4.26.2011
4.22.2011
Latin Jazz Grammy eliminated - people are pissed
Se ha elimindado el premio Grammy para Latin Jazz, y la gente está berraca...
(Is this the wrath of Bieberites?)
http://blogs.villagevoice.com/music/2011/04/grammys_latin_jazz_eddie_palmieri_larry_harlow.php
Latin Jazz Heavyweights Protest Grammy Snub
By Larry Blumenfeld
Wed., Apr. 13 2011 @ 12:00PM
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.
Last week, as part of several reforms, NARAS announced a reduction in the number of Grammy prizes to 78 <http://blogs.villagevoice.com/music/2011/04/grammys_cut_categories.php >, 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.
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.
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."
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."
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."
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."
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."
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."
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."
* * *
The following is from Bobby Sanabria:
* * *
Below is a timeline I've constructed that I think puts things in perspective...
2001 - Progressive Jazz Rock group Steely Dan wins Record of the Year Grammy over Eminem. Hip Hop. Pop music industry/community is in shock
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.
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.
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.
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.
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.
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?
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.
Music community, particularly Latin Jazz and Jazz community are in shock.
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.
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.
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.
Public outcry begins as musicians, fans, and the general public begin to e-mail NARAS President Portnow at neil@grammy.com <http://us.mc651.mail.yahoo.com/mc/compose?to=neil@grammy.com >
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.
The Recording Academy
San Francisco Chapter
1702 Union Street
San Francisco, CA 94123
Ph: 415.749.0779
Fx: 415.749.1780
*/sanfrancisco@grammy.com/* <http://us.mc651.mail.yahoo.com/mc/compose?to=sanfrancisco@grammy.com >
For a full accounting of what went down at the NYC Chapter meeting with President Portnow go to...
http://www.chipboaz.com/blog/2011/04/14/bobby-sanabria-on-the-41111-new-york-naras-meeting-the-latin-jazz-grammy/
Ache' and in solidarity,
Bobby Sanabria
(Is this the wrath of Bieberites?)
http://blogs.villagevoice.com/
Latin Jazz Heavyweights Protest Grammy Snub
By Larry Blumenfeld
Wed., Apr. 13 2011 @ 12:00PM
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.
Last week, as part of several reforms, NARAS announced a reduction in the number of Grammy prizes to 78 <http://blogs.villagevoice.
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.
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."
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."
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."
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."
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."
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."
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."
* * *
The following is from Bobby Sanabria:
* * *
Below is a timeline I've constructed that I think puts things in perspective...
2001 - Progressive Jazz Rock group Steely Dan wins Record of the Year Grammy over Eminem. Hip Hop. Pop music industry/community is in shock
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.
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.
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.
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.
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.
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?
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.
Music community, particularly Latin Jazz and Jazz community are in shock.
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.
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.
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.
Public outcry begins as musicians, fans, and the general public begin to e-mail NARAS President Portnow at neil@grammy.com <http://us.mc651.mail.yahoo.
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.
The Recording Academy
San Francisco Chapter
1702 Union Street
San Francisco, CA 94123
Ph: 415.749.0779
Fx: 415.749.1780
*/sanfrancisco@grammy.com/* <http://us.mc651.mail.yahoo.
For a full accounting of what went down at the NYC Chapter meeting with President Portnow go to...
http://www.chipboaz.com/blog/
Ache' and in solidarity,
Bobby Sanabria
4.12.2011
CONVOCATORIA
REVISTA COLOMBIANA DE ANTROPOLOGÍA
INSTITUTO COLOMBIANO DE ANTROPOLOGÍA E HISTORIA, ICANH
Dossier: Tendencias actuales de la Bioantropología en Colombia
Editores Invitados:
Miguel E. Delgado B.
Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET). División Antropología, Facultad de Ciencias Naturales y Museo, Universidad Nacional de La Plata, Buenos Aires, Argentina
Javier Rosique
Departamento de Antropología, Facultad de Ciencias Sociales y Humanas, Universidad de Antioquia, Colombia.
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.
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.
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.
***
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.
Normas de presentación de artículos
Formato del texto: La RCA recomienda que los artículos sometidos a evaluación cuenten con introducción, metodología, conclusiones y bibliografía actualizada.
Esta convocatoria solicita artículos cortos de máximo 25 páginas (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.
La primera página 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.)
Para ver las normas de presentación de artículos lo invitamos a visitar nuestra página web:
Los originales deben ser remitidos vía correo electrónico a:
los editores invitados: medelgado@fcnym.unlp.edu.ar , csrogrja@antares.udea.edu.co . Con copia al Editor de la Revista Colombiana de Antropología, Instituto Colombiano de Antropología e Historia – ICANH
Fecha límite para la recepción de artículos: 1 DE SEPTIEMBRE DE 2011
CFP" NY Folklore Society Graduate Student Conference: Legends and Tales
NY Folklore Society Graduate Student Conference: Legends and Tales
November 12, 2011
Binghamton University
Binghamton, NY
CALL FOR PROPOSALS
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.
Theme: Legends and Tales
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.
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.
Questions? Please contact: Dr. Ellen McHale, nyfs@nyfolklore.org, 518-346-7008
November 12, 2011
Binghamton University
Binghamton, NY
CALL FOR PROPOSALS
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.
Theme: Legends and Tales
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.
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.
Questions? Please contact: Dr. Ellen McHale, nyfs@nyfolklore.org, 518-346-7008
4.04.2011
PRIMER CUMBRE MUNDIAL DE AFRODESCENDIENTES EN HONDURAS
Link: http://afro.bienes.comuf.com/
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.
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.
Resultados Esperados
Documentar importantes aspectos considerados centrales a las causas de la pobreza prevaleciente entre las poblaciones Afrodescendientes alrededor del mundo.
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.
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.
Definida una estrategia y establecidos compromisos para fortalecer las capacidades institucionales de las Comunidades y Organizaciones Afrodescendientes.
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.
Definido un mecanismo de seguimiento para el cumplimiento de los principales acuerdos de la Cumbre Mundial de los Afrodescendientes.
Quienes Participan
Organizaciones del Movimiento Afrodescendiente a nivel mundial.
Poblaciones y Comunidades de África y la Diáspora.
Gobiernos
Entidades de cooperación internacional
Organizaciones de la sociedad civil procedentes de las Américas, África, Europa y Asia
Razones para Convocar la Cumbre Mundial de Afrodescendientes
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.
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.
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.
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.
4.01.2011
I CONGRESO UNIVERSITARIO DE ETNOMUSICOLOGÍA: Música, Educación y Desarrollo Cultural de los Pueblos
UNIVERSIDAD VERACRUZANA
COORDINACIÓN DE PROGRAMAS PARA LOS UNIVERSITARIOS
DIRECCIÓN GENERAL DEL ÁREA ACADÉMICA DE ARTES
FACULTAD DE MÚSICA (LEM)
FCAS (LPRP)
CONVOCAN:
A los estudiantes de etnomusicología, etnomusicólogos, educadores, pedagogos, investigadores, músicos, sociólogos, antropólogos, arqueólogos, grupos culturales e interesados en el tema, a participar en él:
“I CONGRESO UNIVERSITARIO DE ETNOMUSICOLOGÍA”
Música, Educación y Desarrollo Cultural de los Pueblos.
A realizarse del 10 al 12 de junio del año en curso en la ciudad de Xalapa, Veracruz, bajo la siguiente temática:
- Música y tradición: metodologías de enseñanza.
- La investigación etnomusicológica en el ámbito educativo.
- Función actual de la música en las sociedades modernas.
Los trabajos a exponer serán distribuidos en mesas de lectura y exposición, con las siguientes modalidades:
· Ponencia escrita.
· Ponencia interactiva (intervención en vivo de músicos, bailarines, etc.).
· Ponencia multimedia (con proyecciones, videos, música y otras grabaciones o medios electrónicos, etc.).
· Documental (video).
· Concierto didáctico.
· Taller.
· Demostración didáctica o pedagógica.
Bajo las siguientes bases:
- Ser estudiante universitario o equivalente, investigador o profesional en el área que se propone.
- Participación individual o colectiva (máx. 5 integrantes, sin contar músicos, bailarines, etc.).
- Duración máxima por trabajo participante: 20 min. (aprox. 10 cuartillas).
- Enviar un abstract, ficha técnica o resumen sinóptico del trabajo a exponer, especificando tema, duración de la ponencia, objetivo, nombre y número de participantes, nombre del responsable, domicilio, teléfono y/o correo electrónico (máximo una cuartilla), considerando los siguientes puntos:
· Tipo de presentación.
· Punto principal de la presentación.
· Cómo voy a probar la hipótesis.
· Qué impacto espero demostrar con la comprobación de la hipótesis.
- Anexar ficha de requerimientos técnicos (media cuartilla)*.
- Anexar ficha o síntesis curricular de cada miembro del equipo (máximo media cuartilla)*.
- Enviar ponencia redactada en fuente Arial 12 a 1.5 espacios*.
Fecha límite paras recepción de abstract o fichas: el 15 de abril 2011.
Fecha limite en la recepción de ponencias: 22 de mayo de 2011. (Incluir formatos DVD, CD u otro), anexado a sus fichas técnicas y curriculares de cada presentación).
CUPO LIMITADO
Estos datos y documentos serán enviados por correo electrónico aetnomusicologia11@yahoo.com.mx
Facultad de Música de la Universidad Veracruzana.
Barragán No. 32, Centro, Xalapa, Veracruz, C. p. 91000
Tel/fax.: (228) 818 7662
At´n. Comité Organizador del I CONGRESO UNIVERSITARIO DE ETNOMUSICOLOGÍA,
Música, Educación y Desarrollo Cultural de los Pueblos.
Publicación de resultados: 31 de mayo de 2011, vía correo electrónico. (Cada participante es responsable de sus gastos).
*El envío de documentación no compromete o condiciona la participación del aspirante, por lo que se recomienda esperar la notificación de visto bueno para enviar la ponencia y las fichas antes mencionadas, así como la notificación de aceptación de la ponencia para confirmar su asistencia y participación.
No se admitirán ponencias de aspirantes que no hayan cumplido con el envío del abtract u otro pre-requisito, o que no hayan sido notificadas como aceptadas.
Cualquier caso no previsto será resuelto y notificado en su momento por el comité organizador.
COORDINADOR DEL COMITÉ ORGANIZADOR:
Ortega Medina, Luis Alberto
AUXILIARES:
Reyes Castañeda, Daniel
Martínez Gutiérrez, Héctor Julio hj_pmb@hotmail.com
COORDINACIÓN GENERAL:
Dr. Randall Kohl
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