Read danza de la pluma reviews, rating & opinions:Check all danza de la pluma reviews below or publish your opinion.
100 Reviews Found
is a lovely addition to Tonatiuh's body of work, and I look forward to hearing his name among the different 2017 award winners (again). I appreciate his attention to detail, and his efforts to search necessary stories to share with his readers. In this book, he turns his attention to dancer, choreographer, and troupe director Amalia Hernandez and El Ballet Folklorico de natiuh traces Hernandez' life from the spark of interest in dance, through her classical training, and finally to the founding of her dance troupe. He highlights the awards the troupe gained, but only briefly mentions some of the challenges she faced. These are elaborated on more fully in the author's note. In the brief zone available in a picture book, Tonatiuh accomplishes the goal of sparking interest in and celebrating the life of a woman not widely known in the TE: I received a copy of this book from the publisher at the Amazing Lakes and Midwest Independent Booksellers trade present The Heartland Fall Forum.
Duncan Tonatiuh's masterful storytelling and signature illustrations are back in Danza! This is the biography of Amalia Hernandez, a renowned Mexican dancer and founder of the Ballet Folklorico de Mexico. Any kid who has ever dreamed of being a dancer will relate to Amalia's story. The back matter provides more info about Amalia and folkloric dance and contains a glossary and bibliography. 5 stars for this well written biography!
Danza!: Amalia Hernández and El Ballet Folklórico de México tells the story of Amalia Hernández and the dance company that she founded. The description of Amalia’s life is told in a straightforward method and her story in enhanced by the attractive illustrations. Amalia’s story of hard work, passion, and dedication is inspiring to read. Duncan Tonatiuh is intentional in mentioning the method that Amalia learned about the regions in which she danced. Through his storytelling, Tonatiuh info how Amalia Hernández took amazing care to learn about the regions of Mexico that she would be representing in her performances, “Ami began to travel to villages all around the country to learn as much as she could about the area’s traditional dances. She read about the history of each put and talked with elders.” This is necessary because it shows how Amalia tried to honor the traditions and people that she was representing in her productions. The book info how Amalia’s dance company became popular in Mexico and around the globe through representing the traditional dances inspired by the various regions in Mexico. The book also info how El Ballet Folklórico de México continues to perform every week and has been doing so for the past 50 rough this book, Tonatiuh introduces us to an necessary historical figure who may not be well known. He introduces readers to Amalia and in doing so, he describes her importance in Mexico and the world. While discussing Amalia’s impact and legacy, Tonatiuh states that “She created the folkloric dances of Mexico known around the world, and she encouraged people of Mexican origin to feel pride in their roots and in their traditional dances”. This book highlights someone who was not only perfect in her field, but was also proud of her cultural natiuh’s signature illustrations, based on pre-Columbian Mexican art are a masterpiece! The pictures depict the traditional dances that Amalia’s dance company performed. The illustrations are colorful, fun, and bold. In particular, the movement of the dancers is done in such a method that readers able to see the movement in the various e back of the book offers more info about Amalia Hernández in the author’s notes. Here, Tonatiuh info some of the hardships and difficulties that Amalia experienced in establishing her dance company. The book also offers an index, glossary, and sources where readers can obtain more info about the ior to reading this book, I was not familiar with Amalia or the dance company that she worked to establish. As I read the text, I began to ask myself about Mexican historical figures, particularly women and the lack of representation of Mexican women in texts. This book is a amazing introduction to a woman who had a passion, worked hard to achieve her goals, was immensely proud of her Mexican heritage, and who sought to share Mexico’s rich history with the globe through dance. I am providing some links that can support readers become familiar with Amalia and El Ballet Folklórico de México. There were several stories written about her after Google honored her with a doodle in September 2017 after what would have been her 100th birthday.
vnlvcremslnv illinois circuit court easy case find illegal find and seizure supreme court cases maryland bankruptcy case find miami dade case number find delaware judiciary case find criminal
Siento decirlo pero este album no es lo que yo esperaba. Yo esperaba más canciones llenas de energía y gozadera pero no fue así. Algunas canciones son buenas pero la mayoría son regular, pero es solo mi opinión.Ojala que su próximo album sea mejor y que el no dure tanto con su COMING SOON!!Cuídense!!!
Tony tiene una voz unica- con un acento vocal de calle pero con sentimiento!! Si se cojunta con productores baladistas y una buena alteracion de voz para que suelte el nudo sentimental, puede hasta vender disco de diamantes y espetar hasta 5 temas de un tiro en los billboards!!! Los productores de este disco hisieron un buen trabajo musicalmente en general pero lo unico es que no tienen esa dinamita explosiva para explotar las liricas de Tony!!! De todas maneras- fue un buen disco y entretiene a fuego!!!
I love Tony Dize ever since his first song in blin blin album "no tengas miedo" and now with this album well diserve he's unstoppeble. Grate voice and hook with the songs. one of the albums you just allow it run from track 1 to the end, one of the few best reggaeton albums I ever heard.
Ya era tiempo que Tony Dize sacara su propio cd pero este cd no me gusto mucho. Al escucharlo no sabia si el disco era de el o era la continuacion de Los vaqueros o el de Los Extraterrestre de Wisin & Yandel. Me hubiera gustado mas diversidad o por lo menos unos productores diferentes. Desde el principio uno se da decuenta que fueron los mismos que producieron los cds antes mencionados. Tony Dize tiene su tiempito y me gustaban mas las otras canciones que el tenia en otras copilaciones como Contra la Corriente y La Mision. Lastima que el cd va a terminar en mi coleccion de cds que no escucho junto al de los Extraterrestre..... Pero no se puede negar que hizo un esfuerzo y saco su cd. Si te gusto el cd de Los Extraterrestre de W & Y te recomiendo este cd pero si quieres algo diferente ahorate los benjamins............
Tony uses a lot of various styles, has nice features like Wisin, Yandel, Franco, Gadiel, Jayko and has a very amazing voice. Album is beautiful short but all tracks are very good. Even after listening 6 times to the whole album it is still touching. Album has the best sound quality possible.
Initially I had reservations about buying this CD, "La Casa de la Trova" by Eliades Ochoa, but when I found an inexpensive copy in the Marketplace I figured I would give it a shot. Of all the different Buena Vista Social Club spin-offs, I have to say I always found the albums by Eliades Ochoa the least enjoyable. Sure they all begin out strong, but I feel like each of his three CDs are a bit one note -- same rhythms, tempo, guitar/percussion exchanges -- and by the end I lose interest. Don't obtain me wrong, I like them enough overall, but when I wish to listen to Cuban music, I tend to grab something else from my shelves. However, something that eventually tipped the scales for going ahead and getting this disc was having also purchased the other four titles in this Cuban Essentials series on the Escondida label (see my reviews of El Compadre Again,Sentimiento and Momentos). One of the things I like about these compilations vs all the post-Buena Vista solo albums is they provide a special opportunity to listen to these artist's pre-Buena Vista careers, which for the likes Compay or Ruben Gonzalez spans decades. The downside of course is these compilations can become more of an historical doent that does not necessarily flow from track to track. But "La Casa" is various -- recorded primarily in the 1990s this CD has a true single album feel, both in terms of its overall sound and content. Fortunately, there is also more dozens here than the aforementioned later solo projects, and even an oft-revisited piece like "El Cuarto de Tula" has more embellishments and spirit here, like they actually enjoyed playing it back in the day before it became an obligatory encore. So now that I relish this CD, I will have to go back and listen anew to those other Ochoa discs, and see if they match the fire of "La Casa."
Muy buen trabajo musical, los arreglos musicales respetan la escencia de las baladas y crean el swing musical de la salsa, la voz de Yiyo es excelente y llega en un buen momento donde escasean los cantantes de salsa, me gusto mucho la ver de QUEDATE en especial. Excelente ......!
Este disco tal vez haya marcado el comienzo de la consagración definitiva de Sandro. Por primera vez, en este disco Sandro ha dejado completamente de lado los "covers" y asumiendo los riesgos, ha incluido unicamente temas en los cuales él es coautor de los mismos junto con el inolvidable Oscar Anderle.El resultado fue un disco de leyenda, que incluye dos de sus más grandes éxitos de todos los tiempos: "Penumbras" y "Asi".Este trabajo tambien ha marcado una madurez interpretativa que hace la gran diferencia con respecto a los discos bien predominan las baladas con letras melodramáticas, queda en claro que Sandro no se ha olvidado completamente de sus raices rockeras. En efecto, "Yuma Yoe" y "Tengo" tienen alguna reminiscencia de sus primeros discos. También se destacan "Por algún camino", "Me amas y me dejas" y "París ante ti". Los acertados e impecables arreglos musicales a cargo de Jorge Lopez Ruiz han contribuido decisivamente al exito que ha significado en su momento el lanzamiento de este disco, y también de su siguiente album ("Sandro de America"). En suma, es uno de los mejores trabajos de Sandro que tal vez haya marcado el comienzo de su consagración. Vale la pena destacar que en Argentina, cuando este CD fue reeditado, se han incluido dos gift tracks: una ver del clásico de Tom Jones, "Dalila", que había aparecido en su momento unicamente en un EP, y una versión alternativa de "Me amas y me dejas". Sin dudas, una verdadera joya.
I gave this cd at least three full listenings before I decided to write this review, I had it in my cart for preorder for like a month before it even came out, since I am very fond of Pedrito Martinez's work. So, finally it arrived and while it is an entertaining listening experience, most songs sound just about the same. Same Cuban Rumba rhythm with typical claves and guagua vamps and Pedrito on the Quinto drum doing endless solo flourishes. Nothing wrong with that, and I do love Guaguanco and Rumba and Pedrito's method of playing, but for this cd I was kind of expecting more of a merger of both musical cultures. Which is why I am a small dissapointed with the cd, since when I saw that El Piraña, and Niño Josele were in the record I thought they would hit the jackpot, but no! The cd entertains but it fails to grab you or give you that sense of exitement that otherwise these fine musicians do. I have seen live three of these musicians and they are all awesome on their craft, but they didn't shine here. Hold in mind that Pedrito didn't major in Cante Hondo for this homage cd, just like Diego el Cigala didn't major in Boleros before he recorded with Bebo Valdez, may he rest in peace! Diego sang hondo, and Pedrito, he sings with the Guaguanco inflections. There's a few flourishes here and there of guitar and mainly violin, while tasteful, not quite flamenco from the violin. And the guitar, what can I say, just not enough guitar, and what is Flamenco without guitar, nothing! I guess maybe he kept the lyrics real to Camaron's but frankly I haven't bothered to go back and listen to Camaron's versions of these songs. There are a lot of "coros" typical of the rumba and timba rhythm that Pedrito plays and shines on, so I guess these are new, I doubt these coros are in the original songs. Ironically enough, the song I like the most is a Pedrito fresh composition paying homage to Camaron, it is the latest song in the album. So, buy it, and you may have fun it, although it will never create you feel like when you listened to "Lagrimas Negras" album by Diego and Bebo.
The combination of Cuban and Spanish rhythms works wonderfully well. Pedrito Martinez doesn't seem to have much of a voice, but nonetheless, his voice works perfectly. And the group is suberb; sounds like they're really having a amazing time. When Pedrito says, on track 8, Habla Josele! and the Spanish guitarist really lets loose, it's a terrific moment.
This is a solid set of salsa and latin jazz from Mexican-born bassist-composer-arranger Sirak Miguel Baloyan, who is currently a student at the Melody Conservatory in Puerto Rico, where this album was recorded. It's the classic "son" (salsa) sound of the 1970s, with touches of Cuban-style "descarga" jamming, and different Latin American styles in the mix. The Puerto Rican backing band is quite solid: if you like the style, this record will not disappoint you! (DJ Joe Sixpack, Slipcue melody reviews)
EXCELLENT THIS CD CONTAINS 8 CUBAN SONES IN CHARANGA RHYTHM,WITH THE PREDOMINANCE OFFLUTE AND VIOLIN,THAT FEELS LIKE IF YOU ARE IN THE TEMPLE OF E SONGS ARE:1)AQUI HAY UN HOMBRE GOZANDO2)TUMBA LA CANA3)ME GUSTA EL SON4)BILONGO5)CONSUELATE COMO YO6)SEBORUCO7)SABROSONA8)QUE ME DIGAN FEO
this group's charanga is hot... brings me to a night in el barrio, when my day is stuck in the office. or straight to La Rumba in El Viejo San Juan on saturday nights when stuck in the winter in america. This CD is a amazing choice for anyone interested in pushing their melody collection beyond the canon of La Fania and the now overplayed Buena Vista Social Club...
I had to come back and write a review of an album that has stayed with me for 22 years (omg has it been this long). This is by far Carlos Vives' best album, and by no mere chance. It is a selection of some of the best vallenatos of the 20th century, by some all-time amazing composers, modernized by Carlos Vives, and even today in 2016 this CD sounds fantastic! My CD collection has grown, and this has always stayed at the very top and after 22 years, I can say without doubt, that it always will. In my opinion the best album to ever come out of Colombia, for a lot of reasons. It's importance is unmeasurable. It place Colombian melody on the map, Carlos Vives will be remembered as the one who started it all, long before Shakira, Juanes, Bacilos, etc. This album is 6 stars in my book.
este cd de carlos vives rescata uno de los ritmos musicales colombianos ("vallenatos")a traves de una seleccion de los mejores temas de distintos se al cambio de ritmo y orquestacion, la adaptacion de Vives logra un formidable ritmo y encanto, sin que pierdan sus caracteristicas originales. No hay en este cd ningun tema que pueda juzgarse ni siquiera mediocre. El resultado es notable y permite descubrir y valorar un ritmo colombiano, que a partir de su primera audicion sera dificil que se despegue algun dia de una obra indispensable, para aquellos que gusten de ritmos diferentes bien tratados y una muestra del respeto que merece nuestra musica. De mis 400 cd de latinoamerica es uno de los dilectos.