Folklore de Nicaragua


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The Güegüence; A Comedy Ballet in the Nahuatl-Spanish Dialect of Nicaragua


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"The Güegüence..." is a comedy ballet in the Nahuatl-Spanish Dialect of Nicaragua. The theatrical play was written by an anonymous author in the 16th century, making it one of the oldest indigenous theatrical/dance works of the Western Hemisphere. Governor Güegüence holds court among his people and enjoys having plays and music performed before him and his nobles. He enlists his friend Captain Chief Alguacil to procure performers but Alguacil, a wily operator wants to exploit the situation to make money from his master. Meanwhile, the performers also eager to play before the court, are also forced to accede to Alguacil's demands, leaving him the greatest beneficiary of the venture.




Rascally Signs in Sacred Places


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David Whisnant provides a comprehensive analysis of the dynamic relationship between culture, power, and policy in Nicaragua over the last 450 years. Spanning a broad spectrum of popular and traditional expressive forms--including literature, music, film, and broadcast media--the book explores the evolution of Nicaraguan culture, its manipulation for political purposes, and the opposition to cultural policy by a variety of marginalized social and regional groups. Within the historical narrative of cultural change over time, Whisnant skillfully discusses important case studies of Nicaraguan cultural politics: the consequences of the unauthorized removal of archaeological treasures from the country in the nineteenth century; the perennial attempts by political factions to capitalize on the reputation of two venerated cultural figures, poet Ruben Dario and rebel General Augusto C. Sandino; and the ongoing struggle by Nicaraguan women for liberation from traditional gender relations. Originally published in 1995. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.




Unmasking Class, Gender, and Sexuality in Nicaraguan Festival


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Masaya, a provincial capital of Nicaragua, cultivates an aggressively traditional identity that contrasts with ManaguaÕs urban modernity. In 2001 the city was officially designated Capital of Nicaraguan Folklore, yet residents have engaged in a vibrant folk revival since at least the 1960s. This book documents the creative innovations of MasayaÕs performing artists. The first extended study in English of Nicaraguan festival arts, Unmasking Class, Gender, and Sexuality in Nicaraguan Festival is an ethnographically and historically grounded inquiry into three festival enactments during the Somoza, Sandinista, and Neoliberal periods: the carnivalesque torovenado masquerades, the transvestite Negras marimba dances, and the wagon pilgrimage to Popoyuapa. Through a series of interlinked essays, Katherine Borland shows that these enactments constitute a peopleÕs theater, articulating a range of perspectives on the homegrown and the global; on class, race, and ethnicity; on gender and sexuality; and on religious sensibilities. BorlandÕs book is a case study of how the oppositional power of popular culture resides in the process of cultural negotiation itself as communities deploy cherished traditions to assert their difference from the nation and the world. It addresses both the gendered dimensions of a particular festival masquerade and the ways in which sexuality is managed in traditional festival transvestism. It demonstrates how performativity and theatricality interact to negotiate certain crucial realities in a festival complex. By showing how one locale negotiates, incorporates, and resists globally circulating ideas, identities, and material objects, it makes a major contribution to studies of ritual and festival in Latin America.




The Güegüence; A Comedy Ballet in the Nahuatl-Spanish Dialect of Nicaragua - The Original Classic Edition


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Finally available, a high quality book of the original classic edition of The Güegüence; A Comedy Ballet in the Nahuatl-Spanish Dialect of Nicaragua. It was previously published by other bona fide publishers, and is now, after many years, back in print. This is a new and freshly published edition of this culturally important work by Daniel G. (Daniel Garrison) Brinton, which is now, at last, again available to you. Get the PDF and EPUB NOW as well. Included in your purchase you have The Güegüence; A Comedy Ballet in the Nahuatl-Spanish Dialect of Nicaragua in EPUB AND PDF format to read on any tablet, eReader, desktop, laptop or smartphone simultaneous - Get it NOW. Enjoy this classic work today. These selected paragraphs distill the contents and give you a quick look inside The Güegüence; A Comedy Ballet in the Nahuatl-Spanish Dialect of Nicaragua: Look inside the book: Their country was less than a hundred miles long, by twenty-five broad; yet here they preserved the same language and institutions, and practiced the same religious rites, with the people of the same stock who dwelt more than two thousand miles distant, on the plateau of Anahuac, from whom they were separated by numerous powerful nations, speaking different languages, and having distinct organizations.' ...21 Certain it is, that at an early date a mixed dialect came into vogue, both in the Mangue districts of Nicaragua and elsewhere in Central America, composed of a broken-down Nahuatl and a corrupt Spanish, which, at first, served as a means of communication between the conquerors and their subjects, and later became, to some degree, the usual tongue of the latter. ...Some of them, even to this day, as continued by the lower half-caste population, are accused of an indecency which may xxv be a reminiscence of ancient Indian religious rites;31 for we know that the native Nicaraguans celebrated a festival strictly similar to that in ancient Babylon, so condemned by the prophet, during which every woman, of whatever class, had the right to yield her person to whom she would, without incurring blame or exciting jealousy. About Daniel G. (Daniel Garrison) Brinton, the Author: After the war, Brinton practiced medicine in West Chester, Pennsylvania for several years; was the editor of a weekly periodical, the Medical and Surgical Reporter, in Philadelphia from 1874 to 1887; became professor of ethnology and archaeology in the Academy of Natural Sciences in Philadelphia in 1884; and was professor of American linguistics and archaeology in the University of Pennsylvania from 1886 until his death. He was a member of numerous learned societies in the United States and in Europe and was president at different times of the Numismatic and Antiquarian Society of Philadelphia, of the American Folklore Society, the American Philosophical Society, and of the American Association for the Advancement of Science.




Whose Baby?


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Trisba & Sula


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