Matching Items (3)
Filtering by
- Resource Type: Text
Description
Mariachi music is a significant piece of Mexican culture that has been around since the nineteenth century. Although it was created in Mexico, mariachi is deeply rooted in the history of the United States. With a large population of Mexicans and Mexican-Americans living in the Southwest, mariachi music has been both refined in the United States and ever-present as a staple of the Mexican/Mexican-American culture. Traditionally, the composition of a mariachi group is all male. Even today, mariachi is still a male dominated genre. In the early years of mariachi, women had no place in the genre, as musicians, composers, or directors. During the time when mariachi was forming and becoming a more defined genre, Mexican women were not considered able or skilled enough to do many things that men could do, just based solely on their gender. This included being a mariachi musician. A woman's place was not anywhere else but as a carer of the house and the family. This ideology has changed with time, with the incorporation of women in majority-male groups, mixed gender groups, and the invention of the all-female mariachi group. However, culture, language, and geographical barriers still play a significant role in the dynamics of mariachi music today. This creative project, which incorporates interviews of multiple women who currently perform in mariachi, culminating in an informational website, will explore and analyze these different barriers within the genre of mariachi, and will explore the culture of Mexicans and Mexican-Americans living in the United States.
ContributorsFigueroa, Desiree Daunice (Author) / De La Torre, Monica (Thesis director) / Smith, Michael (Committee member) / School of Community Resources and Development (Contributor) / School of Humanities, Arts, and Cultural Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
Bertolt Brecht, a noted East German poet and playwright, wrote in his poetry collection, Svendborg Gedichte (translated as Svendborg Poems), a question and answer which resonated not only in his own time, but throughout time: “In the dark times/Will there also be singing? /Yes, there will also be singing. /About the dark times” (Brecht). When Brecht wrote this poem, he was writing about the Nazi Germany which he had been exiled from, but a similar type of darkness has also spilled into today’s time period in forms including but not limited to political division, economic disparity, and environmental distress. At times, this can be understood as being similar to an apocalypse, or the time period which can be assumed as being world-ending. While the truly apocalyptic nature of today is debatable, the reporting style around these events has twisted this time period to be inarguably dark.
However, just as Brecht says, there is still singing.
Since the 2016 election, news media has become nothing if not more apocalyptic in reporting style. As a result, other forms of media, such as songs, literature, and artwork, have been reacting in two distinct modes: first, through a realism in describing the pain of those going through the events, and second, through a blind romanticism of the truth.
In this essay, I describe the origin of apocalyptic rhetoric, and the way that this type of rhetoric has unfolded throughout a few key moments of human history. From there, I move into a discussion of song as one form of a reaction to this, making sure to keep intact the dichotomous lines as described earlier. As an emblem of this reaction in the post-2016 era, I then analyze modern apocalyptic thought, and as an example of this reaction, I analyze the song “This is America” by Childish Gambino. I then look towards the future and theorize as to what type of singing will come from future dark times.
However, just as Brecht says, there is still singing.
Since the 2016 election, news media has become nothing if not more apocalyptic in reporting style. As a result, other forms of media, such as songs, literature, and artwork, have been reacting in two distinct modes: first, through a realism in describing the pain of those going through the events, and second, through a blind romanticism of the truth.
In this essay, I describe the origin of apocalyptic rhetoric, and the way that this type of rhetoric has unfolded throughout a few key moments of human history. From there, I move into a discussion of song as one form of a reaction to this, making sure to keep intact the dichotomous lines as described earlier. As an emblem of this reaction in the post-2016 era, I then analyze modern apocalyptic thought, and as an example of this reaction, I analyze the song “This is America” by Childish Gambino. I then look towards the future and theorize as to what type of singing will come from future dark times.
ContributorsSamie, Yumna (Author) / Kirsch, Sharon (Thesis director) / Wise, Greg (Committee member) / School of Humanities, Arts, and Cultural Studies (Contributor) / School of Social and Behavioral Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
The use of DNA testing has been focused primarily on biological samples such as blood or saliva found at crime scenes. These types of evidence in the forensic field are sometimes difficult to come by, especially when there is no body to find to verify things such as identity or status of a person. In the case of the burial of a body, they can be remote and relocated multiple times depending on each situation. Clandestine burials are not uncommon especially in the Arizona desert by the United States and Mexico border. Since there is no physical body to find the next best avenue to finding a clandestine burial is through search teams which can take weeks to months or other expensive technology such as ground penetrating radar (GPR). A new more interesting avenue to search for bodies is using the most found material–soil. Technology has allowed the possibility of using soil DNA microbiome testing initially to study the varieties of microbes that compose in soil. Microbiomes are unique and plentiful and essentially inescapable as humans are hosts of millions of them. The idea of a microbiome footprint at a crime scene seems out of reach considering the millions of species that can be found in various areas. Yet it is not impossible to get a list of varieties of species that could indicate there was a body in the soil as microbiomes seep through from decomposition. This study determines the viability of using soil microbial DNA as a method of locating clandestine graves by testing 6 different locations of a previous pig decomposition simulation. These two locations give two different scenarios that a body may be found either exposed to the sun in an open field or hidden under foliage such as a tree in the Sonoran Desert. The experiment will also determine more factors that could contribute to a correlation of microbiome specific groups associated with decomposition in soil such as firmicutes. The use of soil microbial DNA testing could open the doors to more interpretation of information to eventually be on par with the forensic use of biological DNA testing which could potentially supplement testimonies on assumed burial locations that occurs frequently in criminal cases of body relocation and reburial.
ContributorsMata Salinas, Jennifer (Author) / Marshall, Pamela (Thesis director) / Bolhofner , Katelyn (Committee member) / Wang, Yue (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Natural Sciences (Contributor) / School of Humanities, Arts, and Cultural Studies (Contributor)
Created2022-05