Folk music: a selection of folk songs, ballads, dances, instrumental pieces, and folk tales of the United States and Latin America; catalog of phonograph records.

Cover title.

Near real time surface ocean velocity in the Bay of Biscay - Basque Country from Mai to September 2016

The data set consists of maps of total velocity of the surface current in the Southeastern Bay of Biscay averaged over a time interval of 1 hour around the cardinal hour. Surface ocean velocities estimated by this HF Radar(4.65 MHz) are representative of the upper 2-3 meters of the ocean. The main objective of near real time processing is to produce the best product from available data at the time of processing. Total velocities are derived using least square fit that maps radial velocities measured from individual sites onto a cartesian grid. The final product is a map of the horizontal components of the ocean currents on a regular grid in the area of overlap of two or more radar stations.

Assessment of positive parenting programmes in the Autonomous Region of the Basque Country (Spain)

This paper presents the results of a study aimed at identifying and assessing positive parenting programmes and activities carried out in the Autonomous Region of the Basque Country (ARBC), Spain. The study is a development of the III Inter-institutional Family Support Plan (2011), drafted by the Basque Government's Department of Family Policy and Community Development, and its aim is to offer a series of sound criteria for improving existing programmes and ensuring the correct design and implementation of new ones in the future. It analyses 129 programmes and gathers data relative to institutional management and coordination, format, quality of the established aims, adaptation to the theoretical proposal for an Optimal Positive Parenting Curriculum, scientific base, use of the framework of reference for competences, working method, assessment techniques, budgets and publicity, among others. The results highlight the good quality of the programmes' aims and content, and the poor systematic assessment of these same aspects. The study concludes with a series of recommendations for improving the initiatives, integrated into a proposal for a system of indicators to assess and implement positive parenting programmes.

Traditional part-time grazing: a more sustainable sheep milk and cheese production in the Basque Country

[EN] The concept of sustainability when referring to food production rests, in general, on 3 main aspects: 1) respect for the environment; 2) economic and social benefits for all involved in production; and 3) production of sufficient quantity of quality food at an accessible price. In this contribution we focus on the main aspects of the traditional sheep's milk and cheese production (under the Denomination of Origin Idiazabal Cheese) in the Basque Country that contribute primarily to its sustainability. It is based on the local latxa or carranzana breeds of sheep, adapted to the mountainous terrain. The sheepherder takes advantage of local resources to reduce management costs by combining indoor dry forage and concentrates with outdoor grazing throughout lactation, according to local pasture availability, and thus avoiding having to buy large amounts of feed. This system facilitates recycling of manure, fertilising pastures and forest at the same time. Use of local breeds helps maintain biodiversity of sheep breeds. Cheese is produced industrially (44.5% of the total cheese produced in 2008) from milk of many flocks, or artisanally (38.3%) by the sheepherders with the milk from their own flocks. Transforming their own milk into cheese is advantageous for the following reasons: 1) higher economic returns as compared to selling the milk to cheese factories because cheese price directly sold to consumers is more competitive than industrial cheese sold in supermarkets; 2) increases the value of women's work (over 80% of the cheese makers are women) in the community and their self-esteem; 3) it creates rural jobs and contributes to rural development; 4) we have demonstrated both with experimental and commercial flocks that part-time grazing allows the sheepherder to obtain high yields of milk, and cheese, of high nutritional and functional quality. Currently a less sustainable, intensive sheep's milk production with foreign, imported breeds kept indoors constantly is gaining favour among milk producers because of its perceived higher economic profitability.

Canto em marcha: música folk e direitos civis nos Estados Unidos (1945-1960)

Pós-graduação em História - FCHS

“In The Good Old Days of Long Ago": Echoes of Vaudeville and Minstrelsy in the Music of Uncle Dave Macon

Uncle Dave Macon provided an essential link between nineteenth-century, urban popular stage music (especially the minstrel show and vaudeville) and commercialized country music of the 1920s. He preserved through his recordings a large body of songs and banjo techniques that had their origins in urban-based, nineteenth-century vaudeville and minstrelsy. Like the minstrel and vaudeville performers of the nineteenth century, Macon told jokes and stories, employed attention-grabbing stage gimmicks, marketed himself with boastful or outrageous slogans, and dressed with individual flair. At the same time, Macon incorporated many features from the rural-based folk music of Middle Tennessee. Overall, Macon’s repertoire, musical style, and stage persona (which included elements of the rube, country gentleman, and old man) demonstrated his deep absorption, and subsequent reinterpretation, of nineteenth-century musical traditions. Macon’s career offers a case study in how nineteenth-century performance styles, repertoire, and stage practices became a part of country music in the 1920s. As an artist steeped in two separate, but overlapping, types of nineteenth-century music—stage and folk—Macon was well-positioned to influence the development of the new commercial genre. He brought together several strains of nineteenth-century music to form a modern, twentieth-century musical product ideally suited to the new mass media of records, radio, and film. By tracing Macon’s career and studying his music, we can observe how the cross-currents of rural and popular entertainment during the nineteenth and early twentieth centuries interacted to form the commercial genre we now know as country music.

Risk of type 2 diabetes according to traditional and emerging anthropometric indices in Spain, a Mediterranean country with high prevalence of obesity: results from a large-scale prospective cohort study.

Background: Obesity is a major risk factor for type 2 diabetes mellitus (T2DM). A proper anthropometric characterisation of T2DM risk is essential for disease prevention and clinical risk assessement. Methods: Longitudinal study in 37 733 participants (63% women) of the Spanish EPIC (European Prospective Investigation into Cancer and Nutrition) cohort without prevalent diabetes. Detailed questionnaire information was collected at baseline and anthropometric data gathered following standard procedures. A total of 2513 verified incident T2DM cases occurred after 12.1 years of mean follow-up. Multivariable Cox regression was used to calculate hazard ratios of T2DM by levels of anthropometric variables. Results: Overall and central obesity were independently associated with T2DM risk. BMI showed the strongest association with T2DM in men whereas waist-related indices were stronger independent predictors in women. Waist-to-height ratio revealed the largest area under the ROC curve in men and women, with optimal cut-offs at 0.60 and 0.58, respectively. The most discriminative waist circumference (WC) cut-off values were 99.4 cm in men and 90.4 cm in women. Absolute risk of T2DM was higher in men than women for any combination of age, BMI and WC categories, and remained low in normal-waist women. The population risk of T2DM attributable to obesity was 17% in men and 31% in women. Conclusions: Diabetes risk was associated with higher overall and central obesity indices even at normal BMI and WC values. The measurement of waist circumference in the clinical setting is strongly recommended for the evaluation of future T2DM risk in women.

The analysis of the framing processes of the Basque peace movement: The way Lokarri and Gesto por la Paz changed society

During more than 20 years organisations like Gesto por la Paz and Lokarri had been trying to change the social approach to violence, instilling values of peace and dialogue. This working paper defends the idea that the work of these two organisations is key to understand the end of ETA violence and the lack of support that political violence has in the Basque Country. It develops the Basque peace frame generated by this movement and explains how this frame is present in the different levels of Basque society, changing the way political collective identities are negotiated in the Basque Country. Ultimately, their effort is to propose another way of doing politics, one where nationalism and violence are not intrinsically united, escaping from the polarization and confrontation that were in place during the 80s-90s.

L'autre Basque

Le nationalisme basque est apparu voilà maintenant deux siècles, cependant, il ne connait un retentissement mondial que depuis environ cinquante ans avec la création de l’ETA (Euskadi Ta Askatasuna, Pays basque Et Liberté). Fondée pour combattre le régime franquiste, cette organisation est aujourd’hui considérée comme un groupe terroriste par l’ensemble de la communauté internationale. L’organisation va être, toutefois, à la base d’une prise de conscience nationale basque sur la question de l’appartenance à un même peuple et, aujourd’hui, la lutte pour l’autodétermination du Pays basque fait écho tant sur le territoire espagnol que français. Ce mouvement nationaliste, bien qu’indissociable entre le sud et le nord, prendra tout de même des modes d’expression différents même si le nationalisme basque restera toujours rattachée à une violence politique. Le présent terrain de recherche a alors permis de récolter les « perceptions subjectives » de la population basque sur cette violence politique et ainsi, de dégager une violence de la part des Etats espagnol et français. Cette violence d’Etat est principalement caractérisée par une violence symbolique mais elle ira parfois jusqu’à une violence physique. Ainsi, bien plus que les contextes historiques et institutionnels distincts des Etats espagnol et français, c’est la violence disparate des ces deux Etats qui est le facteur de distinction de la violence nationaliste constatée sur le territoire français et espagnol.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Exhibit: "Michigan-I-O": Alan Lomax and the 1938 Library of Congress Folk-Song Expedition"

In 1938, a young folk music collector named Alan Lomax—destined to become one of the legendary folklorists of the 20th century recorded Michigan’s richly varied folk music traditions for the Archive of American Folk-Song at the Library of Congress. Michigan in the 1930s was experiencing a golden age of folksong collecting, as local folklorists mined the trove of ballads remembered by aging lumbermen and Great Lakes schoonermen. In addition to the ballads of these north woods singers, Lomax recorded a vibrant mix of ethnic music from Detroit to the western Upper Peninsula. The multimedia performance event Folksongs from Michigan-i-o combines live performance with historic images, color movie footage, and recorded sound from the Great Depression. Some of these materials haven’t been heard or seen by the general public for more than seven decades. The traveling exhibition Michigan Folksong Legacy: Grand Discoveries from the Great Depression brings Alan Lomax’s 1938 field trip to life through words, song lyrics, photographs, and sound recordings. Ten interpretive banners explore themes and each panel contains a QR code that links to related sound recordings from the Alan Lomax Collection at the American Folklife Center, Library of Congress.

Exhibit: "Michigan-I-O": Alan Lomax and the 1938 Library of Congress Folk-Song Expedition"

In 1938, a young folk music collector named Alan Lomax—destined to become one of the legendary folklorists of the 20th century recorded Michigan’s richly varied folk music traditions for the Archive of American Folk-Song at the Library of Congress. Michigan in the 1930s was experiencing a golden age of folksong collecting, as local folklorists mined the trove of ballads remembered by aging lumbermen and Great Lakes schoonermen. In addition to the ballads of these north woods singers, Lomax recorded a vibrant mix of ethnic music from Detroit to the western Upper Peninsula. The multimedia performance event Folksongs from Michigan-i-o combines live performance with historic images, color movie footage, and recorded sound from the Great Depression. Some of these materials haven’t been heard or seen by the general public for more than seven decades. The traveling exhibition Michigan Folksong Legacy: Grand Discoveries from the Great Depression brings Alan Lomax’s 1938 field trip to life through words, song lyrics, photographs, and sound recordings. Ten interpretive banners explore themes and each panel contains a QR code that links to related sound recordings from the Alan Lomax Collection at the American Folklife Center, Library of Congress.

Exhibit: "Michigan-I-O": Alan Lomax and the 1938 Library of Congress Folk-Song Expedition

In 1938, a young folk music collector named Alan Lomax—destined to become one of the legendary folklorists of the 20th century recorded Michigan’s richly varied folk music traditions for the Archive of American Folk-Song at the Library of Congress. Michigan in the 1930s was experiencing a golden age of folksong collecting, as local folklorists mined the trove of ballads remembered by aging lumbermen and Great Lakes schoonermen. In addition to the ballads of these north woods singers, Lomax recorded a vibrant mix of ethnic music from Detroit to the western Upper Peninsula. The multimedia performance event Folksongs from Michigan-i-o combines live performance with historic images, color movie footage, and recorded sound from the Great Depression. Some of these materials haven’t been heard or seen by the general public for more than seven decades. The traveling exhibition Michigan Folksong Legacy: Grand Discoveries from the Great Depression brings Alan Lomax’s 1938 field trip to life through words, song lyrics, photographs, and sound recordings. Ten interpretive banners explore themes and each panel contains a QR code that links to related sound recordings from the Alan Lomax Collection at the American Folklife Center, Library of Congress.

Blue Ridge Music Center, Blue Ridge Parkway, North Carolina, Virginia : interpretive plan.

"NPS D-415"-- P. [3] of cover.