Archive for June, 2011

Mrs. Frizzell’s class, room 206, will interpret las Sevillanas tomorrow.

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Las Sevillanas

In many usages in the Spanish language, what is originally an adjective becomes a noun, and the orginal noun forgotten. So it is here; the original phrase was las seguidillas sevillanas … the seguidillas as they are danced in Sevilla. Now it is just las sevillanas.

The seguidillas is one of the original folk dances of Iberia, and goes way back in history. Dance anthropologists say that it is the original source of much of Spanish dance, and we know that it is more than four hundred years old.

Las sevillanas is a social dance and in order for a dance to be accessible to whoever shows up, the rhythmic structure and the choreography have to be stable. This is the case, and if you learn sevillanas in California, and you go to Sevilla and someone asks you to dance the sevillanas you will be able to do it. The senorito sevillano will usually have embellished the choreography to show off how cool, he is, but it will still fit with the academic form. (If it doesn’t, just tell him to get lost.). Thus, sevillanas differs from all flamenco forms which are subject to shortening and lengthening of passages at the discretion of the dancer and the singer.

Sevillanas are danced in the form of four verses, or coplas. There used to be seven or eight, but the last three or four have been forgotten. The rhythmic structure is simple in the extreme, being a six count phrase, and each step in the dance then occupies those six counts. (A musician would say that this was two bars of 3/4 rhythm.) Six of these steps constitutes one section of the copla, the last step involving changing places with the partner. Each of these sections begins with a particular step, the paso sevillana. Three of these sections complete the copla, which terminates in a vuelta (turn) to a sudden stop (parado) at the end.

Here is room 206.  They will perform las Sevillanas.

Ms. Levine’s class, room 207 will perform Xipe tomorrow.

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Xipe

In Aztec mythology and religion, Xipe Totec (“our lord the flayed one”) was a life-death-rebirth deity, god of agriculture, vegetation, the east, disease, spring, goldsmiths, silversmiths and the seasons.[1] Xipe Totec was also known by the alternative names Tlatlauhca, Tlatlauhqui Tezcatlipoca (“Red Smoking Mirror”) and Youalahuan (“the Night Drinker”).[2] The Tlaxcaltecs and the Huexotzincas worshipped a version of the deity under the name of Camaxtli,[3] and the god has been identified with Yopi, a Zapotec god represented on Classic Period urns.[4] The female equivalent of Xipe Totec was the goddess Xilonen-Chicomecoatl.[5]

Xipe Totec flayed himself to give food to humanity, symbolic of the way maize seeds lose their outer layer before germination and of snakes shedding their skin. Without his skin, he was depicted as a golden god. Xipe Totec was believed by the Aztecs to be the god that invented war.[6] He had a temple called Yopico within the Great Temple of Tenochtitlan.[4]

This deity is of uncertain origin. Xipe Totec was widely worshipped in central Mexico at the time of the Spanish Conquest,[4] and was known throughout most of Mesoamerica.[7] Representations of the god have been found as far away as Mayapan in the Yucatán Peninsula.[8] The worship of Xipe Totec was common along the Gulf Coast during the Early Postclassic. The deity probably became an important Aztec god as a result of the Aztec conquest of the Gulf Coast in the middle of the fifteenth century.[4]

 

      

 Room 207 will interpret Xipe

World Language and Music departments will present 2 assemblies on June 7, 2011

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Primary grades and parents may attend the first assembly at 9:30 and the intermediate  grades and parents may attend the second assembly at 1:30p.m.

Muchas gracias,

Señor Walter

Salón 102 celebra Cinco de Mayo

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1st graders design Cinco de Mayo collages.