tag:blogger.com,1999:blog-321910532024-03-13T03:52:25.373-04:00La guayabita"Dame dame dame, que te voy a dar
... una guayabita de mi guayabal."mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.comBlogger877125tag:blogger.com,1999:blog-32191053.post-79282278641568930102011-10-17T17:42:00.001-04:002011-10-17T17:42:42.241-04:00Encuentro NYC Colombian Music Festival<span class="Apple-style-span" style="color: rgb(78, 40, 20); font-family: verdana, geneva, arial, helvetica, sans-serif; font-size: 13px; background-color: rgb(250, 249, 230); "><table cellpadding="0" cellspacing="0" width="100%" style="margin-top: 5px; margin-bottom: 5px; "><tbody><tr><td align="left" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-family: verdana, geneva, arial, helvetica, sans-serif; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-size: 10pt; color: rgb(78, 40, 20); background-color: rgb(255, 255, 255); "><div><strong><span style="font-size: 10pt; "><span style="font-size: 12pt; ">Encuentro NYC </span><span><i><span style="font-size: 12pt; ">Colombian Music Festival </span></i></span></span></strong></div><div><strong><span style="font-size: 10pt; "><span><i><span style="font-size: 12pt; "> </span><a href="http://t.ymlp292.net/uhyaiaujjsanamjjaaaeeqj/click.php" target="_blank" style="color: rgb(61, 84, 89); text-decoration: underline; font-size: 10pt; font-family: verdana, geneva, arial, helvetica, sans-serif; "><span style="font-size: 12pt; ">EncuentroNYC</span></a><span style="font-size: 12pt; "> </span></i></span></span></strong></div><div><strong><span style="font-size: 10pt; "><span><i><span style="font-size: 12pt; "> </span></i></span></span></strong><span style="font-size: 10pt; "><span style="font-size: 12pt; ">(VIII Encounter "Encuentro" of Colombian Musicians in</span> NY) </span></div><div><div><i><br /></i></div><div style="text-align: left; "><span style="font-size: 10pt; "><strong><span style="font-size: 12pt; ">Oct 22-23</span></strong><span style="font-size: 12pt; "> Queens and Manhattan</span></span></div><div style="text-align: left; "><div><span style="font-size: 10pt; ">visit our Facebook page: Encuentro de Músicos Colombianos en NY</span></div><div><span style="font-size: 10pt; ">find the 2-day event on Facebook: Encuentro Familiar/Encuentro Gala</span></div></div></div></td></tr></tbody></table><table cellpadding="0" cellspacing="0" width="100%" style="margin-top: 5px; margin-bottom: 5px; "><tbody><tr><td align="left" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-family: verdana, geneva, arial, helvetica, sans-serif; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-size: 10pt; color: rgb(78, 40, 20); background-color: rgb(255, 255, 255); "><div><div><span style="font-size: 12pt; "><strong><span style="font-size: 10pt; "><strong><span style="font-size: 12pt; ">DAY 1: Saturday, <strong><span style="font-size: 12pt; ">Oct 22</span></strong><span style="font-size: 12pt; ">, 1-5pm </span></span></strong></span></strong></span></div><div><span style="font-size: 10pt; "><strong><span style="font-size: 12pt; ">Encuentro Familiar/Family Day</span></strong></span></div><div><span><i>Flushing Town Hall</i></span></div><div><span style="font-size: 10pt; "><span>Flushing, Queens</span></span></div><div><a href="http://t.ymlp292.net/uwsataujjsanamjjafaeeqj/click.php" target="_blank" style="color: rgb(61, 84, 89); font-size: 10pt; font-family: verdana, geneva, arial, helvetica, sans-serif; text-decoration: underline; ">Family Day Tickets</a><span style="font-size: 10pt; "> <span><i>$10 adults/$5 kids in advance or at the door</i></span></span></div><div><i><br /></i></div><div><span style="font-size: 10pt; "><i><span>Produced in collaboration with the Center for Traditional Music and Dance and FolkColombia, this is your chance to learn about the traditions of Colombia, with groups representing each of the four main musical regions of Colombia, including dance workshops. The programming is kid friendly, so come with the family! Empanadas by Mama's Empanadas in case you get hungry...</span></i></span></div><div><span style="font-size: 10pt; "><i><br /></i></span></div><div><span><span style="font-size: 10pt; ">FLUSHING TOWN HALL---main stage and art gallery</span></span></div><div><div><span style="font-size: 10pt; "><span>1:00 PM Daniel Fetecua Soto (of the Limon Dance Company and Pajarillo Pinta'o)</span></span></div><div><span>Pacific coast dance workshop, main stage</span></div><div><span>1:20 PM Grupo Chonta Performance (led by master marimba player and multi-instrumentalist Diego Obregon/Afro-Colombian music from the Pacific Coast)</span></div><div><span>main stage</span></div><div><span>2:00 PM Meet the Artist with Diego</span></div><div><span>2:15 PM Torbellino/Ribbon dance main stage with Daniel Fetecua and Alejandro Florez guitar trio (virtuoso guitarist of his group Tibaguí, playing traditional torbellinos for the kids dance activity) Main stage </span></div><div><span>3:00 PM Gaita performance with Martin Vejarano (of La Cumbiamba eNeYe and Chia's Dance Party) (Gallery)</span></div><div><span>3:30 PM Songs from Los Llanos with Johanna Castañeda y su Grupo Llanero (traditional music from the Plains region of Colombia with harp, cuatro, and percussion) (Gallery)</span></div><div><span>4:00 Caribbean dance workshop with Lucy Cruz (learn to dance to such rhythms as the cumbia!)</span></div><div><span>4:20 Grupo Rebolú Performance and Carnival parade (representing the traditions of Colombia's Caribbean coast, led by Ronald Polo and Moris Cañate)</span></div></div><div><span style="font-size: 12pt; "><i><br /></i></span></div></div></td></tr></tbody></table><table cellpadding="0" cellspacing="0" width="100%" style="margin-top: 5px; margin-bottom: 5px; "><tbody><tr><td align="left" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-family: verdana, geneva, arial, helvetica, sans-serif; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-size: 10pt; color: rgb(78, 40, 20); background-color: rgb(255, 255, 255); "><div><div><div><div><span style="font-size: 12pt; "><strong><strong><strong><span style="font-size: 12pt; ">DAY 2: Sunday <strong><span style="font-size: 12pt; ">Oct 23</span></strong><span style="font-size: 12pt; ">, 5pm-1am</span></span></strong></strong></strong></span></div><div><strong><strong><span style="font-size: 12pt; ">Encuentro Gala Showcase</span></strong></strong></div><div><span style="font-size: 12pt; "><span><i>Le Poisson Rouge, Manhattan</i></span></span></div><div><span style="font-size: 12pt; "><span><span style="font-size: 10pt; ">(Bleecker between Thompson and Sullivan in the West Village)</span></span></span></div><div><a href="http://t.ymlp292.net/uwualaujjsalamjjaraeeqj/click.php" target="_blank" style="color: rgb(61, 84, 89); font-size: 10pt; font-family: verdana, geneva, arial, helvetica, sans-serif; text-decoration: underline; "><span style="font-size: 10pt; ">Encuentro Gala Tickets</span></a><span style="font-size: 10pt; "> </span></div><div><span style="font-size: 10pt; "><span><i>$25 in advance, $30 at the door, minors $15 at the door only</i></span></span></div><div><span style="font-size: 10pt; "><span><i>tickets also available at the box office in advance</i></span></span></div><div><span style="font-size: 10pt; "><br /></span></div><div><i><span><span style="font-size: 10pt; "><strong>Eight Hours</strong> of the <strong>best</strong> of <strong>Colombian</strong> music, traditional and modern, in New York City in one night at one of NYC's most renowned music venues. This year, we're incorporating music and dance on the floor between acts, with Daniel Fetecua Soto and Pajarillo Pinta'o, Jonathan Gómez y su Papayera la Original, guitarist Nilko Andreas Guarin, and Daniel Rojas and his joropo ensemble. There's a great dance floor, a nice "tapas" style menu with a variety of small dishes from empanadas to sushi, and a bar. Come eat, drink, dance, and celebrate! Here's the breakdown:</span></span></i></div><div><i><span><span style="font-size: 10pt; "><br /></span></span></i></div><div><span style="font-size: 10pt; "><i><span>Doors 4:30pm</span></i></span></div><div><span><span style="font-size: 10pt; "><strong>5:00</strong></span></span><i><span style="font-size: 10pt; "> </span></i><span><span style="font-size: 10pt; "><strong>Joropiada with Daniel Rojas</strong> (traditional llanero music)</span></span></div><div><span><span style="font-size: 10pt; "><strong>5:20 Alejandro Flórez-Tibaguí</strong> (modern, sophisticated, and original Andean guitar-based music)</span></span></div><div><span style="font-size: 10pt; "><strong>5:50 Daniel Fetecua and Pajarillo Pinta'o Dance Company</strong></span></div><div><span style="font-size: 10pt; "><span><span style="font-size: 10pt; "><strong>6:15 Lucía Pulido</strong> (renowned soulful Colombian singer)</span></span></span></div><div><span style="font-size: small; "><strong>7:00 Chia's Dance Party</strong></span><span style="font-size: small; "> </span><span style="font-size: small; ">(Martin Vejarano's funky sextet blending jazz and Chirimia, reminiscent of a New Orleans jazz band <i>a la Colombiana</i>)</span></div><div><span style="font-size: small; "><strong>7:25</strong></span> <span style="font-size: small; ">Tribute to</span> <span style="font-size: small; "><b>Ricardo Leon Peña</b></span> <span style="font-size: small; "><b>Villa</b></span> <span style="font-size: small; ">and</span> <span style="font-size: small; "><b>Ligia Naya</b></span> <span style="font-size: small; ">with classical guitar virtuoso</span> <span style="font-size: small; "><strong>Nilko Andreas Guarin</strong></span></div><div><span style="font-size: small; "><strong>7:40</strong> <span style="font-size: small; "><strong>Samuel Torres y Yaounde</strong></span><span style="font-size: small; "> (world renowned virtuoso conga player and his band)</span></span></div><div><span style="font-size: small; "><strong>8:20 Andrea Tierra</strong><span> (singer/songwriter presenting her own poetry about love, life, and the land, with renowned musicians, including Edmar Castañeda on harp)</span></span></div><div><span style="font-size: small; "><strong>8:40</strong> <span style="font-size: small; "><strong>Edmar Castañeda</strong></span><span style="font-size: small; "><strong> </strong></span><span style="font-size: small; ">(harpist extraordinaire and his group presenting a jazzy take on the traditions of the Plains region of Colombia)</span></span></div><div><span style="font-size: small; "><span style="font-size: small; "><strong>9:05</strong> <span style="font-size: small; "><strong> Jonathan Gómez y su Papayera la Origin</strong></span><span style="font-size: small; "><strong>al</strong> (an acoustic Colombian street band)</span></span></span></div><div><span style="font-size: small; "><strong>9:20 Sebastián Cruz Cheap Landscape Trio</strong></span> <span style="font-size: small; ">(earthy, urban, funky fusion of rock, jazz, and traditional Colombian rhythms)</span></div><div><span style="font-size: small; "><strong>9:45 Jonathan Gómez y su Papayera la Origin</strong></span><span style="font-size: small; "><strong>al</strong></span></div><div><span style="font-size: small; "><strong>10:05 Pablo Mayor's Folklore Urbano Orchestra</strong></span> <span style="font-size: small; ">(renowned 12-piece dance band)</span></div><div><span style="font-size: small; "><strong>10:50 Gregorio Uribe Big Band</strong></span> <span style="font-size: small; ">(16-piece big band under the direction of rising star vocalist/drummer/percussionist Gregorio Uribe)</span></div><div><span style="font-size: small; "><strong>11:20 Alejandro Zuleta Vallenat</strong></span><span style="font-size: small; "><strong>o</strong></span> <strong>Quartet</strong><strong> </strong><span style="font-size: small; ">(from the dynasty of the Zuleta family of Vallenato stars) starting off the<span style="font-size: 10pt; "> </span></span><strong><span style="font-size: 10pt; ">ALL STAR JAM</span> <span><span style="font-size: 10pt; ">uniting Day 1 and Day 2 of the festival, bringing together artists from both days in a celebratory jam to close the night, including</span></span> <span style="font-size: 10pt; ">Ronald Polo</span><span><span style="font-size: 10pt; ">,</span></span> <span style="font-size: 10pt; ">Moris Cañate</span> <span><span style="font-size: 10pt; ">from</span></span> <span style="font-size: 10pt; ">Rebolú</span><span><span style="font-size: 10pt; ">,</span></span> <span style="font-size: 10pt; ">Diego Obregon</span> <span><span style="font-size: 10pt; ">from</span></span><span style="font-size: 10pt; ">Grupo Chonta</span><span><span style="font-size: 10pt; ">,</span></span> <span style="font-size: 10pt; ">Memo Acevedo</span><span><span style="font-size: 10pt; ">,</span></span> <span style="font-size: 10pt; ">Johanna Castañeda</span><span><span style="font-size: 10pt; ">, and more!</span></span></strong></div></div></div></div></td></tr></tbody></table></span>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-83697901234075437672011-09-12T18:14:00.000-04:002011-09-12T18:15:51.101-04:00Conversatorio "La música en el San Pacho"<a href="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=132536225766400d&attid=0.1&disp=inline&realattid=f_gsel3ek80&zw" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 481px; height: 400px;" src="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=132536225766400d&attid=0.1&disp=inline&realattid=f_gsel3ek80&zw" border="0" alt="" /></a><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: arial, sans-serif; font-size: 13px; background-color: rgb(255, 255, 255); "><div style="text-align: center; "><span ><span style="font-size: large; "><b>"LA MÚSICA EN EL SAN PACHO"</b></span></span></div><div style="text-align: center; "><span ><span style="font-size: large; "><b><br /></b></span></span></div><div style="text-align: center; "><br /></div><div style="text-align: center; "><span lang="ES-CO" style="font-size: 11pt; line-height: 17px; font-family: 'Courier New'; ">La Fiesta de San Pacho, es una de las escenas culturales más ricas y complejas de la región; por este motivo para entenderla, hay que vivirla, gozarla, bailarla, bebérsela y saborearla... </span></div><div style="text-align: center; "><span lang="ES-CO" style="font-size: 11pt; line-height: 17px; font-family: 'Courier New'; ">Pero también hay que pensarla y reflexionarla. La Corp- Oraloteca UTCH se complace en invitarte a su primer Conversatorio titulado "La Música en San Pacho".</span></div><div style="text-align: center; "><span lang="ES-CO" style="font-size: 11pt; line-height: 17px; font-family: 'Courier New'; "><br /></span></div><div style="text-align: center; "><span ><span style="font-size: 15px; line-height: 17px; ">El objetivo de este espacio es escuchar a aquellos que llevan años haciendo parte de la escena musical y organizativa del San Pacho para entender cuál es el rol que cumple la música y cómo se han ido transformando dichos roles junto con los paisajes sonoros y prácticas corporales propias de esta actividad.</span></span></div><div style="text-align: center; "><span ><span style="font-size: 15px; line-height: 17px; "><br /></span></span></div><div style="text-align: center; "><p class="MsoNormal" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.0001pt; margin-left: 0px; text-align: left; line-height: normal; "><b><span lang="ES-CO" style="font-family: 'Courier New'; ">Día</span></b><span lang="ES-CO" style="font-family: 'Courier New'; ">: 14 de septiembre de 2011</span></p><p class="MsoNormal" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.0001pt; margin-left: 0px; text-align: left; line-height: normal; "><b><span lang="ES-CO" style="font-family: 'Courier New'; ">Lugar</span></b><span lang="ES-CO" style="font-family: 'Courier New'; ">: Universidad Tecnológica del Chocó "Diego Luis Córdoba".</span></p><p class="MsoNormal" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.0001pt; margin-left: 0px; text-align: left; line-height: normal; "><b><span lang="ES-CO" style="font-family: 'Courier New'; ">Bloque:</span></b><span lang="ES-CO" style="font-family: 'Courier New'; "> 11 salón 215</span></p><p class="MsoNormal" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.0001pt; margin-left: 0px; text-align: left; line-height: normal; "><b><span lang="ES-CO" style="font-family: 'Courier New'; ">Hora</span></b><span lang="ES-CO" style="font-family: 'Courier New'; ">: 6:00 p.m.</span></p></div><div style="text-align: center; "><br /></div><span ><div style="text-align: center; "><br /></div><div style="text-align: center; "><br /></div>--<br /><span ><a href="http://corporaloteca.blogspot.com/" target="_blank" style="color: rgb(61, 84, 89); ">http://corporaloteca.blogspot.<wbr>com/</a></span></span></span>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-79522811147418803072011-09-06T17:16:00.001-04:002011-09-06T17:16:32.335-04:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=1323bd52cbd15028&attid=0.1&disp=inline&zw"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 827px; height: 1452px;" src="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=1323bd52cbd15028&attid=0.1&disp=inline&zw" border="0" alt="" /></a>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-85919059571337650632011-09-06T17:15:00.000-04:002011-09-06T17:16:04.318-04:00Nuevo video "Te vengo a cantar" - Grupo Bahía<iframe width="560" height="345" src="http://www.youtube.com/embed/LBnGDAMi274" frameborder="0" allowfullscreen></iframe> Grabado en Guapi...mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-29457205596103432562011-07-16T10:55:00.000-04:002011-07-16T10:56:05.427-04:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://ih.constantcontact.com/fs083/1011241366085/img/196.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 800px; height: 288px;" src="http://ih.constantcontact.com/fs083/1011241366085/img/196.jpg" alt="" border="0" /></a>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-91384107707660949322011-07-16T10:50:00.001-04:002011-07-16T10:52:42.010-04:00Más malas noticias del PacíficoDesplazamiento masivo, Municipio de <span class="il">Barbacoas</span> (Nariño) - Informe de Situación N°. 1<br />Report<br /><br />· Cerca de 300 personas se han desplazado en zona rural del municipio de <span class="il">Barbacoas</span> como consecuencia de enfrentamientos armados.<br />· La población permaneció confinada por los combates y se vio obligada a desplazarse posteriormente por el desabastecimiento de alimentos y provisiones básicas.<br />· Se reporta la necesidad inmediata de alimentos y elementos básicos para atender la emergencia.<br /><br /><br />ENFRENTAMIENTOS ENTRE EJERCITO Y LAS FARC EN CONSEJO COMUNITARIO DEL ALTO GUAPI - MUNICIPIO DE GUAPI (COSTA PACIFICA DE CAUCA)<br /><br />Desde el 29 de junio hasta hoy 14 de julio de julio de 2011 y de manera esporádica se han venido enfrentando el ejército y las Farc, en el territorio colectivo del Consejo comunitario del Alto Guapi municipio de Guapi- costa pacífica del Cauca.<br />Al parecer los habitantes de las comunidades de los Consejos comunitarios de Napi, San francisco y del Alto Guapi están siendo sometidas a restricción alimentaria pero también en estado de indefensión como el caso de la comunidad de "Caimito", que a raíz del recrudecimiento de los combates y también por los allanamientos del ejercito que se realizan sobre las casas de la población civil, desde el día miércoles 13 de julio de 2011 se ha estado desplazando.<br />En el momento la mayoría de los habitantes de la comunidad de Caimito estimada en 250 habitantes aproximadamente, se comenta que alrededor del 95% se encuentra desplazada en la comunidad de Callehonda y se dice que están confinadas.<br />Reiteramos las exigencias al gobierno nacional y los actores del conflicto armado que libren la guerra fuera de los territorios colectivos étnicos, y respeten los protocolos del derecho Internacional humanitario entre los cuales está la distinción de la población civil.<br />Solicitamos a los organismos de derechos humanos nacionales e internacionales, la mayor atención frente a la crisis humanitaria que se presenta y que ponen en vilo la vida de la población civil.<br /><br />Guapi - Cauca, 14 de julio de 2011.<br /><br />Regional COCOCAUCAmbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-34571693455670772822011-07-16T10:47:00.001-04:002011-07-16T10:47:58.817-04:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=1312f5616ffd0f03&attid=0.1&disp=inline&zw"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 809px; height: 1229px;" src="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=1312f5616ffd0f03&attid=0.1&disp=inline&zw" alt="" border="0" /></a>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-80189080818106235612011-06-28T12:17:00.001-04:002011-06-28T12:18:25.459-04:00Bobby Sanabria on the Grammys fiasco<span style="font-size:18pt"> <div><span style="font-family:'Georgia', ' Times New Roman', ' Times', ' serif'"><strong><img name="130d2d90a16b8f12_ACCOUNT.IMAGE.345" alt="NiLP Guest Commentary" src="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=130d2d90a16b8f12&attid=0.3&disp=emb&zw" border="0" height="89" width="493" /><br /></strong></span></div> <div><span style="font-family:'Georgia', ' Times New Roman', ' Times', ' serif'"> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:18pt"><strong>Latinos and The Grammys:</strong></span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:18pt"><strong>The Death of Musical Diversity?</strong></span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">By Bobby Sanabria (June 27, 2011)</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"><img style="text-align:right" name="130d2d90a16b8f12_ACCOUNT.IMAGE.809" alt="Bobby Sanabria" src="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=130d2d90a16b8f12&attid=0.4&disp=emb&zw" align="right" border="0" height="193" hspace="5" vspace="5" width="133" />There isn't one person reading this who hasn't seen or heard of the Grammys. You know, the TV show that comes on every February that gives out those gold trophies that are replicas of a vintage gramophone record player in miniature. Getting nominated for one changes one's career. All of a sudden your visibility quotient goes up as a recording artist. People who never spoke to you are suddenly congratulating you and, the best part? The phone starts to ring for offers of work. Imagine what happens when you <i>actually win one.</i></span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">For most of us watching, the show is a form of simple escapism. We really don't know how the award winners are selected and all we see, for the most part, are the current pop stars of the day performing on the telecast. As Latinos we notice that there aren't many of us represented on the show except for the perfunctory appearances recently by artists like Christina Aguilera, Marc Anthony, J.Lo and, of course, everyone remembers when Ricky Martin shaked his bon bon way back in . . . <i>what year was that?</i> It's great they have appeared as performers and presenters, but as conga legend Ray Barretto once said, "They got there under false pretenses." In other words, they didn't perform music that represents the depth of our cultural experience . . . they performed "pop music." </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">You're probably saying, "Who really cares? As has always been our history in this country, we're lucky to get the crumbs and should be happy." Right? WRONG!!! </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Wake up <i>hermanos </i>and <i>hermanas.</i> It's 2011 and as the statistics show, Latinos ARE the largest minority group in this country and we're leading the charge in this multi-cultural Universe we call the USA. That's the set up for several questions that beg to be answered. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Why has an artist like salsa pioneer, piano virtuoso, bandleader and nine-time Grammy winner Eddie Palmieri never been asked to appear on the telecast? Why hasn't Los Tigres del Norte, a legendary band from Mexico that sells out stadiums to crowds of 40 to 50,000, not been asked to perform on the mainstream broadcast (as opposed to the Latin Grammys (which, by the way, are another can of worms)? You get it. I could go on and on. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">The optimist would think, "Well, we've come this far, eventually we'll get someone performing some music on the Grammy telecast that represents our "real" culture in one form or another . . . and didn't Santana play a few years ago on the show?" But wait, it has happened before, way back in the '80s and '90s when Celia Cruz and Tito Puente appeared on the telecast. Linda Ronstadt shocked mainstream America by performing authentic mariachi music on the Grammy telecast and showing everyone she was proud of her Mexican heritage. Cuban Latin jazz and jazz piano virtuoso Gonzalo Rubalcaba played piano on the Grammys. We were actually getting somewhere in terms of our musical contributions to this country being displayed in the music world's biggest night, Grammy night.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">So what happened?</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Since November 2002, when current NARAS (The National Academy of Recording Arts and Sciences) President Neil Portnow took office, not only have all things Latino been excised from the main telecast, but anything remotely displaying America's cultural diversity has disappeared from it. No jazz, classical, or Latin music (in any of its diverse forms) have been featured since 2002. Mind you, this country's cultural diversity has grown exponentially. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">The mission statement of the Grammys, or NARAS states it was formed to honor, propagate, and nurture all forms of American born music. It also states that its mission is to also EDUCATE the general public about all these forms, not giving preference to one genre over the other. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">As Frank Sinatra said at the first Grammy Awards in 1959, "Remember ladies and gentlemen, it's about excellence, not popularity." Following this mandate, the Grammys' two previous Presidents before Portnow, Michael Greene (a former saxophonist with Frank Zappa) and Michael Melvoin (a jazz pianist and Sephardic Jew who speaks fluent Spanish) grew the Academy to 109 robust categories celebrating America's musical/cultural heritage and diversity and brought the membership to an all time high of 28,000. Categories like Latin Jazz, Zydeco, Cajun, Hawaiian, Native American, Polka, Norteño, Ranchera, Classical, Contemporary Jazz, Traditional and Contemporary Blues and Gospel, Instrumental Country, as well as many others which were added during these two progressive-minded Presidents' tenures and displayed our magnificence as a collective culture.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">But then something happened. Portnow became President after Greene was forced to resign following a now famous speech he gave during the telecast criticizing the Bush administration for cutting arts programs. Greene, a musician-friendly President (practically the entire NARAS membership is made up of musicians), was now replaced by a major label-friendly President. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Portnow used to work as the West Coast Vice President of Jive Records, a division of Zomba. Since 2001, independent recording companies, many run by musicians themselves, or by Mom & Pop operations, began getting nominated for Grammys and, in many cases, winning them. Since these labels are a haven for truly creative artists who buck the tide of commercialism, they began being perceived as a threat to the major labels. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Why? Because getting nominated and, if you're graced with winning one of those little miniature gramophones as I stated before, changes careers but, more importantly, increases CD sales. Having a progressive jazz rock group like Steely Dan win Record of the Year over Eminem in 2001 sent shudders through the pop music community. In 2008 jazz piano legend Herbie Hancock won Record of the Year over Amy Winehouse and Kanye West. I guess you can imagine what happened when they didn't hear their names announced.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">It all culminated this past February with more Grammys being won by Indie record companies last year than in any other year. In addition, Esperanza Spalding (a jazz artist who at the most had sold between 10,000 to 15,000 units) won the coveted Best New Artist of The Year Grammy over Justin Beiber last year as well. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Before you start saying, like most people did, "Esperanza who?," you have to keep in mind that the Grammys is a peer-based award. It isn't a popularity contest like <i>American Idol</i> or the <i>American Music Awards</i>. We, the members of the Academy, voted as Ole' Blue Eyes stated, for excellence. Spalding is a virtuosic bassist, vocalist, composer, a musician <i>par excellence</i>. It was easy for us as members of the Academy to vote for her. It was also the first time a true musician won over an entertainer in that category. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What was the reaction? A few days after this unprecedented event, Steven Stoute, a music industry insider-lobbyist, whose client list includes Jay Z, took out a $40,000 full page ad in the <i>New York Times</i> insulting the Academy for its decision and insulting Esperanza Spalding by stating that Justin Beiber should have won. Talk about sour grapes! </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">When one insults the Academy one is, in fact, insulting the membership. Of course, you heard and read about Justin Beiber fans going viral with their insults at Ms. Spalding, even going the extra mile and hijacking her Wikipedia page by writing the vilest of commentary. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What did our Grammys President do? Absolutely nothing. No press statement or press conference defending the membership and its decision, no teaching moment for the young Beiber-heads letting them know that the Grammys are a peer based award and not a popularity contest> Nothing. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Lobbyist Stoute has been notorious for his criticism of the Academy and his transparent views. Just look him up on the internet and you'll be shocked at some of the things he has said. To him, if Jay Z is going to appear on the Grammy telecast then he should be guaranteed a Grammy. The fact that President Portnow is an ex-record company exec and was reaching out to someone who is working for major artists and labels who insulted the Academy raised eyebrows from coast to coast with the membership. The joke on the Hip Hop scene was that Stoute was trying to hijack the Grammys. It gets better Read on.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">All of a sudden, on April 6<sup>th</sup> this year, NARAS sent out an e-mail blast to all of its 21,000 members (a 7,000 member drop, by the way, from previous years) telling us there was a major announcement about the Grammys and to follow the link they had posted. Guess what? They cut 31 categories, downsizing the awards from 109 to 78. All the categories I mentioned before and more, categories that celebrated this country's incredible musical diversity, were cut. Over 70percent of these categories represent ethnic and race- based styles of music. Any human resources department at a major corporation would have recommended in the strongest of terms: <i>don't do this or you'll have a torrent of protest from Black and Latino communities.</i></span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">There was no warning, no asking the 21,000 members, no asking the Grammy Chapter City Governors who represent the membership in all 12 Grammy Chapter cities. Nothing, <i>nada</i>. They just went ahead and did it. In a meeting that President Portnow held with the New York City Chapter on April 11<sup>th</sup>, he stated that the Grammys have become "...too big of a musical collage." Really? </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Their rationale? They said they consolidated categories to give more parity because it's become too easy to get a Grammy. Really? I've been fortunate to have been nominated four times and, believe me, it's probably the hardest thing to attain in the music business. Ask anyone. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Portnow said everyone still has a chance --- all they did was "streamline" everything. Really? Now a contemporary jazz CD (like Kenny G) has to compete against a Latin jazz CD (like me), against a traditional jazz CD (like Wynton Marsalis). Guess who is not going to win? It's like having a mariachi CD competing against a salsa CD competing against a merengue CD. Completely different genres all competing against each other in one category. The kicker is, if you were dreaming about Eddie Palmieri ever getting on the main telecast, you can now totally forget about it. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">You may be asking at this point: "How could they do this without asking the membership?" NARAS' answer? They formed a secret sub-committee right after Herbie Hancock won in 2008. That committee met for 18 months in order to form a plan to downsize the Grammys. Nice of them not to tell the membership! </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Who was on this ultra secret sub-committee of twelve? NARAS refuses to say despite the fact that, according to the Academy's By Laws, they have to disclose this information upon the request of any NARAS member. But, of course, if they did it wouldn't be secret anymore. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What NARAS has done is initiate the largest act of cultural insensitivity in the history of arts organizations. They have, in fact, erased us, silenced us, from the Awards.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Since April 6th there has been an upheaval of protest led by committed members of the Latin jazz community on both coasts like John Santos, Bobby Matos, Sandy Cressman, Wayne Wallace, Clay Leander, yours truly and many others. Press conferences have been held in San Francisco, New York City, and Los Angeles. Major artists like Carlos Santana (the first to speak out), Eddie Palmieri, Paul Simon, Bill Cosby, Bonnie Raitt, Alison Krauss, Herbie Hancock, Larry Harlow, Ruben Blades, Arturo Sandoval, Paquito D'Rivera, and others have publicly protested this outrageous ill-advised action by NARAS and asked, in solidarity, for the return of all the 31 cut categories, not just the Latin Jazz category. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What did our President do? As reported by <i>Rolling Stone</i> magazine, he actually reached out to industry lobbyist Stoute to have a discussion about diversity and better representation of Hip Hop in the Grammys. Nice guy. It would have been nicer if he reached out to us to discuss the reinstatement of the categories.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What has been the NARAS response? On June 15 at the Academy's New York offices, President Portnow told long time NARAS member, Grammy-winning pianist Arturo O'Farill, NARAS Latin Music committee President Elvira Franco, BMI Latin Music Head and newly-elected New York. Chapter Governor Porfirio Piña, and others, after a four hour meeting, that he admits they made a mistake but they will not re-instate the categories. Oh, but maybe we'll consider it for next year. Nice guy. In a simultaneous meeting held in San Francisco over which NARAS Vice President of Awards, Bill Friemuth presided and that was attended by several Board of Trustees members (including new Trustee Sheila E.), he told John Santos, Wayne Wallace, Sandy Cressman, Pete Escovedo and others present the exact same thing. Another nice guy. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What are the consequences of this <i>infamnia</i>? </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">First, the entire mission of the Grammys has been compromised because the 31 categories that were cut represent the most marginalized communities and music. In effect, they will never be recognized and exposed to larger audiences. You will never see an Indie artist like Esperanza Spalding or Arcade Fire (they record for a small Mom & Pop label in North Carolina and won the Best Record of the Year at the last Grammys) win a Grammy ever again. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Second, the major record labels have, in effect, attained a monopoly on the Grammys. This is the case since they have eliminated all of the competition. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Third, the lives of thousands of musicians who have spent thousands of dollars on recordings, and the small record labels they either own or record for, in the hope of getting a Grammy nomination and possibly a win, are now destroyed since they can't enter an appropriate category. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Fourth? The Grammys have sent a clear message to the entire world: WE DON'T CARE ABOUT CULTURAL DIVERSITY.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What is even more insulting to Latinos is that our category, Latin jazz, was installed after a long, hard struggle. Musicians like Eddie Palmieri and John Santos as well as noted jazz writers, historians, ethnomusicologists, and consultants began fighting for it many years ago. The roots of it go back to 1975 when Salsa (the Tropical Music category in the Grammys) was finally installed through the efforts of legendary pianist Larry Harlow when he was a New York Chapter Governor. Finally in 1994, after 19 years of asking and campaigning, we finally got the Latin Jazz category. The following year, trumpeter Arturo Sandoval was the first winner of this coveted and respected prize. On April 6, 2011 they summarily took it away, I repeat, without warning, without a heads up or a legitimate excuse.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Portnow and company state that the cut categories were not getting the minimum number of submissions, which is 25. When I asked Vice President of Awards Friedmuth at the April 11th meeting how many submissions Latin jazz was getting, he replied, "The average number of submissions for the Latin jazz category each year for the last five years has been 31." So, what gives? We met the criteria. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">NARAS has also instituted a new rule stating that now any category that only receives between 25 and 39 submissions will only get three nominations. Forty and over will get the full five as was the case with previous rule. We still have made the criteria and yet the category was cut! So, what gives? We met the criteria!</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Even if low submissions were indeed the case in any category, it is the duty of NARAS to let representatives in all these categories become aware of the problem so that it can be rectified. That's if there is one. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Remember, their mission is not only to celebrate excellence but to propagate, nurture, and educate. During previous NARAS administrations, outreach was done and all categories were healthy with submissions. In this regard, the current administration has dropped the ball and just took out the hatchet without warning. Nice guys.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">A curious fact that no one seems to be addressing is that NARAS will save between half a million to a million dollars by cutting these categories. Those trophies, the medals (you get a gold medal from Tiffany & Co. when you get nominated plus an engraved certificate), the six screeners that are assigned to each category that listen to all submitted recordings in each category and are placed in a first class hotel for three days with all expenses paid, the two tickets every nominee gets, the mailings, press, etc, etc., etc., all that costs money. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Add to that the purchase, instead of leasing, of a new office building to house the administrative offices, while rent of over half a million dollars yearly is still being paid on the building that used to house the old Grammy offices. Top this off with 7,000 members who have left the organization (a full quarter of the membership) as well as rumblings about certain Grammy chapter offices in various cities being closed, and one can see what may be the real reason these categories were cut. How quaint that the money is being saved by cutting out cultural diversity. I repeat, over 70 percent of the cut categories are ethnic and race based.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">What does all of this have to do with you, the reader, and why you should be afraid? </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Because it's yet another example of how we are being wiped off the face of the earth as far as recognition is concerned. It is another sign of the homogenization and corporatization of culture going on at all levels in our society. Welcome to today's new form of racism. It even has a politically correct name, "cultural insensitivity." In other words, even though you've been invited to the party, no one will speak to you because in their minds you don't even exist. First we get Ken Burns ignoring us in baseball, then in the Civil War, then in WW II, and finally in Jazz. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Looks like the Grammys have followed suit.</span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt">Want to help? Go to </span><a style="font-family:'Times New Roman';color:#0000ff;font-size:12pt" href="http://r20.rs6.net/tn.jsp?llr=hlnfsnbab&et=1106258223145&s=3521&e=001henj9aSMnLp75dezVUrTEsb9HO0e_AQxvuEhrpm9PEsUuIWX8UJIdE3DEjAUTwEC_aNySx4duQXn4VeKaNIElXR9y8I_JLA5oFSSgWimgbmd5aUij09f6Q==" shape="rect" target="_blank">www.grammywatch.org</a><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"> and sign the growing petition to reinstate the 31 cut categories. You can write directly to Grammy President/CEO Neil Portnow at </span><a style="font-family:'Times New Roman';color:#0000ff;font-size:12pt" href="mailto:neil@grammy.com" shape="rect" target="_blank">neil@grammy.com</a><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"> and give him your thoughts. </span></p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';color:#000000;font-size:12pt"></span> </p> <p style="margin:0in 0in 0pt"><span style="font-family:'Times New Roman';font-size:12pt"><span style="color:#000000"><i><strong>Bobby Sanabria</strong> is a noted drummer, percussionist, composer, arranger, bandleader, educator and a four-time Grammy nominee. He is a professor at the Manhattan School of Music and an Associate Professor at the New School University. He is a 1979 graduate of the Berklee College of Music, where he was the first Puerto Rican to attend the school. He has performed and recorded with such legendary figures as Mongo Santamaria, Tito Puente, Chico O'Farrill, Ray Barretto, Paquito D'Rivera, Larry Harlow, Dizzy Gillespie and Mario Bauzá. His newest CD is entitled </i>Tito Puente Masterworks Live!!!</span><i><span style="color:#000000"> He was recently named by The Jazz Journalists Association as Percussionist of the Year for 2011. He is a long time member of NARAS. His website is </span><a style="color:#0000ff" href="http://r20.rs6.net/tn.jsp?llr=hlnfsnbab&et=1106258223145&s=3521&e=001henj9aSMnLpxChx710bPQ6pI9oC9VvxMo91yzME4KyO9hGvbLTmD0TcRirgF_9NvLs4EgdVHdXWas85emcKzQ-1sGb3fh53WycA9GkzCkXjdDIKi7TU_5g==" shape="rect" target="_blank">www.bobbysanabria.com</a><span style="color:#000000"> and he can be reached at </span><a style="color:#0000ff" href="mailto:nujackrican@yahoo.com" shape="rect" target="_blank">nujackrican@yahoo.com</a><span style="color:#000000">.</span></i></span></p></span></div></span>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-20551628102448502162011-06-24T14:27:00.001-04:002011-06-24T14:29:14.330-04:00Grupo Bahía Trío + Voz va a Europa y África<h3 style="font-weight: normal;" class="post-title entry-title"><span style="font-size:100%;"><a href="http://bahiapacifico.blogspot.com/2011/06/el-grupo-bahia-trio-mas-voz-de-gira-por.html">http://bahiapacifico.blogspot.com/2011/06/el-grupo-bahia-trio-mas-voz-de-gira-por.html</a></span></h3><span style="font-size:100%;"><a href="http://bahiapacifico.blogspot.com/2011/06/el-grupo-bahia-trio-mas-voz-de-gira-por.html"> </a></span><h3 style="font-weight: normal;" class="post-title entry-title"><span style="font-size:100%;"><a href="http://bahiapacifico.blogspot.com/2011/06/el-grupo-bahia-trio-mas-voz-de-gira-por.html"> </a></span></h3> <div class="post-header"> </div><span style="font-size:100%;"><a href="http://bahiapacifico.blogspot.com/2011/06/el-grupo-bahia-trio-mas-voz-de-gira-por.html"> </a></span> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOJ3arn2Bpx_hUjydy-Jd106SYdqvC4Py9RB-d0mPjM9d70gF6jG_TgFoLpGB_uFRspmSK6k48HenxzJ_g6rejplNSzHcn2ORfdrRAxjZKRiHwux_1099ZP7BXdFy3Huen256/s1600/2.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioOJ3arn2Bpx_hUjydy-Jd106SYdqvC4Py9RB-d0mPjM9d70gF6jG_TgFoLpGB_uFRspmSK6k48HenxzJ_g6rejplNSzHcn2ORfdrRAxjZKRiHwux_1099ZP7BXdFy3Huen256/s320/2.jpg" alt="" id="BLOGGER_PHOTO_ID_5621516406124928914" border="0" /></a><br />El Grupo Bahía Trío más voz gran exponente del folclor musical del Pacífico Colombiano, inicia su gira 2011 por Europa y África el próximo mes de julio.<br /><br />La gira es coordinada a través de la Oficina de la Dirección de Asuntos Culturales del Ministerio de Relaciones Exteriores de Colombia y es pensada como un homenaje a la Música de Marimba declarada por la UNESCO como patrimonio inmaterial de la humanidad, en el marco de la conmemoración del Año Internacional de los Afrodescendientes.<br /><br />Incluye presentaciones en Berlín (Alemania) el 14 de julio, presentación que se hará en la Sala Otto Braun del Instituto Ibero-Americano. En Varsovia (Polonia) el 15 de julio en el Teatro del Centro de Cultura de Praga y en Nairobi (Kenia) el 20 de julio, programada en el Museo Nacional de Kenia considerado de gran trascendencia en África, como cierre a la exhibición “Eyedentity”.<br /><br />Así mismo, el Grupo Bahía se presentará en el Festival Fusión en Berlín (Alemania) el 3 de julio. Recomendamos mirar el siguiente link:<br /><br />http://www.fusion-festival.de/<br /><br />El Grupo Bahía transitará por el viejo continente con su más reciente producción musical <em>Mulataje</em>, trabajo discográfico que se plantea como un homenaje a los sonidos de la tierra, los sonidos que brotan de la selva, del río, de la montaña, del valle y de esa mezcla especial del negro, del indio y del blanco. Sonidos que a través del tiempo se pueden combinar, mezclar, pero no se pueden transformar porque sencillamente son naturales, son propios, auténticos, son parte fundamental de nuestra herencia y esencia musical.mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-73642581168576449282011-06-05T16:25:00.002-04:002011-06-05T16:29:28.636-04:00“2011 is going to be a crazy fucking year for online music”Aplle iCloud and what it might mean for online music: <a href="http://www.huffingtonpost.com/2011/06/04/apple-icloud-cloud-music_n_871186.html">http://www.huffingtonpost.com/2011/06/04/apple-icloud-cloud-music_n_871186.html</a><br /><br /><h1 class="title-news"> Apple iCloud Release Puts Music Streaming Startups In Spotlight </h1>by Amy Lee<br /><img src="http://i.huffpost.com/gen/286339/thumbs/s-APPLE-ICLOUD-large.jpg" alt="Apple Icloud" height="190" width="260" /> <div class="sidebarHeader"><div id="potd_block"> </div> <div class="share_boxes_wraper"> <div class="share_boxes_email"> Apple’s <a href="http://www.huffingtonpost.com/2011/05/31/apple-icloud-announcement-wwdc-2011_n_868950.html" target="_hplink">highly anticipated iCloud</a> is expected to make it easier than ever before to listen to your own music anywhere you have an Internet connection. But its entry into the online music world could squeeze out the smaller players already crowding the market. </div><div class="share_boxes_submit float_left arial_10 bold color_333333 center"><div class="float_left"> </div> </div> </div> </div><p>Apple has confirmed it will announce a new iCloud service on Monday. It will likely be a subscription service that allows users to buy, play and store music -- and perhaps other media -- online. Even though Apple has yet to share many details about iCloud, analysts agree the new service will help shape the future landscape of digital music.</p> <p>Apple’s service, which comes on the heels of new products from tech giants Google and Amazon, is just the latest entry alongside an eager crop of startups already forging a new model for digital music.</p> <p>But Apple's dominance in the digital music world may hinder existing startups once the tech behemoth enters the game, experts warn.</p> <p>“If Apple wins, everybody else dies,” said Bob Lefsetz, a music industry analyst. “We learned it with the iPad. We learned it with the iPod.”</p> <p>Cloud services have been the focus of serious industry interest in recent days. The idea that files -- music or not -- can be stored in remote servers and yet be accessible from any point is a highly attractive Internet-forward idea, but it is also rife with potential risks. </p> <p>With the iCloud, Apple will enter into an already teeming sphere of music streaming sites, including Grooveshark, Pandora, Spotify, MOG, Rdio and Rhapsody. These sites generally fall into one of three categories: music lockers, like Google and Amazon; subscription-based, unlimited streaming sites, like Rdio or Rhapsody; and radio-style personalized play sites, like Pandora. </p> <div class="adver_cont_below"> <div id="adwrap_mid_article_fb7d63787fa01b8b9cf40ca132102f59" style=""><div id="mid_article_deco"><span class="mid_article_ad_label">Advertisement</span><div id="ad_mid_article_fb7d63787fa01b8b9cf40ca132102f59" class="ad_mid_article ad_wrapper"> <a href="http://ad.doubleclick.net/click%3Bh%3Dv8/3b1d/3/0/%2a/b%3B241660186%3B0-0%3B0%3B41210619%3B4307-300/250%3B40910191/40927978/1%3Bu%3D300x250|bpage|mid_article|apple%2Cpiracy%2C@depressing%2C@recommend%2Capple-itunes%2Camazon-cloud-player%2Capple-icloud%2Capple-music-streaming%2Cgoogle-music-beta%2Cgrooveshark%2Cicloud%2Cicloud-apple%2Cpandora-ipo%2Crdio|||D|871186|||%3B%7Eokv%3D%3Bcanada%3D1%3Bcanada-business%3D1%3Breporting%3D1%3Btechnology%3D1%3B%3Bentry_id%3D871186%3Bapple%3D1%3Bpiracy%3D1%3B@depressing%3D1%3B@recommend%3D1%3Bapple-itunes%3D1%3Bamazon-cloud-player%3D1%3Bapple-icloud%3D1%3Bapple-music-streaming%3D1%3Bgoogle-music-beta%3D1%3Bgrooveshark%3D1%3Bicloud%3D1%3Bicloud-apple%3D1%3Bpandora-ipo%3D1%3Brdio%3D1%3Bglobal%3D1%3Bcap_12%3Dn%3Bqcs%3DD%3B%3Bplat%3Dmac%3Bbr%3Dff%3Bbv%3D4%3Bsubbv%3D0%3Bload_mode%3Dinline%3Bpage_type%3Dbpage%3Bpos%3Dmid_article%3Bdcopt%3Dist%3Bu%3D300x250|bpage|mid_article|apple%2Cpiracy%2C@depressing%2C@recommend%2Capple-itunes%2Camazon-cloud-player%2Capple-icloud%2Capple-music-streami%3B%7Eaopt%3D2/1/ff/1%3B%7Esscs%3D%3fhttp://clk.atdmt.com/INV/go/303198844/direct/01/3150250" target="_blank"><img src="http://view.atdmt.com/INV/view/303198844/direct/01/3150250"/></a><noscript><a href="http://ad.doubleclick.net/click%3Bh%3Dv8/3b1d/3/0/%2a/b%3B241660186%3B0-0%3B0%3B41210619%3B4307-300/250%3B40910191/40927978/1%3Bu%3D300x250|bpage|mid_article|apple%2Cpiracy%2C@depressing%2C@recommend%2Capple-itunes%2Camazon-cloud-player%2Capple-icloud%2Capple-music-streaming%2Cgoogle-music-beta%2Cgrooveshark%2Cicloud%2Cicloud-apple%2Cpandora-ipo%2Crdio|||D|871186|||%3B%7Eokv%3D%3Bcanada%3D1%3Bcanada-business%3D1%3Breporting%3D1%3Btechnology%3D1%3B%3Bentry_id%3D871186%3Bapple%3D1%3Bpiracy%3D1%3B@depressing%3D1%3B@recommend%3D1%3Bapple-itunes%3D1%3Bamazon-cloud-player%3D1%3Bapple-icloud%3D1%3Bapple-music-streaming%3D1%3Bgoogle-music-beta%3D1%3Bgrooveshark%3D1%3Bicloud%3D1%3Bicloud-apple%3D1%3Bpandora-ipo%3D1%3Brdio%3D1%3Bglobal%3D1%3Bcap_12%3Dn%3Bqcs%3DD%3B%3Bplat%3Dmac%3Bbr%3Dff%3Bbv%3D4%3Bsubbv%3D0%3Bload_mode%3Dinline%3Bpage_type%3Dbpage%3Bpos%3Dmid_article%3Bdcopt%3Dist%3Bu%3D300x250|bpage|mid_article|apple%2Cpiracy%2C@depressing%2C@recommend%2Capple-itunes%2Camazon-cloud-player%2Capple-icloud%2Capple-music-streami%3B%7Eaopt%3D2/1/ff/1%3B%7Esscs%3D%3fhttp://clk.atdmt.com/INV/go/303198844/direct/01/3150250" target="_blank"><img border="0" src="http://view.atdmt.com/INV/view/303198844/direct/01/3150250" /></a></noscript></div></div></div></div> <p>But though these sites provide services distinct from those of the big players, they cannot match the big companies in brand power, reach and cash flow, key elements required to win over both users and record labels.</p> <p>Apple’s biggest advantage in the digital music race is, well, being Apple. As the <a href="http://www.apple.com/pr/library/2008/04/03itunes.html" target="_hplink">largest music retailer in the country</a>, with near 70 percent of the digital music market, the company has established its brand as the go-to source for finding, buying, storing and playing music on a computer. Apple’s iTunes store has around 200 million credit cards on file. Startups -- as well as web giants Amazon and Google -- face the challenge of changing users’ habits and convincing them to abandon one music library for another.</p> <p>"I’d certainly sound naive if I said I wasn’t worried," said Rdio CEO Drew Larner. “Apple, Google and Amazon are three of the most dominant companies not only in the Internet space, but generally in business.”</p> <p>Apple’s brand has also been bolstered by its big ticket advertising, something that startups would be hard pressed to match. And, along with the music itself, Apple’s empire of connected devices -- iPod, iPad and iPhone among them -- helps keep customers in their consumer ecosystem. </p> <p>"If you think about it, the outbound marketing from these services has been pretty muted," said Michael McGuire, VP of research at Gartner, a tech consulting firm. “Apple is coming into the market based on more than ten years of almost saturation volume of advertising.”</p> <p>Despite the difficulty of getting people to pay for digital music instead of pirating it, experts say that if anyone is going to be able to successfully charge for music, it’s Apple. After all, with the opening of the iTunes store 10 years ago, Apple proved that if purchasing music was easy, reliable and safe enough, it could convince people to buy music instead of download it illegally. Experts say that if Apple can convince a portion of its existing iTunes customers to sign up for iCloud, it will keep those same customers from spending money for other services. After all, Apple can give users instant access to songs they already own, on devices they already have, in a system that already has their credit card on file. </p> <p>“If I can access my 6,000 songs from the cloud, that’s going to eat up a lot of my time and steal a lot of attention from Grooveshark, Rdio, whoever,” said Paul Resnikoff, publisher of Digital Music News, an industry site. “Even if Apple’s service isn’t free, there’s considerable incentive for me to put money down and that eats at the money I might spend at another service.”</p> <p>Analysts say that even if users don’t leave smaller music services for the big companies, the very presence of an Apple service will make it increasingly difficult for startups to woo new customers. If, as has been rumored, Apple’s service costs $25 a year, it will be almost a hundred dollars less than most services, which run around $10 a month.</p> <p>“I don’t think everybody drops everything and moves to iTunes,” said McGuire. “But it may make it more difficult to peel off customers from iTunes.”</p> <p>In the end, users will only choose a service if it offers all the music they want to hear. Yet securing rights to that music is a complicated and hugely expensive task that relies on cash and connections. Apple, Google and Amazon also have far deeper pockets than any smaller competitor, offering those three a big boost in starting a music service. (Though thus far, both Amazon and Google have chosen to provides services that don't rely on these deals.) And for any company hoping to get off the ground in the digital music world, significant capital is necessary just to build a viable service. </p> <p>Yet even after securing deals with top record labels, turning a profit can be a Sisyphean task. Licensing fees do not come cheap: recent reports suggest Apple will pay somewhere between <a href="http://www.huffingtonpost.com/2011/06/03/wwdc-2011-icloud-announcement_n_870773.html" target="_hplink">$100 and $125 million</a> to the record labels so that it can offer full song catalogues for its service. </p> <p>“I’m not optimistic that digital music startups have a bright future,” said David Pakman, partner at venture capital firm Venrock, co-founder of Apple Music Group and former CEO of digital music site eMusic. “It’s a hard space to build a business in to be self-sustaining because the economics are so challenged by the rules imposed by record labels.”</p> <p>Nor is it possible to simply bypass the labels. Grooveshark, one of the streaming sites that lets users listen to anything they want for free without ever having to pay a subscription fee, has been sued by both Universal Music Group and EMI since its launch. The Grooveshark app was subsequently <a href="http://www.pcworld.com/article/224401/grooveshark_app_booted_from_android_market_over_copyright_concerns.html" target="_hplink">pulled from both the Android and Apple app stores</a>. Licensing negotiations are also reported to be the issue holding up European-based <a href="http://evolver.fm/2011/04/14/spotify-limits-free-service-further-possibly-heralding-u-s-launch-again/" target="_hplink">Spotify’s U.S. debut</a>. </p> <p>Even after sites obtain licenses, agreements with record companies often require profit splits of around 70 percent for the music industry and 30 percent for the music service. Even Apple’s iTunes store, the number one music retailer of any kind in the U.S., does little better than <a href="http://allthingsd.com/20100225/apple-billions-of-songs-billions-of-apps-not-much-profit/" target="_hplink">break even</a> after the labels take their cut. </p> <p>Pandora, a music startup <a href="http://www.huffingtonpost.com/2011/02/12/pandora-to-file-ipo-looks_n_822315.html" target="_hplink">currently preparing for its IPO</a>, is an exception to many of these sites in a number of ways. Rather than asking for subscription fees, it makes money on advertising. Further, Pandora is able to get radio licensing, which is far cheaper than licensing for streaming.</p> <p>Still, anyone and everyone trying to make it in the new cloud-based digital music ecosystem -- including Apple -- confronts the same major obstacles: convincing users music is worth paying for and persuading them of the safety of the cloud. </p> <p>It’s hard to run a business selling music when free options, legal or illegal, have set up shop outside your door. Every music service, regardless of its model or scale, is engaged in the battle to get people to pay for what they can just as easily get for free.</p> <p>“We’re all competing with piracy,” said Grooveshark spokesperson Ben Westermann-Clark. “You have to get the people they want to listen to in a legal way that’s just as compelling as piracy, if not better.”</p> <p>The problem of free music is over a decade old and though the old illegal downloading sites have long since fallen from the mainstream, new options to access music for free have emerged. The Napster era of the illegal download has been surpassed by the streaming revolution. A user can now use sites like Grooveshark and Spotify forever without ever having to pay for the privilege. </p> <p>“With the rise of Grooveshark, and the rise of Spotify, something funny happened -- a lot of users just started streaming music from the cloud,” said Resnikoff. “That introduced a solution but also another problem. Suddenly you have this consumer in a bullpen you can identify. You can control them a little more, but they’re still not paying. They might be following the law, but they’re not paying.”</p> <p>Many question whether the record labels’ stance is a justifiable defense against pirated music, or a dangerous adherence to stubborn traditionalism that stops new music models from ever becoming viable. Critics point to the massive decline of the industry, which has floundered its way through the digital music era.</p> <p>“The huge shortsightedness of the music industry here is, why are they setting pricing in a way that puts all their partners out of business? They could get a thousand startups licensed, with 40 percent margins instead of 30,” said Pakman, “Wouldn’t it be better if you had hundreds of thousands of great companies having music for sale? Instead they’ve essentially forced everyone out of business and only the big guys can play.”</p> <p>But online music services must also assure readers that cloud storage is safe and reliable. Anyone who’s used a smartphone knows wireless access is far from perfect and can lead to a listening experience marred by stutters and halts. And consumers could have legitimate questions about the new type of service. For example, what do users do when their Internet is down and all of their songs are trapped in the cloud? What do they do if the company accidentally wipes out their entire collection and can’t retrieve it? </p> <p>“The streaming music sites are a pretty good deal,” said Carl Howe, analyst with Yankee Group. “With the caveat that if you stop paying your subscription fee all your music goes away.”</p> <p>Still, many of the music startups believe that Apple, Amazon and Google’s entry into music streaming will help bring public awareness to a service that many consumers have overlooked, misunderstood or distrusted. Analysts say, however, that smaller sites will have to fight to distinguish themselves from one another in the eyes of consumers, who might not have a real preference between an unlimited streaming site and a cloud-based locker. </p> <p>“People want their own stuff, they want their own library,” said Resnikoff. “Even in their own library, people rarely listen to their entire library, they don’t make it through. The assumption that people then go: 'I want ten million songs' is a little bit of a stretch, and it may not scale towards the broader music fan.” </p> <p>In the best case scenario, consumers will be able to pick and choose from a wide range of services that all fulfill different needs. </p> <p>“2011 is going to be a crazy fucking year for online music,” said Westermann-Clark. “It’s finally this perfect storm where these things have been developing for years, and now the big players are getting into the game and lots of things are changing.”</p> <br /><br /><br /><object width='560' height='345' id='FiveminPlayer' classid='clsid:d27cdb6e-ae6d-11cf-96b8-444553540000'><br /><br /><param name='allowfullscreen' value='true'/><br /><br /><param name='allowScriptAccess' value='always'/><br /><br /><param name='movie' value='http://embed.5min.com/517079001/&sid=577/'/><br /><br /><param name='wmode' value='opaque' /><br /><br /><embed name='FiveminPlayer' src='http://embed.5min.com/517079001/&sid=577/' type='application/x-shockwave-flash' width='560' height='345' allowfullscreen='true' allowScriptAccess='always' wmode='opaque'><br /><br /></embed><br /><br /></object>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-64079139720071513572011-05-26T16:44:00.003-04:002011-05-26T17:14:59.671-04:00Free Trade Agreement with Colombia is bad news...The Obama administration, disappointingly, is moving towards a Free Trade Agreement with Colombia that would be disastrous for American workers and Colombian trade unionists, peasant, Afro-Colombian, and indigenous populations. Below are many, many reasons why, as articulated by policy makers, journalists, US and Colombian organized labor, the Afro-Colombian movement, and more - from the <a href="http://lawg.org/component/content/article/76-stand-by-colombias-victims-of-violence/863-fta-statements-and-articles">Latin American Working Group</a>.<br /><br />Things to do at the end...<br /><p><strong><span style="text-decoration: underline;">Fact Sheets and Reports</span></strong></p> <ul><li><strong><a href="http://www.usleap.org/files/Fact%20vs%20Myth_Colombia%20FTA%20and%20Trade%20Violence.pdf" target="_blank">Violence Against Trade Unionists is not Declining</a></strong></li><li><strong><a href="http://www.usleap.org/files/Colombia%20Fact%20Sheet_Dec%202010.pdf" target="_blank">Murder and Impunity of Colombian Trade Unionists</a></strong></li><li><strong><a href="http://www.usleap.org/files/FreeTrade_Colombia_Dec10.pdf" target="_blank">USLEAP Colombia Free Trade Agreement Talking Points</a></strong></li><li><strong><a href="http://www.usleap.org/files/Summary_ENS%20Report%20English.pdf" target="_blank">Summary of Violence and Impunity, 1986-2010 (Escuela Nacional Sindical)</a></strong></li><li><strong><a href="http://www.usleap.org/files/2009%20Annual%20Impunity%20Report%20Final%20Web.pdf" target="_blank">USLEAP Impunity Report 2009</a></strong></li><li><strong><a href="http://www.usofficeoncolombia.org/uploads/application-pdf/2009_March_FTA_rural_sector_hill_drop.pdf" target="_blank">Impacts of U.S.-Colombia FTA on Colombia's Rural Poor</a></strong></li><li><strong><a href="http://www.usofficeoncolombia.org/uploads/application-pdf/Colombia%20FTA%20impact%20on%20Small%20Farmers%20-%20Final%20English%20Small.pdf" target="_blank">Impact of the U.S.-Colombia FTA on the Small Farm Economy in Colombia</a></strong></li><li><strong></strong><strong><a href="http://www.codhes.org/images/stories/pdf/bolet%C3%ADn%2077.pdf" target="_blank">2010 CODHES Report on Displacement in Colombia</a></strong></li><li><strong><a href="http://lawg.org/storage/documents/Colombia/los_derechos_humanos_o_el_libre_comercio.pdf" target="_blank">Los Derechos Humanos o el Libre Comercio</a></strong></li><li><a href="http://lawg.org/storage/documents/Colombia/no%20relief%20in%20sight.pdf" target="_blank"><strong>No Relief in Sight</strong></a></li></ul> <p><span style="text-decoration: underline;"><strong>Congressional Statements Opposing the FTA<br /></strong></span></p> <ul><li><strong><a href="http://sutton.house.gov/news/story.cfm?id=433" target="_blank">Statement by Representative Betty Sutton</a></strong></li><li><strong><a href="http://hankjohnson.house.gov/2011/04/rep-johnsons-statement-on-the-administrations-announcement-on-the-colombia-trade-deal.shtml" target="_blank">Statement by Representative Hank Johnson</a></strong></li><li><strong><a href="http://democrats.edworkforce.house.gov/newsroom/2011/04/news--6-democratic-house-membe.shtml" target="_blank">Statement by Representative Jim McGovern et al.</a></strong></li><li><strong><a href="http://lindasanchez.house.gov/index.php?option=com_content&view=article&id=629:linda-sanchez-colombia-fta-action-plan-doesnt-go-far-enough&catid=32:2011-press-releases" target="_blank">Statement by Representative Linda Sanchez</a></strong></li><li><strong><a href="http://www.citizen.org/documents/slaughter-statement-colombia-april-7-2011.pdf" target="_blank">Statement by Representative Louise Slaughter</a></strong></li><li><strong><a href="http://www.house.gov/apps/list/press/mi12_levin/PR04062011.shtml" target="_blank">Statement by Representative Sandy Levin</a></strong></li><li><strong><a href="http://brown.senate.gov/newsroom/press_releases/release/?id=386f9774-9099-4c54-995b-6368a3dddc83" target="_blank">Statement by Senator Sherrod Brown</a></strong></li><li><strong><a href="http://democrats.waysandmeans.house.gov/press/PRArticle.aspx?NewsID=11589" target="_blank">Statement by Representatives Levin and McDermott<br /></a></strong></li><li><b><a href="http://lawg.org/storage/documents/Colombia/ambassadorkirkletter.pdf" target="_blank">Statement by Representatives McGovern and Miller to Ambassador Kirk</a></b></li><li><strong><a href="http://youtu.be/qEkz7yTARtI" target="_blank">Video of Representative George Miller on House Floor</a></strong></li></ul> <p><strong><span style="text-decoration: underline;">NGO and Human Rights Groups Statements</span></strong><span style="text-decoration: underline;"><strong> Opposing the FTA</strong></span></p> <ul><li><strong><a href="http://lawg.org/storage/documents/FTALaborPlanFallsShort_PR4-7.pdf" target="_blank">Press Release by LAWG, WOLA, and USOC</a></strong><strong></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/March%20Yamashita%20Letter.pdf" target="_blank">Letter from WOLA and TransAfrica Forum to the USAID Mission Director in Colombia</a></strong></li><li><strong><a href="http://ajws.org/emergencies/documents/hunger_campaign/311_statement_on_colombia.pdf" target="_blank">Religious Organizations Oppose Colombia Free Trade Agreement</a></strong></li><li><strong><a href="http://www.pcslatin.org/drupal/files/denuncia%2011-2_0.pdf" target="_blank">Statement by the Afro-Colombian Solidarity Network</a></strong></li><li><strong><a href="http://transafrica.org/2011/04/policy-overview/latin-america/colombia/action-plan-with-colombia-does-not-resolve-ongoing-human-rights-crisis/" target="_blank">Statement by Transafrica Forum<br /></a></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/FTA%20Press%20Release%204-12.pdf" target="_blank">Statement by the National Indigenous Organization of Colombia (ONIC)</a></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/april/CNA%20ESP.pdf" target="_blank">Statement by the National Agrarian Coordination (CNA)</a></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/april/PCN%20Press%20Release%20English%204-12.pdf" target="_blank">Declaration on FTA by the Black Communities' Process</a></strong><strong></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/april/Letter%20to%20Obama%20%28English%20Version%29.pdf" target="_blank">Letter to President Obama from AFRODES</a></strong><strong></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/april/English%20carta.pdf">Letter to Presidents Obama and Santos from <em>Campesino </em>Communities</a></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/april/FISCH%20Public%20Opinion%20Statement.pdf" target="_blank">Statement by the Inter-Ethnic Solidarity Forum Regarding Communities affected by Conflict (FISCH)</a></strong><br /><strong></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/april/COCOMAPOCA%20Public%20Opinion%20Announcement.pdf" target="_blank">Statement by the Major Community Council of the Popular Peasant Organization of the High Atrato-Choco-Colombia (COCOMAPOCA)</a></strong></li><li><strong></strong><strong><a href="http://transafrica.org/2011/04/policy-overview/latin-america/colombia/school-of-americas-watch-plans-protest-to-stop-the-colombia-fta/" target="_blank">Announcement by SOA Watch</a></strong></li><li><strong><a href="http://transafrica.org/2011/05/policy-overview/latin-america/colombia/afro-colombian-solidarity-network-urgent-action-on-violence-in-colombia/" target="_blank">Afro-Colombian Solidarity Network Urgent Action on Violence in Colombia</a></strong></li><li><strong><a href="http://transafrica.org/2011/05/policy-overview/latin-america/colombia/afro-colombian-solidarity-network-says-legal-victories-for-ethnic-rights-clouded-by-reality/" target="_blank">Afro-Colombian Solidarity Network Says Legal Victories for Ethnic Rights Clouded by Reality</a></strong></li><li><strong><a href="http://www.renacientes.org/index.php?option=com_content&view=article&id=741:el-proceso-de-comunidades-negras-en-colombia-pcn-en-el-dia-internacional-de-los-trabajadores&catid=1:ultimas-noticias&Itemid=128%20" target="_blank">PCN Rechaza el Tratado de Libre Comercio</a></strong></li><li><strong><a href="http://lawg.org/storage/documents/Colombia/mcc%20press%20release.pdf" target="_blank">Statement by Movimiento Campesino de Cajibo</a></strong></li></ul> <p><strong><span style="text-decoration: underline;">Union Statements </span></strong><span style="text-decoration: underline;"><strong>Opposing the FTA</strong></span></p> <li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; display: inline !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><strong><a href="http://www.aflcio.org/mediacenter/prsptm/pr04062011.cfm" target="_self">Statement by AFL-CIO</a></strong> <div> <ul style="margin-top: 0px; margin-right: 0px; margin-bottom: 1.4em; margin-left: 0px; list-style-type: none; list-style-position: initial; list-style-image: initial; display: inline !important; padding: 0px;"><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; display: inline !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><strong><a style="color: #ba5700; text-decoration: none;" href="http://usleap.org/obama%E2%80%99s-%E2%80%9Clabor-action-plan%E2%80%9D-colombia-woefully-inadequate-doesn%E2%80%99t-require-reduction-violence" target="_blank">Statement by USLEAP</a></strong></li></ul> </div> </li> <ul style="margin-top: 0px; margin-right: 0px; margin-bottom: 1.4em; margin-left: 0px; list-style-position: initial; list-style-image: initial; display: inline !important; padding: 0px;"><li><span style="font-weight: normal;" class="Apple-style-span"><strong><a href="http://fdlaction.firedoglake.com/2011/04/08/seiu-opposes-obama-bush-colombia-trade-deal/" target="_blank">Press Release by Service Employees International Union (SEIU)</a></strong></span></li></ul> <ul><ul><li><strong><a href="http://colombiareport.ss.uci.edu/webdocs/CUTstatementMay2011.pdf" target="_blank">Statement by the United Federation of Colombian Workers</a></strong></li><li><strong><a href="http://www.usw.org/media_center/news_articles?id=0750" target="_blank">Press Release by United Steel Workers</a></strong></li><li><strong><a href="http://www.wola.org/sites/default/files/downloadable/Andes/Colombia/2011/april/Sintraemcali_eng.pdf" target="_blank">Letter to U.S. Congress from SINTRAEMCALI</a></strong></li><li><strong><a href="http://lawg.org/storage/documents/Colombia/port%20union%20press%20release.pdf" target="_blank">Press Release by Union Portuaria</a></strong></li><li><strong><a href="http://www.aflcio.org/issues/jobseconomy/globaleconomy/upload/colombia_senate_testimony.pdf" target="_blank">Testimony of Jeffrey Vogt of AFL-CIO before the Senate Finance Committee</a></strong></li><li><strong><a href="http://www.goiam.org/index.php/territories/headquarters/8581-iam-remains-strongly-opposed-to-colombia-fta" target="_blank">Statement by International Association of Machinists</a></strong></li><li><strong><a href="http://lawg.org/storage/documents/Colombia/teamsters-statement-colombia-april-7-2011.pdf" target="_blank">Statement by Teamsters</a></strong></li></ul></ul> <p><span style="text-decoration: underline;"><strong>Articles, Op-Eds, <span style="text-decoration: underline;">and Videos </span></strong></span><span style="text-decoration: underline;"><strong>Opposing the FTA<span style="font-style: italic;"><br /> </span></strong></span></p> <ul><li><a href="http://www.huffingtonpost.com/dan-kovalik/colombia-slips-into-the-a_b_833086.html" target="_blank"><strong><em>Colombia Slips Into the Abyss as FTA Threatens Further Havoc</em> by Dan Kovalik</strong></a></li><li><a href="http://www.ourfuture.org/users/new-2342" target="_blank"><em><strong>Colombia FTA: Rewarding Promises Instead of Performance, </strong></em><strong>by Leo Gerard</strong></a></li><li><strong><a href="http://www.projo.com/opinion/contributors/content/CT_hunter9_05-09-11_1KNUFDD_v12.371dbc3.html" target="_blank"><em>Colombia Free Trade Deal May Mean more Cocaine in the U.S., </em>by Jess Hunter-Bowmann</a></strong></li><li><em><strong><a href="http://www.projo.com/opinion/contributors/content/CT_hunter9_05-09-11_1KNUFDD_v12.371dbc3.html" target="_blank">Free Trade through Peace in Colombia, </a></strong></em><strong><a href="http://www.projo.com/opinion/contributors/content/CT_hunter9_05-09-11_1KNUFDD_v12.371dbc3.html" target="_blank">by Milburn Line</a></strong></li><li><em><strong><a href="http://ipsnews.net/news.asp?idnews=55163" target="_blank">U.S.-Colombia Deal on Labor Rights met with Scepticism, </a></strong></em><strong><a href="http://ipsnews.net/news.asp?idnews=55163" target="_blank">by Aprille Muscara</a></strong></li><li><strong><i><a href="http://articles.baltimoresun.com/2011-05-02/news/bs-ed-colombia-free-trade-20110502_1_human-rights-northern-cauca-free-trade" target="_blank">The Case Against the Colombia Free Trade Pact, </a></i><a href="http://articles.baltimoresun.com/2011-05-02/news/bs-ed-colombia-free-trade-20110502_1_human-rights-northern-cauca-free-trade" target="_blank">by Kim Jensen</a></strong></li><li><strong><a href="http://www.youtube.com/watch?v=wu9H30snc5w" target="_blank">PBI Video on Human Rights Abuses Faced by Afro Colombians and Mestizos in Curvaradó</a></strong></li><li><a href="http://www.wola.org/publications/colombian_labor_rights_lawyer_in_critical_condition_after_assassination_attempt" target="_blank"><em><strong>Violence Continues Despite 'US-Colombia Labor Action Plan', </strong></em><strong>by WOLA</strong></a></li><li><a href="http://www.huffingtonpost.com/dan-kovalik/chiquita-the-colombia-fta_b_861784.html" target="_blank"><em><strong>Chiquita and the Colombia FTA -- Murder in the Interest of Profit</strong></em><strong>, by Dan Kovalik</strong></a></li><li><a href="http://kboo.fm/node/28444" target="_blank"><em><strong>Colombian Unionist Speaks out against the Free Trade Agreement, </strong></em><strong>by Labor Radio</strong></a></li><li><a href="http://kboo.fm/node/28290" target="_blank"><em><strong>TLC Colombia-EU y Derechos Laborales y Humanos, </strong></em><strong>by Labor Radio</strong></a></li><li><a href="http://www.youtube.com/watch?v=00-nDzAkrCA" target="_blank"><em><strong>Video Debate: TLC Colombia 2011 Choque de Opiniones, </strong></em><strong>CNN</strong></a></li><li><strong><a href="http://www.fairtrademinnesota.org/trade_stories_Gerardo_Cajamarca.htm" target="_blank">Trade Stories Project: Interview with Gerardo Cajamarca, by Minnesota Fair trade Coalition</a></strong></li><li><strong><a href="http://www.huffingtonpost.com/2011/05/12/nafta-job-loss-trade-deficit-epi_n_859983.html" target="_blank"><em>US Economy Lost Nearly 700,000 Jobs Becacause of NAFTA</em>, by Maxwell Strachan</a></strong></li><li><strong><em><a href="http://www.rollcall.com/issues/56_121/Free-Trade-Agreement-Unite-Left-Right-Opposition-205549-1.html?pos=olobh" target="_blank">Trade Deals Unite Left and Right in Opposition</a></em><a href="http://www.rollcall.com/issues/56_121/Free-Trade-Agreement-Unite-Left-Right-Opposition-205549-1.html?pos=olobh" target="_blank">, by Ambreen Ali</a></strong></li><li><strong><em><a href="http://detnews.com/article/20110511/OPINION03/105110315" target="_blank">Free Trade Deals Bad for Michigan</a></em><a href="http://detnews.com/article/20110511/OPINION03/105110315" target="_blank">, by James Hoffa</a></strong></li><li><a href="http://www.cwa-union.org/news/entry/administration_declines_to_share_colombia_labor_submission_with_unions" target="_blank"><strong><em>Administration Declines to Share Colombia Labor Submission with Workers</em>, Citizens Trade Campaign</strong> </a></li><li><strong><a href="http://www.upi.com/Top_News/World-News/2011/05/02/Child-labor-rates-go-up-in-Colombia/UPI-99451304357605/" target="_blank"><em>Child Labor Rates Go Up in Colombia</em>, UPI</a></strong></li><li><strong><a href="http://www.salon.com/news/david_sirota/story/index.html?story=/news/david_sirota/2011/05/18/obama_trade_contradictions" target="_blank"><em>New Trade Pacts Will Kill Jobs, and Obama Knows it</em>, by David Sirota</a></strong></li><li><strong><em><a href="http://thehill.com/homenews/house/161981-senior-house-dems-question-colombia-trade-pact-after-shooting-of-activist-labor-lawyer-" target="_blank">Dems Question Colombia Trade Pact after Shooting of Activist Labor Lawyer, </a></em><a href="http://thehill.com/homenews/house/161981-senior-house-dems-question-colombia-trade-pact-after-shooting-of-activist-labor-lawyer-" target="_blank">by Mike Lillis</a></strong><em><strong><a href="http://upsidedownworld.org/main/colombia-archives-61/2434-terrorist-attack-points-to-ongoing-violence-in-key-city-for-us-colombia-fta-" target="_blank">Terrorist Attack Points to Ongoing Violence in Key City for US-Colombia FTA, </a><span style="font-style: normal;" class="Apple-style-span"><a href="http://upsidedownworld.org/main/colombia-archives-61/2434-terrorist-attack-points-to-ongoing-violence-in-key-city-for-us-colombia-fta-" target="_blank">by Kelly Nicholls et al</a></span></strong></em></li></ul> <p><span style="text-decoration: underline;"><strong>Upcoming Local Action Planning Sessions to Oppose the FTA</strong></span></p> <ul style="margin-top: 0px; margin-right: 0px; margin-bottom: 1.4em; margin-left: 0px; list-style-type: none; list-style-position: initial; list-style-image: initial; padding: 0px;"><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;">Illinois: <em>Chicago. </em>For next meeting details contact <a href="mailto:%20%3Cscript%20language=%27JavaScript%27%20type=%27text/javascript%27%3E%20%3C%21--%20var%20prefix%20=%20%27mailto:%27;%20var%20suffix%20=%20%27%27;%20var%20attribs%20=%20%27%27;%20var%20path%20=%20%27hr%27%20+%20%27ef%27%20+%20%27=%27;%20var%20addy34147%20=%20%27cozettelada%27%20+%20%27@%27;%20addy34147%20=%20addy34147%20+%20%27ameritech%27%20+%20%27.%27%20+%20%27net%27;%20document.write%28%20%27%3Ca%20%27%20+%20path%20+%20%27%5C%27%27%20+%20prefix%20+%20addy34147%20+%20suffix%20+%20%27%5C%27%27%20+%20attribs%20+%20%27%3E%27%20%29;%20document.write%28%20addy34147%20%29;%20document.write%28%20%27%3C%5C/a%3E%27%20%29;%20//--%3E%20%3C/script%3E%3Cscript%20language=%27JavaScript%27%20type=%27text/javascript%27%3E%20%3C%21--%20document.write%28%20%27%3Cspan%20style=%5C%27display:%20none;%5C%27%3E%27%20%29;%20//--%3E%20%3C/script%3EThis%20e-mail%20address%20is%20being%20protected%20from%20spambots.%20You%20need%20JavaScript%20enabled%20to%20view%20it%20%3Cscript%20language=%27JavaScript%27%20type=%27text/javascript%27%3E%20%3C%21--%20document.write%28%20%27%3C/%27%20%29;%20document.write%28%20%27span%3E%27%20%29;%20//--%3E%20%3C/script%3E"><strong> </strong></a><strong><a href="mailto:cozettelada@ameritech.net">cozettelada@ameritech.net</a></strong><br /><span style="color:#ba5700;"><span style="color:#000000;"></span></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Maine: <em>Statewide Call.</em> Thursday May 26, 5:30pm. Call-in (218) 844-3377; Passcode 1845721#.</span> <span style="color:#000000;">RSVP at </span><b> <a href="mailto:daphne@mainefairtrade.org">daphne@mainefairtrade.org</a> </b></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Michigan: <em>Detroit. </em>Saturday June 4<em>, </em></span></span><span style="color:#000000;"><span style="color:#ba5700;">1:30pm. Solidarity House, 8000 E. Jefferson Ave, 3rd Floor. RSVP at</span><span style="color:#ba5700;"></span></span><strong><span style="color:#ba5700;"> <a href="mailto:gcajamarc@sinaltrainal.org">gcajamarc@sinaltrainal.org</a></span></strong></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Minnesota: <em>Minneapolis.</em> </span></span>For next meeting details contact<strong><span style="color:#ba5700;"> <a href="mailto:mnfc@citizenstrade.org">mnfc@citizenstrade.org</a></span></strong></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Ohio: <em>Statewide organizing</em>, </span></span>For next meeting details contact<span style="color:#ba5700;"><span style="color:#000000;"></span><b> <a href="mailto:klh.ohio@gmail.com">klh.ohio@gmail.com</a></b></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Oregon:<em> Eugene. </em>Monday June 13, 5:30pm. AFSCME Building 688 Charnelton. RSVP at</span><b> <a href="mailto:samantha@oregonfairtrade.org">samantha@oregonfairtrade.org</a><br /></b></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Oregon: <em>Portland. </em>Next meeting details TBA. Contact at </span><b> <a href="mailto:info@oregonfreetrade.org">info@oregonfreetrade.org</a></b></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Oregon: <em>Salem. </em>Monday June 6. Details TBA. RSVP at </span><b> <a href="mailto:elizabeth@oregonfreetrade.org">elizabeth@oregonfreetrade.org</a></b></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Pennsylvania: <em>Statewide Call</em>. Friday May 27, 10:00am. Call in (712) 432-3100; Passcode 193472. RSVP at </span><b> <a href="mailto:amy@citizenstrade.org">amy@citizenstrade.org</a></b></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Texas: <em>Dallas</em>. </span></span>For next meeting details contact<span style="color:#ba5700;"><span style="color:#000000;"></span><b> <a href="mailto:bobcash@citizenstrade.org">bobcash@citizenstrade.org</a></b></span></li><li style="padding-top: 3px; padding-right: 0px; padding-bottom: 3px; padding-left: 35px; background-image: url('/templates/lawg/images/bullet-list.gif'); background-attachment: initial; background-origin: initial; background-clip: initial; background-color: initial; line-height: 1.4em; height: auto !important; background-position: 25px 0.62em; background-repeat: no-repeat no-repeat;"><span style="color:#ba5700;"><span style="color:#000000;">Texas: <em>Houston. </em></span></span>For next meeting details contact<span style="color:#ba5700;"><span style="color:#000000;"></span><b> <a href="mailto:bobcash@citizenstrade.org">bobcash@citizenstrade.org</a></b></span></li><li style="padding: 3px 0px 3px 35px; background-image: url("/templates/lawg/images/bullet-list.gif"); line-height: 1.4em; height: auto ! important; background-position: 25px 0.62em;"><span style="color:#ba5700;"><span style="color:#000000;">Washington: <em>Seattle. </em>Thursday May 26, 5:30pm. Call-in (213)-289-0500; Passcode 993207#. RSVP at </span><b> <a href="mailto:kristen@washingtonfairtrade.org">kristen@washingtonfairtrade.org</a></b></span></li></ul><span style="text-decoration: underline;"><strong>Also...<br /></strong></span><ul><li><table bgcolor="#ffffff" border="0" cellpadding="0" cellspacing="0" width="580"><tbody><tr></tr><tr><td style="padding:20px 0px;font-size:14px;font-family:Georgia;color:rgb(25, 14, 2);line-height:140%color:#ffffff;" align="left" bg valign="top" width="565"><span style="font-size:100%;">Send an <a href="http://salsa.democracyinaction.org/dia/track.jsp?v=2&c=UR2LtfmjXf4cSGg18u3qXgVd3ccANiwL" target="_blank"><b>email</b></a> to your congress people.<br /> <b><br /></b><b>If you want to send a message right now</b>, click <a href="http://salsa.democracyinaction.org/dia/track.jsp?v=2&c=IgyfLXtZMINLeJrofY51swVd3ccANiwL" target="_blank"><b>here</b></a> to email both your senators and your representative.<br /><br /></span> <span style="font-size:100%;"> <b>“Like” and share the Facebook page </b><a href="http://salsa.democracyinaction.org/dia/track.jsp?v=2&c=QpjmCLh1lZcX3DWg9jAp6gVd3ccANiwL" target="_blank"><b>“Stop the U.S.-Colombia <span class="il">Free</span> <span class="il">Trade</span> Agreement.”</b></a></span><b><br /> </b></td></tr></tbody></table></li></ul>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-25817093251676606412011-05-26T16:28:00.005-04:002011-05-26T16:39:45.503-04:00An in-depth look at the complicated and situation in the Afro-Colombian city of Tumaco<p style="margin-top: 1em; color: grey; font-weight: bold; margin-bottom: 0pt;"><span style="font-family: times new roman;"><span style="font-size:100%;"><span style="color: rgb(0, 0, 0);">This dispatch from Tumaco, by Adam Isaacson of the Washington Office on Latin America (WOLA), has an excellent summary of the current state of affairs in Tumaco, including a historical summary, a discussion of US policy, Colombia's governability problem, human rights violations, and Afro-Colombian responses to the situation. And video! The original post is on the Just the Facts blog, jointly run by </span></span></span><span style="font-size:100%;"><span style="color: rgb(0, 0, 0); font-family: times new roman;">the </span><a href="http://ciponline.org/" target="_blank" style="color: rgb(51, 0, 153); font-family: times new roman;">Center for International Policy</a><span style="color: rgb(0, 0, 0); font-family: times new roman;">, the </span><a href="http://lawg.org/" target="_blank" style="color: rgb(51, 0, 153); font-family: times new roman;">Latin America Working Group Education Fund</a><span style="color: rgb(0, 0, 0); font-family: times new roman;">, and the </span><a href="http://wola.org/" target="_blank" style="color: rgb(51, 0, 153); font-family: times new roman;">Washington Office on Latin America</a><span style="font-family: times new roman; color: rgb(0, 0, 0);">. </span></span></p><p style="margin-top:1em; color:grey; font-weight:bold; margin-bottom:0"><br /></p> <h2 class="title" style="margin-top:0.5em; margin-left: 1em;"><a href="http://justf.org/blog/2011/05/24/troubled-tumaco-little-progress">In troubled Tumaco, little progress</a></h2> <div class="content"> <p> </p><table style="margin-left:1em;" align="right" border="0" cellpadding="2" cellspacing="2" width="408"> <tbody><tr> <td><a href="http://ccai-colombia.org/files/images/MunsNarino_Tumaco.jpg" target="_blank"><img src="http://ccai-colombia.org/files/images/MunsNarino_Tumaco_sm.jpg" align="right" border="0" /></a></td> </tr> <tr> <td align="center"><br /></td> </tr> </tbody></table> <p> During the last week of April a group from the Washington Office on Latin America (<a href="http://www.wola.org/">WOLA</a>, Washington), the Center for International Policy (<a href="http://www.ciponline.org/">CIP</a>, Washington), <a href="http://www.asociacionminga.org/">Asociación MINGA</a> (Bogotá), and the Institute for Development and Peace Studies (<a href="http://indepaz.org.co/">INDEPAZ</a>, Bogotá) traveled to <strong>Tumaco</strong>, on the Pacific coast of Colombia’s far southwest, near the border with Ecuador. <iframe src="http://player.vimeo.com/video/24134868?title=0&byline=0&portrait=0" frameborder="0" height="225" width="400"></iframe></p><p><a href="http://vimeo.com/24134868">Driving through Tumaco, Colombia (Short version)</a> from <a href="http://vimeo.com/user1523943">Adam Isacson</a> on <a href="http://vimeo.com/">Vimeo</a>.</p><p></p> <p> With a <a href="http://www.unodc.org/unodc/en/crop-monitoring/index.html?tag=Colombia">population</a> of 180,000 and a land area about equal to Rhode Island, the city and surrounding municipality (county) of Tumaco make up one of Colombia’s most troubled and <a href="http://www.diariodelsur.com.co/nvodiariodelsur/portal/paginas/vernoticia.php?id_noticia=4889">violent</a> territories. Every year, Tumaco is <a href="http://www.unodc.org/unodc/en/crop-monitoring/index.html?tag=Colombia">listed</a> as Colombia’s number-one or number-two municipality for the cultivation of coca, the crop used to make cocaine (the country has 1,100 municipalities). It also has one of the country’s highest <a href="http://www.eltiempo.com/archivo/documento/CMS-4841411">murder rates</a> — well over 100 homicides per 100,000 residents — and a strong guerrilla and paramilitary-group presence. </p> <p> We traveled to Tumaco because it is also one of about fourteen sites chosen for a U.S.-supported military and development aid program that is, in a way, the successor to “Plan Colombia.” Known as “Consolidation” or “Integrated Action,” this large-scale program purports to introduce a functioning government in long–neglected territories. </p> <p> Our four organizations are carrying out a <a href="http://ccai-colombia.org/">joint project</a> to monitor this program. Though its design indicates that learning has taken place since Plan Colombia’s launch in 2000, we have concerns about Consolidation: the role of the military, coordination between government bodies, consultation with communities, effects on land tenure, and <a href="http://justf.org/content/after-plan-colombia">several others</a>. </p> <p> In each of the chosen zones, the Consolidation strategy begins with offensive military operations to establish “security conditions.” Then, it aims quickly to bring in the rest of the government to provide basic services in a phased, coordinated way. According to the Consolidation program’s documents, the desired end state is the military’s near-total pullout from the zone, leaving behind a functioning government, greatly reduced violence, the absence of armed groups, and the elimination of drug production. </p> <p> Though we were looking at it in Tumaco, the United States has invested most heavily in Consolidation elsewhere in Colombia since the program began, in its current form, in 2007. A December 2009 report by the Center for international Policy, “<a href="http://justf.org/content/after-plan-colombia">After Plan Colombia</a>,” looks at Consolidation in two of those zones of greater investment: the La Macarena region south of Bogotá, and the Montes de María region near the Caribbean coast. U.S. officials tell us that the program is advancing with Washington’s support in the southern part of Tolima department, west of Bogotá, but we have not yet visited that zone. </p> <p> Though it appears in the list of consolidation zones and is clearly a priority because of drug production, we hadn’t heard as much about how the program was proceeding in Tumaco. We chose to visit the city, though, because of a close tie to U.S. policy: its crisis of violence and drug-trafficking owes in part to Plan Colombia’s unintended consequences. </p> <p> </p><table style="margin-left:1em;" align="right" border="0" cellpadding="2" cellspacing="2" width="508"> <tbody><tr> <td><img src="http://ccai-colombia.org/files/images/IMG_1227.jpg" border="0" /></td> </tr> <tr> <td align="center"> <div style="font-size:0.8em;">Fumigation planes share the tarmac at Tumaco's airport.</div> </td> </tr> </tbody></table> <p>In 2000, a US$1.3 billion aid package from the United States, the first outlay of funds for Plan Colombia, allowed a dramatic expansion of aerial herbicide fumigation in the department of Putumayo, about 250 miles east of Tumaco, bordering Tumaco’s home department of Nariño. At the time, Putumayo was Colombia’s largest producer of coca. Plan Colombia extended into Putumayo <a href="http://www.ciponline.org/colombia/0401putu.htm">a huge aerial herbicide fumigation program</a>. U.S. planners did not accompany this spraying program with anywhere near enough alternative development assistance for Putumayo’s farmers. In fact, Plan Colombia lacked any real attempt to establish a permanent civilian government presence there; it continues to be weak in Putumayo. </p> <p> As a result, many Putumayans whose crops were sprayed and found themselves with no economic options migrated to the Pacific coast, particularly Tumaco. The town of Llorente, in the eastern part of Tumaco municipality, is occasionally called “<a href="http://www.eltiempo.com/archivo/documento/MAM-1372034">Putumayito</a>” because of the large number of Putumayan migrants. </p> <p> The displacement of coca, and coca growers, to Putumayo upset the social order in what was then one of Colombia’s most forgotten corners. Tumaco’s mostly Afro-Colombian population lives in near-total isolation from the rest of the country, engaging in subsistence agriculture or growing basic cash crops like coconuts, cacao, or plantains. Lining the many rivers flowing into the Pacific are communities settled by freed and escaped slaves, whose descendants were excluded and held apart from Colombia’s national life. </p> <p> In 1993, two years after Colombia approved a progressive new constitution, a new law — Law 70 — recognized the landholdings of these and hundreds of other Afro-Colombian communities in the country’s isolated, undeveloped, densely jungled Pacific lowlands. These landholdings, known as Community Councils, are held in common. Titled collectively, they make up a significant percentage of Tumaco’s land area. A smaller but significant amount of land is in the hands of indigenous communities. </p> <p> </p><table style="margin-right:1em;" align="left" border="0" cellpadding="2" cellspacing="2" width="433"> <tbody><tr> <td><a href="http://ccai-colombia.org/files/images/P1020540.jpg" target="_blank"><img src="http://ccai-colombia.org/files/images/P1020540_sm.jpg" border="0" width="425" /></a></td> </tr> <tr> <td><a href="http://ccai-colombia.org/files/images/P1020521.jpg" target="_blank"><img src="http://ccai-colombia.org/files/images/P1020521_sm.jpg" border="0" width="425" /></a></td> </tr> <tr> <td><a href="http://ccai-colombia.org/files/images/P1020517.jpg" target="_blank"><img src="http://ccai-colombia.org/files/images/P1020517_sm.jpg" border="0" width="425" /></a></td> </tr> </tbody></table> <p>This major advance in recognition of their property rights, unfortunately, came at the same time that these communities entered into greater contact with the outside world. Instead of government officials offering security, justice and basic services, though, “contact” meant encounters with narcotraffickers and large landowners, who were often the same people. </p> <p> The narcotraffickers were attracted by Tumaco’s strategic value. Its rivers have proven to be ideal corridors for taking shipments of drugs to the Pacific Ocean — directly or through Ecuador — and on to Mexico, Central America, and the United States. Its dense jungles provide cover for laboratories to make cocaine. Its coastal mangrove estuaries provide innumerable hiding spots for boats transshipping drugs. (They also hide “<a href="http://www.telegraph.co.uk/news/newsvideo/8359272/Drug-submarine-seized-in-Colombia.html">semi-submersibles</a>:” homemade submarines, usually pulled behind a boat, that carry tons of cocaine at a time and are difficult to detect.) As coca cultivation migrated to Tumaco during the early 2000s, the municipality became a center of cocaine cultivation, production, and transshipment -– one of few territories where all phases of the cocaine production process take place simultaneously. </p> <p> For their part, large landowners saw vast expanses of well-watered, undeveloped land ideal for large-scale, capital-intensive agribusiness. These include profitable products like African oil palm and cattle ranching. The oil palm — used increasingly in biofuels — experienced a boom during the mid-2000s, along with massive land purchases, until a blight destroyed most of Tumaco’s crop. </p> <p> While landowners began encroaching on the Community Councils’ territories, the profitable coca trade proved to be a temptation to many of the Councils’ residents. UNODC has found (<a href="http://www.unodc.org/documents/crop-monitoring/Colombia_coca_survey_2008.pdf">PDF</a> page 62) coca-growers earning a net income of perhaps US$10-12 per day — about double the minimum wage in Colombia’s formal economy, and better than most cash crops offer. Its product, a highly portable paste that traffickers later refine into cocaine, is far easier to market in roadless territories. </p> <p> With the coca boom, however, came a far greater presence of illegal armed groups whose presence in Tumaco had been only sporadic before. In fact, while economics enticed some to grow coca, many others have been forced to plant the crop by the guerrillas or paramilitaries who held sway in their territories. </p> <p> The FARC (Revolutionary Armed Forces of Colombia) and ELN (National Liberation Army) guerrilla groups started out raising funds to buy guns by taxing coca growers, but soon went on to participate in production and trafficking. They built up their presence in the municipality during the late 1990s and early 2000s. Guerrillas, especially the FARC’s 29th front, began killing community leaders whom they viewed as threats to their dominion, extorted funds from business owners, and controlled communities’ movements along the rivers. </p> <p> The guerrillas had little competition from Colombia’s state, which was barely present in Tumaco beyond a few military and police posts and a badly corrupt municipal government. Government representatives spent very little time outside the county seat, leaving the forgotten communities along the rivers at the armed groups’ mercy. </p> <p> The drug trade’s wealth then attracted an illegal armed group from the other side: the pro-government, drug funded paramilitary network known as the United Self-Defense Forces of Colombia, or AUC. The AUC’s so-called Liberators of the South Bloc, headed by <a href="http://www.verdadabierta.com/victimarios/los-jefes/665-perfil-guillermo-perez-alzate-alias-pablo-sevillano">Guillermo Pérez Alzate</a>, who went by the name “Pablo Sevillano,” moved into the zone after 2000. As in other zones of guerrilla influence, the newly arrived paramilitaries carried out a brutal wave of hundreds of extrajudicial killings and massacres of those they believed to be guerrilla collaborators. The violence displaced tens of thousands of people to Tumaco’s town center and to cities elsewhere in the country, while thousands more crossed the border into Ecuador. For their part, Colombia’s security forces combated “Pablo Sevillano’s” men only on the rarest of occasions. </p> <p> After pushing the coca economy from Putumayo, Plan Colombia followed the coca crops to Tumaco. The U.S. and Colombian governments’ initial response to Tumaco’s drug and violence crisis was not to strengthen the state’s presence in the municipality. Instead, Plan Colombia offered a sharp increase in aerial herbicide fumigation over the Community Councils’ collectively held lands. Nariño, led by Tumaco, has been by far the <a href="http://www.unodc.org/unodc/en/crop-monitoring/index.html?tag=Colombia">most fumigated</a> of Colombia’s 32 departments during the past ten years. </p> <p> </p><table style="margin-left:1em;" align="right" border="0" cellpadding="2" cellspacing="2" width="508"> <tbody><tr> <td><iframe src="http://player.vimeo.com/video/23873324?title=0&byline=0&portrait=0" frameborder="0" height="225" width="400"></iframe><p><a href="http://vimeo.com/23873324">"People gave up ... leaving their own land abandoned."</a> from <a href="http://vimeo.com/user1523943">Adam Isacson</a> on <a href="http://vimeo.com/">Vimeo</a>.</p><br /></td> </tr> <tr> <td align="center"> <div style="font-size:0.8em;">Víctor Quiñones of the Chagüí Community Council, whose USAID-funded development project was repeatedly fumigated.</div> </td> </tr> </tbody></table> <p>The fumigation came with alternative development programs, financed by USAID and other donors. These covered only a small portion of the affected communities, though, and could do little in a context of statelessness, lack of transportation, uncertain land tenure, and out-of-control violence. Worse, the U.S.–backed Colombian National Police fumigation program has insisted on spraying any coca plants it detects, meaning that alternative development projects funded by USAID have routinely been sprayed merely because of the proximity of coca plants. </p> <p> Despite large-scale fumigation, coca growing has proved stubborn in Tumaco. This is largely a result of the state’s absence from most of the territory and the lack of other economic alternatives for growers. So when the U.S. and Colombian governments begin pursuing Consolidation — a strategy that explicitly seeks to build up the government’s on-the-ground presence — Tumaco appeared to be a prime candidate. </p> <p> Despite that, our attempt to evaluate Consolidation’s performance in Tumaco was more challenging than we expected. The main problem was that nobody in the municipality seemed to know what we were talking about, even though Consolidation had officially been functioning and present in Tumaco since 2008. </p> <p> In other parts of the country, Consolidation is also often known as CCAI, after the name of the agency in the Colombian Presidency (Center for the Coordination of Integrated Action) that manages it. In Tumaco, however, when we asked civil society leaders about the CCAI (pronounced “Say-Kigh”), they responded, “What kind of fruit is that?” A top municipal government official told us of having received e-mail about the program and hearing nothing since, until the CCAI held a meeting in early April. </p> <p> </p><table style="margin-left:1em;" align="right" border="0" cellpadding="2" cellspacing="2" width="508"> <tbody><tr> <td><img src="http://ccai-colombia.org/files/images/P1020594_sm.jpg" border="0" /></td> </tr> <tr> <td align="center"> <div style="font-size:0.8em;">The CCAI "Coordination Center" in Tumaco.</div> </td> </tr> </tbody></table> <p>We paid a visit to the CCAI headquarters for Tumaco: it is a room with desks, computer equipment and maps at a beachside hotel complex heavily used by police and contractors involved with coca-eradication missions. The office is meant to coordinate all government agencies’ activities to establish a presence in the zone; the Tumaco “coordination center,” however, appeared to have only a handful of staff and a very small administrative footprint. </p> <p> Unlike La Macarena — a zone where the United States has helped finance hundreds of millions of dollars in military offensives and development projects — Tumaco has seen very little investment in the Consolidation framework. Instead, the activities the United States is actually paying for in Tumaco look more like the same Plan Colombia programs of a decade ago. </p> <p> As in Putumayo circa 2002, fumigation is massive, while alternative development projects lag behind in stateless, insecure areas. Building up a civilian, institutional state presence on the ground is still a faraway goal toward which little progress is notable, even in the town center. </p> <p> When fumigation eliminates growers’ legal crops or food crops, food security assistance is rarely available. Local human rights and development workers affirmed that a significant portion of those who displace from Tumaco’s Afro Colombian communities today are fleeing repeated fumigation. </p> <p> Why has “Consolidation” stumbled at the starting gate in Tumaco? The main reason is resources. Its far-flung geography makes Tumaco very hard to govern, and its high poverty and indigence rates mean that needs are greater. A proper Consolidation program in Tumaco would require an immense amount of funding, a large multiple of what USAID, other donors and the Colombian treasury are currently providing. The United States has not planned to invest such resources in Tumaco — a great shame considering the amount that the United States has invested in forced eradication — and Colombia’s government has done little to fill the gap. </p> <p> </p><iframe src="http://player.vimeo.com/video/23874699?title=0&byline=0&portrait=0" frameborder="0" height="225" width="400"></iframe><p><a href="http://vimeo.com/23874699">"The sense of brotherhood returned"</a> from <a href="http://vimeo.com/user1523943">Adam Isacson</a> on <a href="http://vimeo.com/">Vimeo</a>.</p><table style="margin-left:1em;" align="right" border="0" cellpadding="2" cellspacing="2" width="508"> <tbody><tr> <td><br /></td> </tr> <tr> <td align="center"> <div style="font-size:0.8em;">Leaders of the Las Varas community exude optimism.</div> </td> </tr> </tbody></table> <p>To date, the significant exception appears to be a program begun by the Nariño governor’s office called “<em>Si Se Puede</em>” (Yes We Can). This is a small program –- the governor’s office, in the hands of a leftist opposition party under Governor Antonio Navarro Wolff, a former leader of the disbanded M-19 guerrillas –- is strapped for cash and heavily indebted. Nonetheless, the <em>Si Se Puede</em> program did answer positively to a request for development financing from the leaders of one Afro-Colombian Community Council in Tumaco: the community of Rescate-Las Varas. </p> <p> Here, in exchange for the community’s willingness to eradicate their own coca, the government is offering assistance with USAID support. Farmers are getting food-security aid as they switch to legal cash craps like cacao, coconuts, managed forestry, fish farming and others. The successful eradication of most coca in Las Varas is leading local officials to consider the community a model. Local coordinators of the CCAI in Tumaco say they plan to work with the Las Varas community to guarantee further investment and to extend the model elsewhere in Tumaco. </p> <p> This expectation to provide future support was the main concrete example we heard of the Consolidation program’s activity in Tumaco. As Governor Navarro (and likely his party) leave office at the end of this year, the sustainability of the government’s commitment to Las Varas is in question. Consolidation may have to pick up where “<em>Sí Se Puede</em>” left off. </p> <p> This may be far more difficult than it sounds. The community's trust in the government remains fragile, and relationships forged with the governor's office may not be easily transferrable to a new entity. Meanwhile the Las Varas community faces friction with other Community Councils uncomfortable with its embrace of the state or unhappy that they are not receiving similar investment. </p> <p> The Consolidation program is proceeding haltingly in conditions that continue to be among the least secure in the country. Indeed, the Las Varas community has suffered the death of six or seven village leaders (depending on whether or not some were accidents or homicides) as a result of their choice to abandon coca and work with the state. The FARC guerrillas remain very active in Tumaco and neighboring municipalities, participating in the drug trade, targeting local leaders, particularly indigenous leaders, attacking military and police targets, and making travel difficult on the few existing secondary and tertiary roads. </p> <p> </p><iframe src="http://player.vimeo.com/video/23885929?title=0&byline=0&portrait=0" frameborder="0" height="300" width="400"></iframe><p><a href="http://vimeo.com/23885929">"Nobody can move around here, not even to fish."</a> from <a href="http://vimeo.com/user1523943">Adam Isacson</a> on <a href="http://vimeo.com/">Vimeo</a>.</p><table style="margin-left:1em;" align="right" border="0" cellpadding="2" cellspacing="2" width="508"> <tbody><tr> <td><br /></td> </tr> <tr> <td align="center"> <div style="font-size:0.8em;">Two anonymous sources, indicating points on a map, talk about security conditions in Tumaco.</div> </td> </tr> </tbody></table> <p>Further downriver and along the coast itself, one finds the heirs of the AUC paramilitary group, which disbanded officially in 2006. (Pablo Sevillano, the head of the AUC’s Liberators of the South Bloc, is now in a U.S. prison serving time for drug trafficking.) Former mid-level AUC commanders now control smaller groups that exist mainly for the drug trade, but still regularly threaten local leaders and engage in land theft. These so-called “emerging criminal groups” are <a href="http://www.hrw.org/node/88060">popping up</a> all over the country. Many reportedly have little to fear from the police and military, though this is usually a result of corruption, not alliance. Some in fact do drug business with the FARC guerrillas, and often fight each other for territory. </p> <p> In Tumaco, the “new” paramilitary group that appears to have wrested control from the others is called <em>Los Rastrojos</em> (the word refers to what is left behind after a harvest), which is one of the most powerful of the new groups nationwide. The <em>Rastrojos</em> now control most riverine traffic in coastal Tumaco, especially the boatloads of cocaine that continue to leave the zone. The FARC, however, do continue to control some rivers and corridors, and joint guerrilla-paramilitary drug shipments have been detected. </p> <p> The security situation in Tumaco remains dire. Most people we talked to, regardless of their social sector, were reluctant to talk at length about the perpetrators of the zone’s violence and narcotrafficking. Some authorities, however, said that the number of incidents of murder and other violent crime had dropped since the middle of last year; this, they suspect, may be a result of the <em>Rastrojos’</em> defeat of their paramilitary rivals and assumption of greater territorial control. Tumaco’s trafficking routes may be somewhat less contested than before, and the FARC — with the exception of some recent kidnapping-for-ransom attempts in the city center — are largely forced to operate upriver, further from the coast. </p> <p> </p><table style="margin-right:1em;" align="left" border="0" cellpadding="2" cellspacing="2" width="433"> <tbody><tr> <td><a href="http://ccai-colombia.org/files/images/P1020537.jpg" target="_blank"><img src="http://ccai-colombia.org/files/images/P1020537_sm.jpg" border="0" width="425" /></a></td> </tr> <tr> <td><a href="http://ccai-colombia.org/files/images/P1020533.jpg" target="_blank"><img src="http://ccai-colombia.org/files/images/P1020533_sm.jpg" border="0" width="425" /></a></td> </tr> </tbody></table> <p>The government response to the <em>Rastrojos</em> remains unclear. As in other parts of the country, the armed forces tend to consider them primarily to be a police responsibility. Colombia’s police forces, however, are meant to operate in urban areas (with the exception of small, specialized units like <em>Carabineros</em> or <em>Junglas</em>). When they operate in rural zones, as they usually do, the <em>Rastrojos</em> end up in a “doughnut hole” of security-force responsibility: they are in the jurisdiction of army and marine units who consider them primarily to be a police issue. This is compounded by a chronic lack of coordination between the armed forces and police. </p> <p> Amid this panorama of violence and narcotrafficking, the Consolidation or Integrated Action effort has barely begun. Tumaco’s challenges make it difficult to determine where to start, especially when U.S. and Colombian government funding hasn’t been generous. </p> <p> The Colombian government is currently evaluating or rethinking the national Consolidation effort. When the government announces the results of this rethinking — probably in June — these will include a reduction in the number of “Consolidation” zones from the current fourteen. Several zones will see their CCAI offices close, and promises of state presence and investment will go unfulfilled. The remaining zones, however, will presumably see far greater investment than before. </p> <p> It is likely that Tumaco will remain in the national Consolidation scheme. If so, perhaps a year or two from now Tumaco’s local leaders will have heard and seen enough of Consolidation to be able to evaluate the program and gauge its impact on their communities — which to date has been nearly zero. </p> <p> <em>This is a "first take" on our trip to Tumaco written by WOLA Senior Associate Adam Isacson. We'll soon post observations from other participants in this visit and one we took to the La Macarena Consolidation zone. We'll be visiting La Macarena and other Consolidation sites again in a few months, and publishing joint reports about each.</em> </p> </div>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-16621055660760334202011-05-23T09:38:00.002-04:002011-05-23T09:48:19.041-04:00Flexible labor in the classical music worldThe shady world of low-cost, foreign-guest-worker-staffed, traveling orchestras, like the Dublin Philharmonic, mostly staffed by Bulgarians: <a href="https://www.nytimes.com/2011/05/17/arts/music/some-foreign-orchestras-offer-misleading-credentials.html?scp=1&sq=%22dublin%20philharmonic%22&st=cse">here.</a><br />And, of course, the <a href="http://www.nytimes.com/2011/05/21/arts/music/new-york-city-opera-plans-to-leave-lincoln-center.html?_r=1&partner=rss&emc=rss">City Opera took a step in that direction</a> (not quite there yet) by leaving Lincoln Center - future home or destination unknown...mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-90548203767512087832011-05-21T14:22:00.001-04:002011-05-23T09:38:51.361-04:00Matchines: Una persepctiva hemisférica<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=13010e08511355b0&attid=0.1&disp=emb&zw"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 850px; height: 491px;" src="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=13010e08511355b0&attid=0.1&disp=emb&zw" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://mail.google.com/mail/?ui=2&ik=b60e869812&view=att&th=13010e08511355b0&attid=0.1&disp=emb&zw"><br /></a>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-57838570371841662882011-05-19T16:24:00.001-04:002011-05-19T16:24:42.169-04:00PROGRAMACIÓN II FORO INTERNACIONAL AFROCOLOMBIANOPROGRAMACIÓN<br />II FORO INTERNACIONAL AFROCOLOMBIANO<br />PARTICIPACIÓN Y APORTES DE LOS AFRODESCENDIENTES EN EL CONTEXTO DE LAS AMÉRICAS Y COLOMBIA, A 160 AÑOS DE ABOLICIÓN LEGAL DE LA ESCLAVIZACIÓN<br />18 Y 19 DE MAYO DE 2011. HOTEL DEL PARQUE CRA 5 NRO. 24-34 HORA: 8AM.<br /><br />EXPOSICIÓN ITINERANTE VELORIOS Y SANTOS VIVOS<br />Lugar: Secretaria Distrital de Integración social. Cra 7 N° 32-16 Piso 9 hora: 8am.<br /><br />AFROCANDELARIA, VELORIO Y LUMBALU POR MUERTOS<br />21 DE MAYO RESTAURANTE SECRETOS DEL MAR de 11am a 11pm<br /><br />HOMENAJE A LA CULTURA AFRO EN BOGOTA Y SEGUNDA ENTREGA DE LOS PREMIOS BENKOS BIOHO PRESENTACION DEL XII ENCUENTRO INTERNACIONAL DE EXPRESION NEGRA Y CONCIERTO CON CHOC QUIB TOWN, K-YO, GUALAJO, ZULLY MURILLO Y DANZAS DE LAS ORGANIZACIONES ORMUAFRO Y LA FUNDACION COLOMBIA NEGRA.<br />22 DE MAYO DE 2011. HORA: 3PM LUGAR: TEATRO JORGE ELIECER GAITAN (CRA 7 Nro. 22-47)<br /><br />SEPTIMAFRO: DESFILE DE COMPARSAS AFROCOLOMBIANAS<br />Desde la plaza de toros hasta la plaza de bolívar de 3pm a 5pm<br /><br />CONCIERTAFRO.: presentación de grupos musicales afrocolombianos<br />28 de mayo de 2011. 5pm plaza de Bolívar.<br /><br />Entrada gratuita a todas las actividadesmbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-17680607276335320012011-05-16T18:05:00.000-04:002011-05-16T18:06:26.265-04:00RIP Cornell Dupree QEPD<object width="640" height="390"><param name="movie" value="http://www.youtube.com/v/9q_c160jfBY&hl=en_US&feature=player_embedded&version=3"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="http://www.youtube.com/v/9q_c160jfBY&hl=en_US&feature=player_embedded&version=3" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="640" height="390"></embed></object>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-86374010767915325122011-05-16T17:38:00.001-04:002011-05-16T17:41:11.071-04:00Festival de Currulao en Chicago/Currulao Festival in Chicago<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://docs.google.com/viewer?attid=0.1&pid=gmail&thid=12ff6b2400ac9738&url=https%3A%2F%2Fmail.google.com%2Fmail%2F%3Fui%3D2%26ik%3Db60e869812%26view%3Datt%26th%3D12ff6b2400ac9738%26attid%3D0.1%26disp%3Dsafe%26realattid%3Df_gnqt4yvf0%26zw&docid=c3670555cf78f6681d3d766ff46397d1%7C9ba2cb5eb1a70e7c9e134908c60a7210&a=bi&pagenumber=1&w=800"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 800px; height: 618px;" src="https://docs.google.com/viewer?attid=0.1&pid=gmail&thid=12ff6b2400ac9738&url=https%3A%2F%2Fmail.google.com%2Fmail%2F%3Fui%3D2%26ik%3Db60e869812%26view%3Datt%26th%3D12ff6b2400ac9738%26attid%3D0.1%26disp%3Dsafe%26realattid%3Df_gnqt4yvf0%26zw&docid=c3670555cf78f6681d3d766ff46397d1%7C9ba2cb5eb1a70e7c9e134908c60a7210&a=bi&pagenumber=1&w=800" alt="" border="0" /></a><br /><p style="margin: 0in 0in 6pt; text-align: center;" class="MsoNormal" align="center"><b><span style="line-height: 118%; Bookman Old Style","serif";font-family:";" ><span style="color:#663300;"><span style="font-size:6;"><br /></span></span></span></b></p><p style="margin:0in 0in 6pt;text-align:center" class="MsoNormal" align="center"><b><span style="line-height:118%;Bookman Old Style","serif"font-family:";" ><span style="color:#663300;"><span style="font-size:6;">ECOS DEL PACIFICO AFROCOLOMBIA</span></span></span></b></p> <p style="margin:0in 0in 6pt;text-align:center" class="MsoNormal" align="center"><b><span style="line-height:118%;Bookman Old Style","serif"font-family:";" ><span style="color:#663300;"><span style="font-size:6;">“ E P A ! ”</span></span></span></b></p> <p style="margin:0in 0in 6pt;text-align:center" class="MsoNormal" align="center"><span style="color:#663300;"><span style="font-size:6;"><span style="line-height:118%;Bookman Old Style","serif"font-family:";" >Has the Pleasure to Invite You and Your</span></span></span></p> <p style="margin:0in 0in 6pt;text-align:center" class="MsoNormal" align="center"><span style="color:#663300;"><span style="font-size:6;"><span style="line-height:118%;Bookman Old Style","serif"font-family:";" > Family to </span><span style="font-family:Calibri;"><b><i><span>II “KURRULAO”</span></i></b><span></span></span></span></span></p> <p style="margin:0in 0in 6pt;text-align:center" class="MsoNormal" align="center"><span style="color:#663300;"><span style="font-size:6;"><span style="font-family:Calibri;"><span>World Festival of Afro Art and<span> </span>Culture,</span></span></span></span></p> <p style="margin:0in 0in 6pt;text-align:center" class="MsoNormal" align="center"><span style="color:#663300;"><span style="font-size:6;"><span style="font-family:Calibri;"><span> a celebration of <b><i>Juneteenth”.</i></b></span><span></span></span></span></span></p> <p style="margin:0in 0in 6pt;text-align:center" class="MsoNormal" align="center"><b><i><span style="line-height:118%;Bookman Old Style","serif"font-family:";" ><span style="color:#663300;"><span style="font-size:6;">June 3, 17 y 18</span></span></span></i></b></p><div style="text-align: center;"> <span style="color:#663300;"><span style="font-size:6;"><b><i><span style="line-height:118%;Bookman Old Style","serif"font-family:";" >* 2 0 1 1 *</span></i></b></span></span></div>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-70931750056552996012011-05-12T15:49:00.000-04:002011-05-13T16:39:11.576-04:00CFP: Producing Race: Technology and the African Diaspora<span class="postContent">Producing Race: Technology and the African Diaspora<br />full name / name of organization:<br />Columbia University<br />contact email:<br />producingrace@gmail.com<br />PRODUCING RACE:<br />TECHNOLOGY AND THE AFRICAN DIASPORA<br /><br />Recent scholarship has witnessed a proliferation of critical inquiry into the intersection of technology and race. This body of work asks us to think through technology as an extension of so-called human faculties. Within the terrain of literary studies, technology has allowed us to engage questions of publication, poetics, and the archive. This graduate student symposium seeks to put literary scholars in conversation with scholars in fields such as, but not limited to, anthropology, history, musicology, and sociology. As such, we are interested in exploring the implication of this technological turn within the field of African Diaspora Studies more broadly.<br />From the slave ship to the human genome, the daguerreotype to the digital camera, the chain gang to the prison industrial complex, technology has been intimately intertwined with black social life and its cultural artifacts. Within this intimate bond, one might consider: How might the phonograph not only produce beautiful sounds but at the same time perform the political work of recording history? Also, how do we come to consider the instrumentality of the black body—wielded both for repressive and radical ends? Indeed, what would it mean to imagine race as a technology?<br />While the possibilities for thinking about race and technology are endless, this graduate student symposium is ultimately concerned with mining new categories of the human and otherwise. We invite paper submissions on topics that include but are not limited to:<br />• Literary experimentation and mixed media<br />• Science Fiction<br />• The Archive<br />• Gender and Sexuality<br />• Film, Photography, and Visual Culture<br />• Music, Soundscapes and Social noise<br />• Incarceration, Law, and Governmentality<br />• Performance and Performativity<br />• Geography and Space<br />• Affect, Corporeality, and the Sensorium<br />• Genetics, Biopolitics, and the History of Science<br /><br />This graduate student symposium will be held at Columbia University on Friday, October 28, 2011. Symposium keynotes include:<br /><br />• Brent Hayes Edwards, Department of English & Comparative Literature, Columbia University<br />• Fred Moten, English Department, Duke University<br />• Alondra Nelson, Department of Sociology and Institute for Research on Women and Gender, Columbia University<br /><br />To submit a proposal, please email your name, institution, email address, and a proposal abstract of no more than 500 words to ProducingRace@gmail.com by May 15, 2011.<br /><br />A limited number of travel stipends are available for graduate students who are traveling from a considerable distance and cannot procure travel funding from their home department. These travel grants are available on a first-come, first-serve basis.<br /><br />cfp categories:<br />african-american<br />american<br />cultural_studies_and_historical_approaches<br />film_and_television<br />general_announcements<br />graduate_conferences<br />interdisciplinary<br />popular_culture<br />twentieth_century_and_beyond</span>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-44922553216910531842011-05-12T15:42:00.000-04:002011-05-13T16:39:09.796-04:00<p style="line-height:normal;margin:0in 0in 10pt" class="MsoNormal"><b><span style="font-family:'Arial Black';font-size:14pt">FOR IMMEDIATE RELEASE</span></b><span><span style="font-family:Calibri;"> <wbr> </span></span><b><span style="font-family:'Arial Black';font-size:10pt">MEDIA CONTACT:</span></b><span style="font-family:'Arial Black';font-size:10pt"><span> </span><b>Bobby Sanabria</b></span><br /><span style="font-family:Calibri;"><b><span style="font-size:14pt">May 9, 2011</span></b><span> <wbr> <wbr> <wbr> </span><b>Phone:<span> </span></b><span> </span><b><a href="tel:917.539.4647" value="+19175394647" target="_blank">917.539.4647</a></b><br /><span> <wbr> <wbr> <wbr> </span><b>E-mail:</b><span> </span><span> </span><span> </span><b><a href="mailto:nujackrican@yahoo.com" target="_blank"><span style="color:#0000ff;">nujackrican@yahoo.com</span></a></b></span></p> <p style="text-align:center;line-height:normal;margin:0in 0in 10pt" class="MsoNormal" align="center"><b><span style="font-family:Arial;font-size:14pt"> </span></b></p> <p style="text-align:center;line-height:normal;margin:0in 0in 10pt" class="MsoNormal" align="center"><b><span style="font-family:Arial;font-size:14pt">May 22nd PRESS CONFERENCE IN PROTEST OF GRAMMY TRAVESTY</span></b><u><span style="font-size:14pt"><br /></span></u><u><span style="font-family:Arial;font-size:12pt">NARAS ERASES 31 CATEGORIES FROM GRAMMYS<br />OUTRAGED MUSIC COMMUNITY RESPONDS</span></u><u><span style="font-size:14pt"><span style="font-family:Calibri;"> </span></span></u></p> <table style="width:100%" border="0" cellpadding="0" cellspacing="0" width="100%"><tbody><tr> <td style="border-bottom:#f0f0f0;border-left:#f0f0f0;padding-bottom:0in;background-color:transparent;padding-left:0in;padding-right:0in;border-top:#f0f0f0;border-right:#f0f0f0;padding-top:0in" valign="top"> <p style="margin:0in 0in 10pt" class="MsoNormal"><span style="font-family:Arial">The world-famous Nuyorican Poets Cafe in the Lower East Side of Manhattan, N.Y., will host a press conference by artists, presenters, celebrities and media to voice opposition to the recent announcement by the National Academy of Recording Arts and Sciences (NARAS) to eliminate Latin Jazz from Grammy consideration along with many other styles of music which represent the musical diversity of the American musical landscape.<span> </span></span></p> <h3 style="text-align:center;margin:10pt 0in 0pt" align="center"><strong><span style="line-height:115%;font-family:Arial;color:#c00000;font-size:14pt">Sunday, May 22, 2011 -- 1 PM</span></strong><span style="line-height:115%;font-family:Arial;color:#c00000;font-size:14pt"></span></h3> <h3 style="text-align:center;margin:10pt 0in 0pt" align="center"><span style="line-height:115%;font-family:Arial;color:#c00000;font-size:12pt">Nuyorican Poets Cafe</span></h3> <p style="text-align:center" align="center"><span style="font-family:Arial;font-size:10pt">236 East 3rd Street</span><span style="font-family:Arial;font-size:10pt"> </span></p> <p style="text-align:center" align="center"><span style="font-family:Arial;font-size:10pt">between Avenues B & C </span></p> <p style="text-align:center" align="center"><span style="font-family:Arial;font-size:10pt">New York City</span><span style="font-family:Arial"> </span></p> <p><span style="font-family:Arial;font-size:10pt"><span> <wbr> <wbr> </span><a href="tel:%28212%29%20780.9386" value="+12127809386" target="_blank">(212) 780.9386</a> </span><span style="font-size:10pt"></span></p> <p><span style="font-family:Arial;font-size:11pt"> </span></p> <p><span style="font-family:Arial;font-size:11pt">There will be brief statements presented in support of the reinstatement of the eliminated fields followed by Q&A.<span> </span>Among the distinguished panel of presenters and others from the various </span></p> <p><span style="font-family:Arial;font-size:11pt">musical communities affected by this decision will be:</span></p> <p><u><span style="font-family:Arial;font-size:14pt"><span style="text-decoration:none"> </span></span></u></p> <p><b><span style="font-family:Arial;font-size:10pt">Eddie Palmieri</span></b><span style="font-family:Arial;font-size:10pt"> - Legendary pianist, 8-time Grammy winner and former NARAS Board of<br />Governors member, responsible for getting Latin jazz recognized as a category; </span></p> <p><b><span style="font-family:Arial;font-size:10pt">Larry Harlow</span></b><span style="font-family:Arial;font-size:10pt"> - Legendary Salsa pianist/bandleader, former NARAS Board of Governors member, responsible for getting Salsa recognized as a category, 3-time Grammy nominee; </span></p> <p><span style="font-family:Arial;font-size:11pt"> </span></p> <p style="text-align:center" align="center"><span style="font-family:Arial;font-size:10pt">(more)</span></p> <p><b><span style="font-family:Arial;font-size:10pt"> </span></b></p> <p><b><span style="font-family:Arial;font-size:10pt">Arturo O'Farrill</span></b><span style="font-family:Arial;font-size:10pt"> - Grammy winner, pianist, bandleader, educator; </span></p> <p><b><span style="font-family:Arial;font-size:10pt">Bobby Sanabria</span></b><span style="font-family:Arial;font-size:10pt"> – Drummer, percussionist, bandleader, educator, 4-time Grammy nominee, </span></p> <p><i><span style="font-family:Arial;font-size:10pt">May 22<sup>nd</sup> press-conference moderator;</span></i></p> <p><b><span style="font-family:Arial;font-size:10pt">René Lopez</span></b><span style="font-family:Arial;font-size:10pt"> – Grammy-winning producer, Latin-music historian, advisor to Jazz at Lincoln Center; <span> </span></span></p> <p><b><span style="font-family:Arial;font-size:10pt">Candido Camero</span></b><span style="font-family:Arial;font-size:10pt"> - Legendary conguero, NEA Jazz Master;</span></p> <p><b><span style="font-family:Arial;font-size:10pt">Ned Sublette</span></b><span style="font-family:Arial;font-size:10pt"> - N.Y. Times bestselling author of <i>Cuba and Its Music: From The First Drums</i></span></p> <p><i><span style="font-family:Arial;font-size:10pt"><span> </span>to the Mambo</span></i><span style="font-family:Arial;font-size:10pt"> and <i>New Orleans</i><i>: After The Flood</i>; President, QBA Disc Records;</span></p> <p><b><span style="font-family:Arial;font-size:10pt">T.J. English</span></b><span style="font-family:Arial;font-size:10pt"> - N.Y.Times bestselling author of <i>The Westies, Havana Nocturne, The Savage City;</i> </span></p> <p><b><span style="font-family:Arial;font-size:10pt">Chris Washburne</span></b><span style="font-family:Arial;font-size:10pt"> - Trombonist, Professor of Ethnomusioclogy at Columbia University, </span></p> <p><span style="font-family:Arial;font-size:10pt">Director of Jazz Studies; </span></p> <p><b><span style="font-family:Arial;font-size:10pt">Jochem Becher</span></b><span style="font-family:Arial;font-size:10pt"> - President of ZOHO Records; </span></p> <p><b><span style="font-family:Arial;font-size:10pt">Ivan Acosta</span></b><span style="font-family:Arial;font-size:10pt"> – Award-winning film maker, President of Latin Jazz U.S.A.,</span></p> <p><span style="font-family:Arial;font-size:10pt">NARAS Committee Member Latin Music;</span></p> <p><b><span style="font-family:Arial;font-size:10pt">Randy Klein</span></b><span style="font-family:Arial;font-size:10pt"> - President of Jazzheads Records, pianist, composer, 4-time EMMY winner;<br /><b>Jackie Harris</b> – Executive Director, Louis Armstrong Jazz Camp; New Orleans, Louisiana.<br /><b>And More….</b></span><span style="font-family:Arial;font-size:11pt"><br /><span> </span></span></p> <p style="text-align:center" align="center"><span style="font-family:Arial"> </span></p> <p style="text-align:center" align="center"><span style="font-family:Arial">THIS PRESS CONFERENCE IS COMPLETELY OPEN TO THE PUBLIC, </span></p> <p style="text-align:center" align="center"><span style="font-family:Arial">NO RSVP NEEDED!!! </span></p> <p style="text-align:center" align="center"> </p> <p style="margin:0in 0in 10pt" class="MsoNormal"><span style="font-family:Arial">The ill-advised April 6th announcement by NARAS to cut thirty-one categories from the celebrated Grammy awards has been met with shock and loud protests nationally and internationally. Latin Jazz, Contemporary Jazz, Cajun, Zydeco, Hawaiian, Polka, Traditional World, and certain gospel, Blues, R&B, and Mexican categories, among others, have all been unceremoniously erased.<span> </span> </span></p> <p style="margin:0in 0in 10pt" class="MsoNormal"><span style="font-family:Arial">At various regional chapter meetings, NARAS has defended the cuts as being fair and well thought out, although they were made behind closed doors with no input from the membership nor from the respective boards of governors of the regional chapters.<span> </span>This action clearly caters to the established pop and commercial styles that have always dominated the Awards and the controversial annual TV show.<span> </span> </span></p> <p style="margin:0in 0in 10pt" class="MsoNormal"><span style="font-family:Arial">As the grassroots movement from the public sector is going viral, and the unrest and distrust from within the NARAS membership has skyrocketed from coast to coast, NARAS’ stock responses have done little to quell the ground spring of questions about their motives.<span> </span></span></p> <p style="line-height:normal;margin:0in 0in 10pt" class="MsoNormal"><span style="font-family:Arial">The May 22<sup>nd</sup> press conference follows one on May 9th at Yoshi's in Oakland, CA, where considerable opposition to this unprecedented decision, as culturally insensitive and non-supportive of musical diversity, was made by leading musicians including 5X Grammy nominee, John Santos; Grammy-nominated vocalist, Sandy Cressman; members of the Carlos Santana band; Grammy-nominated trombonist, Wayne Wallace; Randall Kline, Head of the SF Jazz Fest; Peter Williams of Yoshi's and more.<br /><br /><b><span> </span>For related background info, articles, letters to and from NARAS,<br /><span> </span>growing petition with more than 2500 signatures, etc., please visit<br /><span style="color:#1f497d"><span> <wbr> </span><a href="http://www.grammywatch.info/" target="_blank">www.GrammyWatch.info</a></span></b></span><br /><br /><span style="font-family:Arial"><br /><span> <wbr> <wbr> </span>#### </span></p></td></tr> <tr> <td style="border-bottom:#f0f0f0;border-left:#f0f0f0;padding-bottom:0in;background-color:transparent;padding-left:0in;padding-right:0in;border-top:#f0f0f0;border-right:#f0f0f0;padding-top:0in" valign="top"> <p style="margin:0in 0in 10pt" class="MsoNormal"><span style="font-family:Calibri;"> </span></p></td></tr></tbody></table>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-7963784291666884522011-04-26T22:56:00.000-04:002011-04-26T22:57:43.197-04:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://ih.constantcontact.com/fs083/1011241366085/img/198.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 800px; height: 1095px;" src="http://ih.constantcontact.com/fs083/1011241366085/img/198.jpg" alt="" border="0" /></a>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com1tag:blogger.com,1999:blog-32191053.post-3947608614270543792011-04-22T19:39:00.001-04:002011-04-22T19:40:54.606-04:00The Shocking Truth of a Deep Undercover Journalistic Investigation: Inside Auctioneer School<a href="http://www.thirdcoastfestival.org/library/979-the-auctioneer">http://www.thirdcoastfestival.org/library/979-the-auctioneer</a>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-21293060528026750352011-04-22T16:01:00.003-04:002011-04-22T16:04:27.600-04:00Latin Jazz Grammy eliminated - people are pissedSe ha elimindado el premio Grammy para Latin Jazz, y la gente está berraca...<br />(Is this the wrath of Bieberites?)<br /><br /><a href="http://blogs.villagevoice.com/music/2011/04/grammys_latin_jazz_eddie_palmieri_larry_harlow.php" target="_blank">http://blogs.villagevoice.com/<wbr>music/2011/04/grammys_latin_<wbr>jazz_eddie_palmieri_larry_<wbr>harlow.php</a><br /><br />Latin Jazz Heavyweights Protest Grammy Snub<br /><br />By Larry Blumenfeld<br /><br />Wed., Apr. 13 2011 @ 12:00PM<br /><br /> The scene outside the New York Institute of Technology Auditorium Monday night suggested a Latin jazz celebration; pianist Eddie Palmieri, pianist/bandleader Larry Harlow, drummer Bobby Sanabria, trombonist Chris Washburne, and trumpeter Brian Lynch milled about. But this wasn't a concert, nor was it a celebration; it was an informational meeting organized by the New York chapter of the National Academy of Recording Arts and Sciences (NARAS) where the musicians gathered would soon sound off in polite yet impassioned protest of the Grammys' elimination of the Best Latin Jazz Album category.<br /><br />Last week, as part of several reforms, NARAS announced a reduction in the number of Grammy prizes to 78 <<a href="http://blogs.villagevoice.com/music/2011/04/grammys_cut_categories.php" target="_blank">http://blogs.villagevoice.<wbr>com/music/2011/04/grammys_cut_<wbr>categories.php</a>>, from 109. The changes, which will take effect next year, were being made to ensure "that the Grammy remains a rare and distinct honor, and continues to be music's most prestigious and only peer-recognized award," said NARAS president Neil Portnow. The value of a Grammy was in danger of dilution, he explained; the first Grammy ceremony in 1959 honored nominees in only 28 categories, and over the years that number had swelled in an unorganized fashion. "It had become a collage," he said. Some categories failed to produce a suitable number of entries each year, added NARAS VP of Awards Bill Freimuth. "But [even after the reforms,] every submission will have a home," he assured.<br /><br />But where will that home be, and what effects will the move have? Many genre distinctions--traditional blues, Hawaiian album--were eliminated or "merged," as the NARAS officials put it. The consolidation of categories will particularly affect jazz; it's lost key categories, a point not lost on drummer Roy Haynes, who was also present. In the case of Latin jazz, the move touched a delicate nerve. One by one, musicians and music-label executives stepped up to testify as to why.<br /><br />Palmieri, who has won nine Grammy Awards and whose /Listen Here!/ won the category in 2006, described his work within the organization through the years, including serving as a past governor. "This hurts so much," he said, "I can feel it in my heart. It's like a Grammy scar." And he reflected on his first Grammy victory, for /Sun of Latin Music/, which won the Best Latin Music category in 1975. "It felt like I was representing every Latin-jazz artist in the world that night."<br /><br />Sanabria, who has been nominated in the category twice, called the change "an insult. It strikes me as cultural insensitivity," he said. "It's the denial of things we've worked long and hard to achieve." Randy Klein, who runs the Jazzheads label, claimed the category changes flew in the face of NARAS' commitment to music education. "By cutting the Latin-jazz category, we stop mentioning it, stop teaching people what this is," he said. "A name is important," added Ileana Palmieri, Eddie's daughter and an independent music executive. "When it's tied to an ethnic identity and a cultural tradition, it's a source of pride."<br /><br />The powerful response highlights a conundrum. Most jazz musicians, listeners and critics in the U.S. have long recognized basic signposts to the intersections of Latin music and American jazz: trumpeter Dizzy Gillespie's work with the Cuban bandleader Frank "Machito" Grillo and with percussionist Chano Pozo in the 1940s; Louis Armstrong's 1930 recording of the Cuban song "El Manisero"; Creole pianist Jelly Roll Morton's even-earlier assertion that jazz had to have a "Spanish tinge" to be authentic. Still, Afro Latin culture had widely been regarded as an exotic "other."<br /><br />Latin-jazz musicians have celebrated the acceptance in recent years of their music into the broader mainstream jazz canon. At the Grammys, the Best Latin Jazz Performance category was established in 1994, and renamed Best Latin Jazz Album in 2000. Also, there exists a specific awards showcase for Latin music, the Latin Grammy Awards, established in 2000. But many Latin musicians feel that's a ghetto. "There are no two Oscars," said Mr. Palmieri, "no two Emmys." Many within the Latin jazz community feels it important to retain a specific identity not just as a cultural signifier within the mainstream but, especially in the case of the Grammys, to achieve commercial viability. Sanabria noted since that Latin-jazz recordings will mostly compete within the overall jazz category, "We don't have a chance in hell now."<br /><br />On the phone from his office yesterday, Blue Note Records president Bruce Lundvall-who signed the great Cuban band Irakere to Columbia Records; their 1979 Best Latin Recording Grammy led to American followings for pianist Chucho Valdés and saxophonist Paquito D'Rivera, among others-groaned as he assessed the new Grammy system. "It is a terrible mistake to eliminate this very valid category," he said. "It should be reinstated immediately. Grammy recognition was absolutely the key ingredient in building an American market for one of the most exciting avenues of new music, and I don't know how we would have done it otherwise."<br /><br />Portnow defended his organization's decisions Monday night, saying that the changes were carefully considered-and that they needn't be permanent. "If you don't like what they decided," he said, "throw the bums out of office." He drew a comparison to Congress: "They didn't ask you how you felt about the budget, they just voted on your behalf."<br /><br />Perhaps the analogy was unfortunate, because Washburne seized on it. "It's almost like what the Tea Party wants to do-repeal all the things that have happened in the past few decades." He challenged Portnow's determination that the "collage" created by 109 categories was problematic. "Of course it's a collage," Washburne fired back. "That's what we are."<br /><br />* * *<br />The following is from Bobby Sanabria:<br />* * *<br /><br />Below is a timeline I've constructed that I think puts things in perspective...<br /><br />2001 - Progressive Jazz Rock group Steely Dan wins Record of the Year Grammy over Eminem. Hip Hop. Pop music industry/community is in shock<br /><br />1990's - to present - Small independent record companies (mostly begun by artists themselves) steadily begin to demonstrate their presence as nominees and winners of Grammys culminating with Multi-Cultural jazz musician Esperanza Spalding's win for Best New Artist over teenage pop sensation Justin Bieber.<br /><br />2008 - Jazz legend Herbie Hancock wins Record of the Year Grammy over Kanye West. West's and his management are incensed. Hip Hop, Pop music industry/community again in shock. NARAS begins secret meetings in earnest after the telecast to explore the possibility of downsizing the Grammy Awards because they have become "devalued" because according to current President Neil Portnow, "The Grammys have become a huge collage." President Portnow's own words at NYC Chapter Emergency Meeting, Monday April 11, 2011 - 6pm at New York Institute of Technology Auditorium 61st St. & Broadway, NYC.<br /><br />2011 - Indie record labels are nominated and win more Grammys than at anytime in the history of the Grammy Awards. Multi-Cultural jazz artist Esperanza Spalding wins Best New Artist Grammy over teenage Pop sensation Justin Bieber. It is the first time a musician wins over an entertainer. Pop music industry and the World in general are in a state of shock.<br /><br />Immediately after the Grammy telecast Stephen Stoute, an industry insider and employee of Jay Z takes out a FULL one page ad in the New York Times blasting NARAS stating that they are out of touch with current popular society and must be RESTRUCTURED. He insults Esperanza Spalding and the Grammy membership. It was the membership who gave her the win for her incredible musicianship. THE FIRST TIME A MUSICIAN IS CHOSEN OVER AN ENTERTAINER IN THIS CATEGORY. NARAS DOES NOT offer a rebuttal to defend the Academy and/or its members.<br /><br />Justin Bieber fans begin an anti-Esperanza Spalding campaign that goes viral globally insulting her and Academy thus insulting the membership. Again, no response from the Academy.<br /><br />Legendary Hip Hop and R&B Producer Jimmy Jam (of Jimmy Jam and Terry Lewis) who is second in command to President Neil Portnow approves ALL category cuts in secret meetings with Grammy Board members in the Los Angeles Mother chapter. The question begs to be asked, how is this person even a Grammy executive? Is there not a conflict of interest?<br /><br />Black Wednesday - April 6, 2011 - NARAS sends out a mass e-mail to its membership stating to follow a link for a major announcement regarding the Grammys. The announcement states that a RESTRUCTURING (DOWNSIZING) OF THE GRAMYS HAS BEEN DECIDED UPON. The original 108 categories are now cut by 31. Some categories are CONSOLIDATED into unrelated categories thus giving no chance for independent record companies to compete. For example: Latin Jazz and Contemporary Jazz (two completely different styles) are now consolidated into JUST Best Jazz Recording and Best Large Jazz Ensemble, thus giving Latin Jazz artists virtually no chance to compete for a Grammy. Other categories like Hawaiian, Polka, Zydeco, Cajun, etc. and as a final insult, Native American, are cut. MOST OF THE CUT CATEGORIES ARE ETHNIC CATEGORIES. THE DECISON BY NARAS IS MADE IN SECRET WITHOUT CONSULTING ANY OF ITS MEMBERSHIP OR CITY CHAPTER BOARD OF GOVERNORS.<br /><br />Music community, particularly Latin Jazz and Jazz community are in shock.<br /><br />Realizing there will be flak, NARAS decides on a 13 city damage control/emergency tour to all major NARAS Chapter cities to explain how the NEW RESTRUCTURING gives PARITY to all artists and that no one is shut out from competing.<br /><br />APRIL 11, 2011 - NARAS A FEW DAYS EARLIER sends out a mass e-mail inviting its NYC membership to come to the first meeting on Monday April 11 at 6pm at the New York Institute of Technology auditorium located at 1871 Broadway at 61rst. The e-mail specifically states that NON-MEMBERS are invited as well. THERE IS ABSOLUTLEY NO ANNOUNCEMENT IN THE E-MAIL THAT AN RSVP IS REQUIRED.<br /><br />Members and non-members show up as do Larry Rohter of the NY Times, Monika Fabian of the Daily News, and Larry Blumenfeld of The Wall St, Journal and the The Village Voice who were contacted the night before, (Daily News contacted the day of) by yours truly. WE ARE ALL TOLD THAT IF WE DIDN'T RSVP WE CAN'T GET IN. EDDIE PALMIERI 9 TIME GRAMMY WINNER AND FORMER BOARD OF GOVENOR MEMBER AND THE PERSON WHO FOUGHT FOR 17 YEARS TO GET LATIN JAZZ RECOGNIZED BY NARAS AS WELL AS LARRY HARLOW, LARAS LIFETIME ACHIEVEMENT AWARD WINNER AND 3 TIME GRAMMY NOMINEE AND THE PERSON RESPONSIBLE FOR GETTING SALSA RECOGNIZED AS A GRAMMY CATEGORY TOLD TO WAIT OUTSIDE, THAT THEY/WE CAN'T GET IN UNLESS THEY/WE RSVP'D. BOB SANCHO SHOWS PRINT OUT OF E-MAIL INVITE TO NARAS REPRESENTATIVE PROVING THERE WAS NO RSVP REQUIREMENT. LARRY LEAVES IN DISGUST STATING OUT LOUD "THIS USE TO BE A CLASSY ORGANIZATION". A current Member of the Board of Governors arrives and greets/speaks to Paquito D'Rivera's wife (Brenda Feliciano). Brenda informs her of the situation. The Board of Governor representative speaks to those in charge and insists to "Let these people in, they are NARAS members." A representative of NARAS FINALLY informs me on the side that somehow something got screwed up. Some received RSVP invites, others (like us) did not. She apologizes and informs me that we will all be finally let in after the RSVP"s are let in first. After two opening questions about Blues and Hip Hop categories from audience attendees entire comments made by attending members are about the elimination of the Latin jazz and Contemporary music categories. FILMING OR PHOTOGARHY IS NOT ALLOWED BY NARAS AND SECURITY GUARD TRIES TO REMOVE ALFIE ALVARADO WHO HAS A VIDEO CAMERA AT THE READY. NARAS THINKS TWICE AFTER NOTING THAT REPORTERS ARE PRESENT AND TAKING NOTES. MS. ALVARADO PREVAILS AND VIDEOS THE ENTIRE APPORXIMATELY THREE HOUR MEETING BUT IS WARNED BY NARAS EXECUTIVES FROM THE NYC CHAPTER TO NOT POST ANYTHING ON YOUTUBE. PHOTOGRAPHER LENA ADASHEVA SECRETLY FILMS WHAT HAPPENS IN LOBBY WITH A FLIP PHONE AND RECORDS AUDIO OF MEETING AND LATER POSTS SHORT EDITED VERSION ON YOUTUBE.<br /><br />Public outcry begins as musicians, fans, and the general public begin to e-mail NARAS President Portnow at <a href="mailto:neil@grammy.com" target="_blank">neil@grammy.com</a> <<a href="http://us.mc651.mail.yahoo.com/mc/compose?to=neil@grammy.com" target="_blank">http://us.mc651.mail.yahoo.<wbr>com/mc/compose?to=neil@grammy.<wbr>com</a>><br /><br />Next Grammy Chapter meeting for so called explanation of NEW Grammy RESTRUCTURING by NARAS President Neil Portnow scheduled for May 10th in San Francisco. If you receive an invite NO MATTER WHAT, RSVP. Meeting is open to non-Grammy members. Call the San Francisco NARAS Chapter offices if you wish to attend and get an invite.<br /><br />The Recording Academy<br /><br />San Francisco Chapter<br /><br />1702 Union Street<br />San Francisco, CA 94123<br />Ph: <a href="tel:415.749.0779" value="+14157490779" target="_blank">415.749.0779</a><br />Fx: <a href="tel:415.749.1780" value="+14157491780" target="_blank">415.749.1780</a><br />*/<a href="http://sanfrancisco@grammy.com/*" target="_blank">sanfrancisco@grammy.com/*</a> <<a href="http://us.mc651.mail.yahoo.com/mc/compose?to=sanfrancisco@grammy.com" target="_blank">http://us.mc651.mail.yahoo.<wbr>com/mc/compose?to=<wbr>sanfrancisco@grammy.com</a>><br /><br />For a full accounting of what went down at the NYC Chapter meeting with President Portnow go to...<br /><br /><a href="http://www.chipboaz.com/blog/2011/04/14/bobby-sanabria-on-the-41111-new-york-naras-meeting-the-latin-jazz-grammy/" target="_blank">http://www.chipboaz.com/blog/<wbr>2011/04/14/bobby-sanabria-on-<wbr>the-41111-new-york-naras-<wbr>meeting-the-latin-jazz-grammy/</a><br /><br />Ache' and in solidarity,<br /><br />Bobby Sanabriambqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-36539696250419215902011-04-12T18:09:00.001-04:002011-04-12T18:09:31.459-04:00<span style="border-collapse:collapse;font-family:arial, sans-serif;font-size:13px"><span style="border-collapse:collapse;font-family:arial, sans-serif"><div style="text-align:center;font-size:13px"> <b><span style="font-family:arial, helvetica, sans-serif;">CONVOCATORIA</span></b></div><div style="text-align:center;font-size:13px"><b><span style="font-family:arial, helvetica, sans-serif;">REVISTA COLOMBIANA DE ANTROPOLOGÍA</span></b></div> <div style="text-align:center;font-size:13px"><b><span style="font-family:arial, helvetica, sans-serif;">INSTITUTO COLOMBIANO DE ANTROPOLOGÍA E HISTORIA, ICANH</span></b></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><b><br /></b></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><b>Dossier: <i>Tendencias actuales de la Bioantropología en Colombia</i></b></span></div> <div style="text-align:center;font-size:13px"><b><span style="font-family:arial, helvetica, sans-serif;"><br /></span></b></div><div style="text-align:center;font-size:13px"><b><span style="font-family:arial, helvetica, sans-serif;"><br /></span></b></div> <div style="text-align:center;font-size:13px"><b><span style="font-family:arial, helvetica, sans-serif;">Editores Invitados:</span></b></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">Miguel E. Delgado B.</span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET). División Antropología, Facultad de Ciencias Naturales y Museo, Universidad Nacional de La Plata, Buenos Aires, Argentina</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">Javier Rosique</span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">Departamento de Antropología, Facultad de Ciencias Sociales y Humanas, Universidad de Antioquia, Colombia.</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"> <span style="font-family:arial, helvetica, sans-serif;">La Revista Colombiana de Antropología invita a estudiantes de postgrado, profesores universitarios, investigadores y académicos en antropología, arqueología y disciplinas afines a presentar artículos inéditos sobre diferentes temas y enfoques de la bioantropología en Colombia.</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">Recientemente la bioantropología en nuestro país ha tenido un notable desarrollo gracias a la preocupación de un variado grupo de investigadores, profesores universitarios, estudiantes de grado y postgrado en antropología y otras disciplinas. Prueba de ello son los tradicionales simposios en los congresos de antropología y arqueología que desde hace algunos años se vienen llevando acabo en el país con bastante éxito. Igualmente la idea de organizarse profesionalmente y la celebración del primer encuentro oficial de antropología biológica en Colombia en el marco del pasado 13er Congreso de Antropología en el año 2009 sugieren un creciente interés en la disciplina. En este contexto consideramos que es pertinente abrir una convocatoria de trabajos inéditos que den cuenta de las actuales tendencias de investigación de la bioantropología en nuestro país.</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">La presente convocatoria está abierta a artículos que aborden aspectos teóricos y metodológicos y que provengan de investigaciones enmarcadas en diferentes proyectos y líneas de investigación. El dossier está compuesto por tres ejes principales, el primero intenta abordar reflexiones teóricas sobre la práctica investigativa y la enseñanza de la bioantropología en nuestro país. Un segundo eje contempla contribuciones sobre diversos aspectos teórico-metodológicos de la investigación de los grupos humanos contemporáneos. Finalmente el tercer eje esta compuesto por artículos que presenten nuevos aportes al conocimiento de los grupos que habitaron el país en tiempos prehispánicos. Se espera que los autores puedan integrar de manera explícita, clara y sucinta aspectos de la teoría y método de la antropología al interior de sus contribuciones. Así mismo se recomienda a los autores incluir contribuciones con un alto estándar de calidad.</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"> <span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"> ***</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">La RCA es una publicación semestral indexada nacional e internacionalmente, que se edita desde 1953. Los artículos son sometidos a evaluación anónima por pares especializados. Está incluida en las siguientes bases bibliográficas e índices internacionales de citación: Internacional Bibliography of the Social Sciences (IBSS), The London School of Economics and Political Science; Hispanic American Periodical Index (HAPI) de la Universidad de California, Los Ángeles; Anthropological Index Online del Royal Anthropological Institute de Inglaterra; Citas Latinoamericanas en Ciencias Sociales y Humanidades (CLASE), de la Universidad Autónoma de México; Handbook of Latin American Studies (HLAS), de la Biblioteca del Congreso de los Estados Unidos; Directorio de LATINDEX (Sistema regional de información en línea para revistas científicas de América Latina, el Caribe, España y Portugal); e IBN Publindex de Colciencias, Colombia.</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><b>Normas de presentación de artículos</b></span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><b>Formato del texto</b>: La RCA recomienda que los artículos sometidos a evaluación cuenten con introducción, metodología, conclusiones y bibliografía actualizada.</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><b>Esta convocatoria solicita artículos cortos de máximo 25 páginas </b>(incluyendo citas, notas a pie de página, tablas, leyendas de figuras y referencias bibliográficas), y estar digitados en letra Times New Roman, 12 puntos, a doble espacio, en hoja tamaño carta, con márgenes izquierda y derecha de 2,5 cm y superior e inferior de 3 cm. En cuanto a la bibliografía y las referencias la revista utiliza el sistema APA Academic.</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">La <b>primera página</b> debe incluir: título del artículo, nombre del autor, correo electrónico, y una breve nota sobre los estudios realizados y la afiliación institucional del mismo -máximo tres líneas-. Es indispensable que incluya además el resumen (130 palabras) y palabras clave en español e inglés, así como un breve comentario acerca del origen del artículo (investigación, curso, revisión bibliográfica, reflexión personal, etc.)</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">Para ver las normas de presentación de artículos lo invitamos a visitar nuestra página web:</span></div><div style="text-align:center;font-size:13px"> <span style="font-family:arial, helvetica, sans-serif;"><a href="http://www.icanh.gov.co/index.php?idcategoria=1302" style="color:rgb(119, 153, 187)" target="_blank">http://www.icanh.gov.co/index.<wbr>php?idcategoria=1302</a></span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center;font-size:13px"> <span style="font-family:arial, helvetica, sans-serif;">Los originales deben ser remitidos vía correo electrónico a:</span></div><div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;">los editores invitados: <a href="mailto:medelgado@fcnym.unlp.edu.ar" style="color:rgb(119, 153, 187)" target="_blank">medelgado@fcnym.<wbr>unlp.edu.ar</a>, <a href="mailto:csrogrja@antares.udea.edu.co" style="color:rgb(119, 153, 187)" target="_blank">csrogrja@antares.<wbr>udea.edu.co</a>. Con copia al Editor de la Revista Colombiana de Antropología, Instituto Colombiano de Antropología e Historia – ICANH</span></div> <div style="text-align:center;font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><a href="mailto:rca.icanh@gmail.com" style="color:rgb(119, 153, 187)" target="_blank">rca.icanh@gmail.com</a></span></div><div style="font-size:13px"> <span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="font-size:13px"><span style="font-family:arial, helvetica, sans-serif;"><br /></span></div><div style="text-align:center"><span style="font-family:arial, helvetica, sans-serif;">Fecha límite para la recepción de artículos</span><span style="font-size:13px;font-family:arial, helvetica, sans-serif;font-size:130%;" >: <b>1 DE SEPTIEMBRE DE 2011</b></span></div></span></span>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-29064850406050028952011-04-12T17:56:00.000-04:002011-04-12T17:57:30.533-04:00CFP" NY Folklore Society Graduate Student Conference: Legends and TalesNY Folklore Society Graduate Student Conference: Legends and Tales<br />November 12, 2011<br />Binghamton University<br />Binghamton, NY<br />CALL FOR PROPOSALS<br /><br />For over 65 years, the New York Folklore Society (NYFS) has held an annual conference, typically with guest speakers, such as master artists and academic scholars, who have addressed a particular theme. This year, in collaboration with Binghamton University’s English Department, we invite graduate students to present their work on legends and tales. In this way, students will be given a platform at a local conference to share their work and connect with other young academics from around the state. The NYFS seeks to encourage young scholars to continue their studies and become active contributors to the fields of folklore, ethnomusicology, anthropology and more. This conference presents students with the opportunity for feedback on works-in-progress and mentorship from the academy.<br /><br />Theme: Legends and Tales<br />Legends and tales present characters under duress in extraordinary circumstances. They preserve cultural patterns and facilitate social change. Legends such as “The Vanishing Hitchhiker” and “The Killer in the Back Seat” have a kernel of truth; tales such as “Little Red Riding Hood” and “The Armless Maiden” are clearly fictional but have complex layers of meaning. When legends and tales inspire literature and films, they bring richly resonant traditions to the minds of readers and viewers.<br /><br />This multidisciplinary conference welcomes papers about legends and/or tales from graduate students in literature, folklore, anthropology, American studies, cultural studies, film studies, ethnic studies, gender studies, social and cultural history, and other fields. We especially encourage papers related to the cultural traditions of New York State.<br /><br />Questions? Please contact: Dr. Ellen McHale, nyfs@nyfolklore.org, 518-346-7008mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com0tag:blogger.com,1999:blog-32191053.post-71811562815416583032011-04-04T10:16:00.002-04:002011-04-04T10:19:46.213-04:00PRIMER CUMBRE MUNDIAL DE AFRODESCENDIENTES EN HONDURASLink: <a href="http://afro.bienes.comuf.com/">http://afro.bienes.comuf.com/</a><br /><br /><p>La Cumbre Mundial de Afrodescendientes se realizara del 18 al 21 de agosto de 2011, y es convocada por la Organización de Desarrollo Étnico Comunitario, ODECO, que tiene su sede en la ciudad de La Ceiba, Honduras, Centroamérica.</p> <p>El propósito principal de esta Cumbre es aprovechar la inigualable oportunidad que se presenta con la proclamación del “2011 Año Internacional de los Afrodescendientes” para realizar una análisis crítico, evaluar las condiciones de las poblaciones Afrodescendientes, los logros alcanzados en el marco de la implementación de los tratados internacionales, y no menos importante, un análisis de la situación del movimiento social afro-descendiente diez años después del desarrollo de la III Conferencia Mundial Contra el Racismo, realizada en Durban, Sudáfrica en el año 2001; donde los Gobiernos firmante de la Declaración y Plan de Acción asumieron compromisos para contribuir a mejorar las condiciones económicas, sociales, políticas, ambientales y culturales de los-as Afrodescendientes.</p> <p><a href="http://afro.bienes.comuf.com/wp-content/uploads/2011/03/Afiche-Cumbre-Mundial-16-02-11-copydsadasd.jpg" class="lightbox"><img title="Afiche Cumbre Mundial 16-02-11 copydsadasd" src="http://afro.bienes.comuf.com/wp-content/uploads/2011/03/Afiche-Cumbre-Mundial-16-02-11-copydsadasd-150x150.jpg" alt="" height="150" width="150" /></a></p> <p>Resultados Esperados</p> <p>Documentar importantes aspectos considerados centrales a las causas de la pobreza prevaleciente entre las poblaciones Afrodescendientes alrededor del mundo.</p> <p>Consensuado el conocimiento entre todas las partes involucradas-gobiernos, cooperación internacional, sociedad civil y representantes de las comunidades-de las condiciones en que viven las poblaciones Afrodescendientes y las brechas existentes entre estas poblaciones y otras poblaciones pobres en sus respectivos países.</p> <p>Establecidos compromisos concretos-incluyendo la creación de estrategias y asignación de recursos financieros –que permiten crear una plataforma para el desarrollo sustentable con identidad de las poblaciones Afrodescendientes en el corto. Mediano y largo plazo para cerrar las brechas de desarrollo.</p> <p>Definida una estrategia y establecidos compromisos para fortalecer las capacidades institucionales de las Comunidades y Organizaciones Afrodescendientes.</p> <p>Establecidos compromisos entre gobiernos, la cooperación internacional y organizaciones de sociedad civil para promover el desarrollo integral sostenible con identidad de las comunidades y poblaciones Afrodescendientes.</p> <p>Definido un mecanismo de seguimiento para el cumplimiento de los principales acuerdos de la Cumbre Mundial de los Afrodescendientes.</p> <p>Quienes Participan</p> <p>Organizaciones del Movimiento Afrodescendiente a nivel mundial.</p> <p>Poblaciones y Comunidades de África y la Diáspora.</p> <p>Gobiernos</p> <p>Entidades de cooperación internacional</p> <p>Organizaciones de la sociedad civil procedentes de las Américas, África, Europa y Asia</p> <p>Razones para Convocar la Cumbre Mundial de Afrodescendientes</p> <p>La Organización de las Naciones Unidas mediante Resolución 64/169 Proclama el año que comienza el 1º de Enero de 2011 AÑO INTERNACIONAL DE LOS AFRODESCENDIENTES, con miras a fortalecer las medidas nacionales y la cooperación regional e internacional en beneficio de los Afrodescendientes en relación con el goce pleno de sus derechos económicos, culturales, sociales, civiles y políticos.</p> <p>Recordar que la población Africana y Afrodescendiente alrededor del mundo se estima en más de 1,000 millones de personas o cerca del 15 por ciento de la población mundial. De esta población, 840 millones viven en África, cerca de 200 millones en la Américas, 10 millones en la Unión Europea, y se estima que más de 300,000 afro-descendientes viven en Asia y el Pacifico. Un número indeterminado de afro-descendientes vive en Rusia y los Estados de la antigua Unión Soviética, donde existen antiguas poblaciones—remanentes del tráfico de esclavos—que se asentaron en las costas del Mar Negro, y una gran parte de los 400,000 estudiantes—y sus descendientes—que permanecieron en Rusia después de asistir a las universidades Soviéticas a partir de la independencia de los países africanos en la década de 1960. Otras poblaciones significativas de Afrodescendientes viven en el oriente medio.</p> <p>A nivel mundial, la población afro-descendiente enfrenta graves condiciones de pobreza y pobreza extrema como resultado de la marginalización y exclusión, y crecientes problemas de intolerancia relacionados a su condición de raza o etnicidad.</p> <p>En septiembre de 2001, se llevó a cabo la Conferencia Mundial Contra el Racismo, Discriminación Racial, Xenofobia y otras formas de Intolerancia, en Durban, Sur África, cuyas declaraciones llenaron de esperanzas a los afro-descendientes alrededor del mundo.</p>mbqhttp://www.blogger.com/profile/05537315793640493142noreply@blogger.com1