ayın with chart.
Jewish pismonim liturgical songs; versions of piyyut “Adon Haselichot”
Listening: Arab Christian religious music.
What is a fasıl?
Rast fasıl examples.
Huseyni sirto “Çeçen kızı” by Tamburi Cemil bey, }ehnaz Longa by Santuri Ethem Efendi, mandıra in Mesut Cemil Tel’s Nihavent saz semaisı.
Cemil Resit Rey’s Scenes turques; ezan in Turkish. Turkish popular music and mass media: kanto; tango; jazz. kanto chapbooks; “Woman driver” kanto; “Are you mad at me, my beloved” kanto; Papatya tango; “Misty” cover by Sevinç Tez;
“It's evening and again I am melancholy” by Erdo©an Özdemir. Arabesk and Anatolian pop Bates, Eliot. “Arabesk.” In Pp. 88-91. Arabesk examples from Orhan Gencebey;
studio example from string ensemble Kempa Keman on youtube;
Anatolian pop song “Hard work” from The Mongolians.
4 versions of “Song of Gorgi Sugare.”
What was the takht ensemble?
takht and waslah
Selections from waslah in maqam Rast in: taqsim; dulab; layali; mawwal.
How did Egypt form a national identity around the symbol of Umm Kulthoum?
How did the ughniya song form replace the waslah?
Ughniya “Ghani li shwaye shwaye” sung by Umm Kulthoum.
Sabah Fakhri in Las Vegas 1 (http://www.youtube.com/watch?v=XPZkecHwr-M)
Sabah Fakhri’s performance of Habibi Alad'dounya (Sabah Fakhri Au Palais Des Congres) (maqam bayati).
Why did Fakhri stop singing, and repeat?
Can you identify the moment of high tarab, and why the audience broke out in applause?
Umm Kulthoum’s two versions of Ghani li shwaye shwaye (maqam suznak[rast+hijaz]) 6 minute vs. 20 minute version.
Egyptian popular forms-sha’abi and Hakim
What are the characteristics of sha’abi? Ahmad Adawiya “Zahma ya dunya”; Hakim “Il kalam da kabir”; “I’s salam aleykum”;
Interview with Dwight Reynold. Afropop. http://www.afropop.org/multi/interview/ID/ 63/ The+Legacy+of+Al- Andalus+part+2:+Interview+with+Dwight +Reynolds
How has technology transformed rai? What musical resources are used in contemporary rap?
Rachid Taha “Ya Rayah”; Wahrane; Sting and Cheb Mami
“Desert Rose”; Rachid Taha “Rock the Casbah”; Excerpts from “I love hip hop in Morocco”
Modern Tasnif (composed song) performed by Marziyek; Iranian 6/8 pop disco song, “Tehran Tehran” performed by Fara Parsi, recorded in Los Angeles. http://www.jerusalemquarterly.org/details.php?cat=2&id=138 online Listening: TBA. Viewing “West bank story” by Ari Sandel, music by Yuval Ron
Practica Musica and MacGamut Kreuger sight singing manual has a black spine
- Matriarchy I. History of its Discovery, in German: Verlag Kohlhammer, Stuttgart 1988, 1995
- Matriarchy II,1. Societies in Eastern Asia, Indonesia, Oceania, in German: Kohlh. Stuttgart 1999 - Matriarchy II,2. Societies in America, India, Africa, in German: Kohlhammer, Stuttgart 2000
- Matriarchy in Southwestern China. A Research Travel to the Mosuo, in German: Stuttgart 1998 - The Goddess and her Heros. Matriarchal Mythology, Stow, Mass.: Anthony Publ. Comp. 1995
- The Dancing Goddess. Principles of a Matriarchal Aestetic, Beacon Press, Boston 1991
- Bennholdt-Thomsen, Veronika/Faraclas, Nicholas/von Werlhof, Claudia (editors):
There is an Alternative. Subsistence and Worldwide Resistance to Corporate Globalization, London (zed) 2001 - Wallerstein, Immanuel (edtitor) , The Modern World System in the Longue, Durée, Boulder/London (Paradigm Publ.) 2004
- Midnight Notes: Auroras of the Zapatistas. Local and Global Struggles of the Fourth World War, Brooklyn, NY (Autonomedia) 2001
- Mies, Maria/ Bennholdt-Thomsen, Veronika/von Werlhof, Claudia: Women, the Last Colony, New Delhi (Kali for Women)/ London (zed) 1988 Genevieve Vaughan
- For-Giving. A Feminist Criticism of Exchange, Plain View Press, Austin, Texas 1997, reprinted: Anomaly Press, Austin, Texas 2000
- Editor: The Gift. A Feminist Analysis, Athanor Nr. 8, 2004, Meltemi, Roma 2004 - Mother Nature's Children, Anomaly Press, Austin, Texas 2001
- Los Niños de la Madre Naturaleza, Anomaly Press, Austin, Texas 2001 - Songs for the Tree of Life, CD, Austin, Texas
Barbara Mann- George Washington's War on Native America (Praeger, 2005) - Iroquoian Women: The Gantowisas (Peter Lang, 2000, 2004) - Native Americans, Archaeologists, and the Mounds (Peter Lang, 2003)
Uschi Madeisky Films:
- Societies in Balance.Documentary about the first World Congress on Matriarchal Studies, Verlag Ur- kult-ur, Frankfurt 2004.
- Daughters of the Seven Huts. Documentary about the Khasi, Verlag Tomult, Frankfurt 1997
- The Nightly Guest. Documentary about the Jaintia, Verlag Tomult, Frankfurt 1999 - Trommeln der Liebe. Documentary about the Garo, Verlag Tomult, Frankfurt 2001
Hélène Claudot-Hawad - "Femme Idéale et Femme Sociale chez les Touaregs d l'Ahaggar", in: Production
pastorale et société, Nr. 14, Paris 1984 - "Femmes Touaregues et Pouvoir Politique", in: Peuples Méditerranées Nr. 48/49,
1989 - Touaregs. Voix solitaires sous l'Horizon confisqué (Paris 1996)
- "Eperonner le monde". Nomadisme, cosmos et politique chez les Touaregs (Aix-en- Prov. 2001) Fatimata welet Halatine
"L 'Abandon des Privilèges. Parcours d'une Femme Touarègue dans la Modernité" (Interview), in : Les Nouvelles de Survival,Nr. 22, spring 1996 Malika Grasshoff (Makilam)
- La Magie des femmes kabyles et l'unité de la société traditionnelle, L'Harmattan, Paris 1996 (deutsch LIT Verlag, Münster 2001).
- Signes et rituels magiques des femmes kabyles, Edisud, Aix-en- Provence 1999, (deutsch LIT Verlag, Münster 2003).
Both books are translated lately also into English in 2005 und can be ordered at:
Wilhelmina J. Donkoh- Baafour Osei Akoto: A Bographical Sketch, Kumasi, 2000. - Osei Tutu Kwame Asibe Bonsu (The Just King), Accra: Woeli publishers, 2000.
Peggy Reeves Sanday- Female Power and Male Dominance. On the Origins of Sexual Inequality, Cambridge UP 1981
- Fraternity Gang rape: Sex, Brotherhood, and Privilege on Campus. New York: NYU Press
- Women at the Center. Life in a Modern Matriarchy, Ithaca, New York: Cornell UP
2002 Lamu Ga tusa Monograph: Walk into the Women's Kingdom, Lugu Lake. Mother Lake,
Mosuo Women, Mosuo Daba Culture. Ethnological film: Stories of the Women's Kingdom. Actual Events Report of Shangrila
(Yunnan Academy, Kun ming, China, in Chinese)
Marija Gimbutas/Joan Marler- Gimbutas: The Goddesses and Gods of Old Europe, London: Thames & Hudson 1974,1989
- The Language of the Goddess, San Francisco:Harper & Row 1989; in German: Frankfurt 1995 - The Civilization of the Goddess, San Francisco: Harper 1991; in German: Frankfurt 1996
- The Living Goddesses, Berkeley and Los Angeles: Univ. of California Press 1999 - Marler (editor): From the Realm of the Ancestors, Manchester, Conn. 1997
Lucia Chiavola Birnbaum- Dark Mother. African Origins and Godmothers, iUniverse 2004
- Black Madonnas. Feminism, Religion, and Politics in Italy, iUniverse 2000 - Editor, She is Everywhere. An Anthology in Womanist Feminist Spirituality, iUniverse
2005 Vicki Noble- Motherpeace: A Way to the Goddess
- Shakti Woman: Feeling Our Fire, Healing Our World - The Double Goddess: Women Sharing Power
Marguerite Rigoglioso - "Persephone's Sacred Lake and the Ancient Female Mystery Religion in the Womb of Sicily," in: Journal of Feminist Studies in Religion, vol. 21, no. 2, Fall 2005.
- "Stregoneria: The Old Religion in Italy," in She Is Everywhere: Anthology of the Dark Mother, Lucia Chiavola Birnbaum, ed. (iUniverse 2005).
- The "Other" Eleusis: Mysticism and Misogyny in the Navel of Sicily, awaiting publication.
- "The Oldest Labyrinth in the World? Paintings of the Polyphemus Cave," in Caerdroia 1998
Annette Kuhn- Frauen in der Geschichte. Quellen-Reihe Geschichtsdidaktik,
Düsseldorf: Verlag Schwann - Kuhn (editor): Die Chronik der Frauen, Dortmund 1992 - Ich trage einen goldenen Stern. Ein Frauenleben in Deutschland, Aufbau Verl. Berlin
2003 Kurt Derungs- Derungs/Göttner-Abendroth (editors): Matriarchate als herrschaftsfreie
Gesellschaften, Edition Amalia, Bern, 1997 - Landschaften der Göttin. Avebury, Silbury, Lenzburg, Edition Amalia, Bern 2000
- The authors (editors): Die Diskriminierung der Matriarchatsforschung. The Discrimination against Modern Matriarchal Studies, Edition Amalia, Bern 2003, in German, awaiting translation into English (with contributions of Joan Marler and Charlene Spretnak) Früh/Derungs (eds.): Die Schwarze Frau. Kraft und Mythos der Schwarzen Madonna. Unionsverlag, Zürich 2003
Kaarina Kailo- Editor: The Gift Gaze. Wo/men and Bears Transgressing Gender, Nature and Species, Inanna Press, Toronto, Canada 2005.
- "The Unbearable Gaze between Women and Bears - Arcaic Bear Ceremonials Revisited." In: Kailo (ed.): The Gift Gaze. Wo/men and Bears. Transgressing Back into Nature as Culture. Inanna Press, York University, Toronto
- Kailo/Elina (eds.): No Beginning, No End - The Sami (Lapps) Speak Up. Alberta: Canadian Circumpolar Institute 1998.
- "Monoculture, Gender and Nationalism: Kalevala as a Tool of Acculturation." In:
Ethical Challenges for Teacher Education and Teaching. Special Focus on Gender and Multicultural Issues. Acta Univ. Oulu 2000, Eds. Rauni Rsnen and Vappu Sunnari. E45. 13-37.
Christa Mulack- Im Anfang war die Weisheit. Die Wiederentdeckung eins weiblichen Gottesbildes Edition fabrica libriae, Schalksmühle 2004
- Natürlich weiblich. Die Heimatlosigkeit der Frau im Patriarchat Verlag Pomaska- Brand, Schalksmühle 2004
- Maria. Die geheime Göttin im Christentum, Verlag Pomaska-Brand, Schalksmühle 2005
- Religion ist zu wichtig, um sie den Mnnern zu überlassen. Die Göttin kehrt zurück Kreuz Verlag Stuttgart 1998
Max Dashu Slide series about the topics: Women's Power; Icons of the Matrix; Female Rebels and Mavericks; Woman Shaman, and scores of in-depth regional surveys of women's history, from the oldest archaeological finds up to the present. The
Suppressed Histories Slide Series catalog is online, along with articles and excerpts from The Secret History of the Witches, at www.suppressedhistories.net
Lydia Ruyle- Goddess Icons Spirit Banners of the Divine Feminine, Boulder, CO: Woven Word Press, 2002
- Turkey Goddess Icons Spirit Banners of the Divine Feminine, Istanbul, Hitit Publications, 2005
Physics and Chemistry of the Terrestrial Planets MIT open courseware Lecture Notes and problem sets online
Pater, I. de, and J. J. Lissauer. Planetary Sciences. Cambridge, UK: Cambridge University Press, 2001. ISBN: 9780521482196.
Lowrie, W. Fundamentals of Geophysics. Cambridge, UK: Cambridge University Press, 1997. ISBN: 9780521467285.
Math for CS (prereq for algorithms) Mathematics for Computer Science (textbook) available online problem sets with answers online video lectures online
Gentle Introduction to Programming using Python
examples, problem sets, how to set up Python interpreter in Lion instructions on the intro to algorithms website`
Python tutorial: https://docs.python.org/2/tutorial/
Downey, Allen, Jeffrey Elkner, and Chris Meyers. How to Think Like a Computer Scientist: Learning with Python. Green Tea Press, 2002. ISBN: 9780971677500.
Intro to Algorhythms
How to load software, problem sets, online
Cormen, Thomas, Charles Leiserson, Ronald Rivest, and Clifford Stein. Introduction to Algorithms. 3rd ed. MIT Press, 2009. ISBN: 9780262033848.
Miller, Bradley, and David Ranum. Problem Solving with Algorithms and Data Structures Using Python. 2nd ed. Franklin, Beedle & Associates, 2011. ISBN: 9781590282571
https://legacy.saylor.org/psych403/Intro/ includes links to youtube lectures, etc.
World Music II
Shelemay, Kay Kaufman. Soundscapes: Exploring Music in a Changing World. 2nd ed. W. W. Norton & Company, 2006. ISBN: 9780393167139.
Tu-, Huun-Huur. "Anatoly and Kaigal-Ool Riding Horses in Eleges while Singing Sygyt, Kargyaa and Xöömei." Where Young Grass Grows. Shanachie, 1999.
Saspyk-ool, Albert, and Sayan Bapa. "Ang-Meng Mal-Magan öttüneri (imitation of wild and domestic animals)," and "Cave Spirits." Tracks 10 and 15 on Tuva, Among The Spirits: Sound, Music And Nature in Sakha And Tuva. Smithsonian Folkways, 1999.
KingSnowman. "Tchaikovsky Violin Concerto in D major – Accordion." July 3, 2010. YouTube. Accessed August 20, 2013. http://www.youtube.com/watch? v=cFCrykBWmUk
———. "Jealousy - Cory Pesaturo & Yasmine Azaiez." October 18, 2011. YouTube. Accessed August 20, 2013. http://www.youtube.com/watch?v=8aUrj6WYJXg
engle1000. "Halo Theme – Cory Pesaturo." February 28, 2011. YouTube. Accessed Aug. 20, 2013. http://www.youtube.com/watch?v=F2si9Fx_XEI
TRICCIO1000. "Cory Pesaturo - Party Rock Anthem." June 2, 2012. YouTube. Accessed August 20, 2013. http://www.youtube.com/watch?v=QjTp1cVz3cg
Alvydas23. "Cory Pesaturo - winner of Primus Ikaalinen 2011."; July 9, 2011. Accessed August 20, 2013. http://www.youtube.com/watch?v=TfD3XNa1-6Y
Rose, Doudou N'Diaye. "Rose Rhythm." Djabote. Real World, 1994.
Nder, Alioune Mbaye. "Lenëën." Nder et le Setsima Group. Disques Nuits D'Afrique, 2000.
M'Baye, Cheikh Taïrou. "Farwou Diar - Thie Bou Djeune." Mame Bouna. Mame Bouna Productions, 2003.
CD from Selections from Tang, Patricia. Masters of the Sabar: Wolof Griot Percussionists of Senegal. Temple University Press, 2007. ISBN: 9781592134205.
chhandamfan. "Fierce Kathak & Tap- Pt. Chitresh Das & Jason Samuels Smith." August 25, 2007. YouTube. Accessed August 23, 2013. http://www.youtube.com/ watch?v=4sQn5bXbigo
Draw two boxes on the board. "Act Like a Man" Box
1. Ask if anyone has ever been told or heard someone being told to “act like a man”. Write “Act like a man” on top of the first box. Ask “what does it mean to “act like a man” – what are the expectations (which may not be the reality).
Participants can be invited to come to the board and fill in the boxes or you can do it as a brainstorm. Participants can also do the handout as individuals or in pairs/small groups first. Remember that this exercise seeks to look at stereotypes, not at individual behavior.
How are men supposed to be different from women? - stronger, tougher, in control What feelings is a "real man" supposed to have?- anger, superiority, confidence How do "real men" express their feelings?- yelling, fighting, silence
How are "real men" supposed to act sexually?- aggressive, dominant, with women
2. What are names applied to persons outside the box? (write these outside the box and around the box) Wimp, fag, queer, pussy, gay
Note: These words are important to say and to write down, but ask participants to answer this question calmly and respectfully as possible.
3. What things happen physically to people outside the box? (write these outside the box and around the box) Fights, beat up, harassed, teased, abused, ignored
"Act Like a Lady" Box
1. Ask if anyone has ever been told or heard someone being told to “act like a lady”. Write “Act like a lady” on top of the second box.
Ask “what does it mean to “act like a lady” – what are the expectations (which may not be the reality).
Remember that this exercise seeks to look at stereotypes, not at individual behavior. How are women supposed to be different from men? - nicer, weaker, more gossip What feelings is a "real woman" supposed to have?- fear, sadness, low self-esteem How do "real women" express their feelings?- crying, screaming, hysteria
How are "real women" supposed to act sexually?- follow the man, don't sleep around
2. What are names applied to persons outside the box? (write these outside the box and around the box) Dyke, tomboy, slut, ho, whore, lesbian
Note: These words are important to say and to write down, but ask particpatns to answer this question calmly and respectfully as possible.
3. What things happen physically to people outside the box? (write these outside the box and around the box) Harassed, abused, ignored, raped, bad reputation
Reflection Questions: Homophobia/Heterosexism
Reflection Questions: Sexism and Domestic and Sexual Violence
Key Points 1. These are expectations by society and are not realistic. Gender Boxes exercise originally created by the Oakland Men’s Project
“WhatisaTeachingArtist?”ByEricBooth(CoursePacket) o The Music Teaching Artist’s Bible by Eric Booth
A Teaching Artist at Work By Barbara McKean (1-56) o AIMprint “Critical Links” by AEP (pick two essays to discuss)
"The Qualities of Quality: Understanding Excellence in Arts Education"
“23 Questions from Teachers that Artists Can Help Answer” byLinda Fyre Burnham
“A Shift in Perspective” by Daniel Kelin
“The Particulars of Planning an Arts Residency Communication Checklist” by Michael Bigley and Rosalind Flynn
A Teaching Artist at Work by Barbara McKean (Chpt. 4 and 119-124) “An Introduction to Community Art and Activism” by Jan Cohen-Cruz “Common Sense and Common Ground” by William Cleveland
“Improving the Quality of Artists’ Residency Programs: A Rubric for Teaching Artists” By Janis Norman
lectures, choreography online
look in books and papers for names of music genres and artists Search in Academic Video or Alexander Street for videos and recordings
Andrade, Oswald de. 1924. Brazil-Wood Manifesto. ———. 1928. Cannibalist Manifesto.
Béhague, Gerard. 1994. Heitor Villa-Lobos: the Search for Brazil's Musical Soul. Austin: ILAS.
Crook, Larry. 2009. Focus: Music of Northeast Brazil, second ed. New York: Routledge.
———. 2005. Brazilian Music: Northeastern Traditions and the Heartbeat of a Modern Nation. Santa Barbara: ABC-CLIO.
Dunn, Christopher. 2001. Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture. Chapel Hill: University of North Carolina Press.
Galinsky, Philip. 2002. “Music and Place in the Brazilian Popular Imagination: The Interplay of Local and Global in the Mangue Bit Movement of Recife, Pernambuco, Brazil.” In From tejano to tango: Latin American Popular Music. Edited by Walter Aaron Clark. New York: Routledge, pp. 195-216.
Galm, Eric. 2010. The Berimbau: Soul of Brazilian Music. Jackson: University Press of Mississippi.
Lewis, John Lowell. 1992. Ring of Liberation: Deceptive Discourse in Brazilian Capoeira. Chicago: University of Chicago Press.
Livingston-Isenhour, Tamara Elena and Thomas George Caracas Garcia. 2005. Choro: a Social History of a Brazilian Popular Music. Bloomington: Indiana University Press.
Lucas, Maria Elizabeth. 2001. “Gaucho Musical Regionalism.” British Journal of Ethnomusicology. 9(1), pp. 41-60.
McCann, Bryan. 2004. Hello, Hello Brazil: Popular Music in the Making of Modern Brazil. Durham: Duke University Press.
McGowan, Chris and Ricardo Pessanha. 2009. The Brazilian Sound. Revised and expanded edition. Philadelphia: Temple University Press.
Pardue, Derek. 2011. “‘Conquistando Espaço’: Hip-Hop Occupation of São Paulo.” In
Brazilian Popular Music and Citizenship. Edited by Idelber Avelar and Christopher Dunn. Durham: Duke University Press.
Reily, Suzel Ana. 1996. “Tom Jobim and the Bossa Nova Era.” Popular Music 15(1). Lamen MUS334, p.7
———. 1992. “Música Sertaneja and Migrant Identity: The Stylistic Development of a Brazilian Genre.” Popular Music 11(3).
Sansone, Lívio. “The Localization of Global Funk in Bahia and in Rio.” In Brazilian Popular Music and Globalization. Edited by Christopher Dunn and Charles Perrone. Gainsville: University of Florida Press, pp. 136-160.
Seeger, Anthony. 2004. Why Suyá Sing: a Musical Anthropology of an Amazonian People. Urbana: University of Illinois Press, pp.1-24.
Sneed, Paul. 2007. “Bandidos de Cristo: Representations of the Power of Criminal Factions in Rio's Proibidão Funk.” Latin American Music Review 28(2).
Veloso, Caetano. 2001. “Carmen Mirandadada.” In Brazilian Popular Music and Globalization. Edited by Christopher Dunn and Charles Perrone. Gainsville: University of Florida Press.
Vianna, Hermano. 2011. “Technobrega [sic], Forró, Lambadão: The Parallel Music of Brazil.” In Brazilian Popular Music and Citizenship. Edited by Idelber Avelar and Christopher Dunn. Durham: Duke University Press.
———. 2006. Translation of “Central da periferia.” Revista Raiz. Available at www.iteia.com.br.
———. 1999. The Mystery of Samba. Translated by John Charles Chasteen. Chapel Hill: University of North Carolina Press.
Black Theater: Interviews, vol. 2 [electronic resource] Copyright © 1987. Used by permission of Broadway Theatre Archive..
Video: Yoruba Performance look in Academic Video Library Texas State History Museum 1800 N. Congress Online poems by Dr. Paredez vulnerable populations by Dr. Arroyo https://youtu.be/BWX7vvoWikI?t=1347
West African Performance
The Adventures of Jinadu
Ogunba, O., “Traditional African Festival Drama”, in Oyin, Ogunba and Abiola, Irele, (ed.), Theatre in Africa (Ibadan: University of Ibadan Press, 1978), 3-26
Soyinka, Wole. From Ghetto to Garrison: A Chronic Case of Orisunitis
Essay on Temi Osofikan in African drama and performance [electronic resource] / edited by John Conteh-Morgan and Tejumola Olaniyan.
Ring Shout, Wheel About: The Racial Politics of Music and Dance in North American Slavery
recordings of Oba Koso
The Big White Fog by Theodore Ward
The Black Doctor by Ira Aldridge in Black Theatre USA Revised and Expanded Edition, Vol. 1 : Plays by African Americans, The Early Period 1847 to 1938 (Paperback)
The Escape or, A Leap for Freedom by William Wells Brown
Agawu, Kofi, 2003. "Contesting Difference: A Critique of Africanist Ethnomusicology."In The Cultural Study of Music: A Critical Introduction Edited by Martin Clayton, Trevor Herbert, and Richard Middleton. NY: Routledge, 227-237.
Okay, main point? We should be focusing on sameness, which means creating a translation between different musical worlds. Someone who uses elephant tusks and skin covered drums might do so because these are available, plentiful materials, as are silver and plastic in some other places. So... assume they're being used for similar purposes and analyze the actions the musicians are taking and why.
I like that. I think, though, that difference is important in that it's an emotional clue that something is important to me. Of all the countless differences there are, some will stick out more than others, like for me, all the eye contact between salsa players, or the tuning of Indian instruments. In fact, as I examine these more, I find that the salsa ensemble is small enough to not have a conductor, but big enough that the players need to guide each other through all the changes. This is interesting and exciting! Pierrot ensembles with percussion, or even nonettes may do the same thing.
You all may not know yet about my explorations in tuning and temperament, but becoming furious with Indian instruments, and then with my piano, was the start of a marvelous journey. Just intonation is a difference I noticed, but it's also what early music players prefer (in many instances).
I think we should add aculturation and reaculturation to the mix. Whether you're looking for sameness or difference, adapting to a new culture and then integrating that with your own is extremely stimulating. That's a good thing.
So, encounter others! Go do it! Be enriched and intrigued, and ultimately made more human as you learn to love, which is to see yourself in another, and another in yourself.
Haydn, Mozart, Scots people
Listening to Vas, her voice so classical, thinking about her Galician album. Sounds Irish. Wait, Mozart lived in London for a year when he was a child. A couple years before, in 1762, the Highland Clearances dessimate Scottish culture and (probably) send many refugees to London. He would have heard them singing and playing the fiddle and the "big fiddle," the cello. The composer whose symhony he copied, Adler, a viola da gambist, would have heard them too.
Somehow European classical music doesn't seem so monolithic to me anymore. Maybe because we're talking about creolization in Caribbean Music class. And there, too, scholars hesitate to talk about influence of folk music. It's so easy to find information about the famous composers of Europe, but difficult to find anything about folk musics in anywhere as much detail.
So, back to listening. Haydn. I wonder what was going on in Hungary. The Jews got murdered and driven out of Vienna in 1744... There are a lot of things going on. Turks and Austrians fighting, I don't know if one event is more important than another. The war of succession?
Is it important that Brian Ferneyhough was born in Coventry in 1943, which was destroyed in WWII three years before? They decided to leave the cathedral a ruin, as a memorial.
This is what I see them having in common: reconstruction. Scots people building new lives in London, Jews building new lives in the outskirts of Vienna and in Hungary, British citizens rebuilding after the devastating war.
Hello, Quiet World!
Looking back over this year, I can't help but think, I stand entirely corrected. I stand entirely corrected from stupid stuff that happened to me as a child. I read today that whereas a difficult childhood matters a lot when a person is young, as you get older it matters less and less. I have been trying to make a difference in my life, make it up to myself as best I can, set new patterns or at least awareness of my feelings and those of people around me.
I had a dream the other night and I woke up thinking I'm a process, not an entity.
I have a friend who was crying, and her husband asked her what was wrong and she said, I'm so happy.
I'm not crying, but that did inspire me. I'm jealous of that, but that did inspire me to think, what would make me that happy?
When I was in college, I chose the name "quiet" as my username/email/identity on campus. That's because I used silence to escape uncomfortable situations and feelings. I didn't realize that I did that. Quiet just seemed like a nice violet place where I was safe and there was a smell of electronics. I still like quiet. Forest quiet. Walks. Birds. Flower quiet. And talking quietly. This talking is very quiet - you can barely hear me.
It's a change of quality that makes it an outward unfolding rather than an inward retreat. Then again, I think it was in the yoga sutras of Patanjali that there is as much space inside as outside. That the inward journey is as long and interesting a quest as the outward one. I think they reinforce each other.
So welcome, rainbow colored travelers, to my blog again. Weblog, again. That sounds like a sneeze to me. wuh-Blaaaawg! Bless you. Thank you. You're welcome.