The Represas bagpipe saga: historical contextualisation, musical analysis and cultural project.
Authorship
B.R.A.
Master in Cultural Services (3ªed)
B.R.A.
Master in Cultural Services (3ªed)
Defense date
02.19.2024 16:30
02.19.2024 16:30
Summary
The gaitas Represas, from the parish of Xinzo de Ponteareas (Pontevedra), were made by four brothers: Antonio, Jesús, José and Jesumino. These four personalities were born into a very humble family but they made history because they managed to become a distinguished artisan workshop in the world of the Galician folk bagpipes. This distinction was earned thanks to their good work. Moreover, according to several testimonies, they were able to create instruments with low cost resources but with great timbre quality. It is worth noting that the four brothers lacked much academic musical knowledge, although they were part of the musicians of the first Banda de Música de Xinzo (parish of Ponteareas). The first-born son, Antonio, became deputy director of this group and composed his own bagpipe pieces. Currently, some of these compositions by Antonio, O Marreco are part of the programme of the Conservatorio Superior de Música de Vigo, specialising in traditional music. Finally, the focus of my dissertation will be based on three pillars: historical contextualisation of the life and work of these artisans, study and analysis of the musical compositions found by O Marreco and description of a cultural project in homage to the four of them.
The gaitas Represas, from the parish of Xinzo de Ponteareas (Pontevedra), were made by four brothers: Antonio, Jesús, José and Jesumino. These four personalities were born into a very humble family but they made history because they managed to become a distinguished artisan workshop in the world of the Galician folk bagpipes. This distinction was earned thanks to their good work. Moreover, according to several testimonies, they were able to create instruments with low cost resources but with great timbre quality. It is worth noting that the four brothers lacked much academic musical knowledge, although they were part of the musicians of the first Banda de Música de Xinzo (parish of Ponteareas). The first-born son, Antonio, became deputy director of this group and composed his own bagpipe pieces. Currently, some of these compositions by Antonio, O Marreco are part of the programme of the Conservatorio Superior de Música de Vigo, specialising in traditional music. Finally, the focus of my dissertation will be based on three pillars: historical contextualisation of the life and work of these artisans, study and analysis of the musical compositions found by O Marreco and description of a cultural project in homage to the four of them.
Direction
Silva Dominguez, M Carme (Tutorships)
Silva Dominguez, M Carme (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
The Represas bagpipe saga: historical contextualisation, musical analysis and cultural project.
Authorship
B.R.A.
Master in Cultural Services (3ªed)
B.R.A.
Master in Cultural Services (3ªed)
Defense date
02.19.2024 16:30
02.19.2024 16:30
Summary
The gaitas Represas, from the parish of Xinzo de Ponteareas (Pontevedra), were made by four brothers: Antonio, Jesús, José and Jesumino. These four personalities were born into a very humble family but they made history because they managed to become a distinguished artisan workshop in the world of the Galician folk bagpipes. This distinction was earned thanks to their good work. Moreover, according to several testimonies, they were able to create instruments with low cost resources but with great timbre quality. It is worth noting that the four brothers lacked much academic musical knowledge, although they were part of the musicians of the first Banda de Música de Xinzo (parish of Ponteareas). The first-born son, Antonio, became deputy director of this group and composed his own bagpipe pieces. Currently, some of these compositions by Antonio, O Marreco are part of the programme of the Conservatorio Superior de Música de Vigo, specialising in traditional music. Finally, the focus of my dissertation will be based on three pillars: historical contextualisation of the life and work of these artisans, study and analysis of the musical compositions found by O Marreco and description of a cultural project in homage to the four of them.
The gaitas Represas, from the parish of Xinzo de Ponteareas (Pontevedra), were made by four brothers: Antonio, Jesús, José and Jesumino. These four personalities were born into a very humble family but they made history because they managed to become a distinguished artisan workshop in the world of the Galician folk bagpipes. This distinction was earned thanks to their good work. Moreover, according to several testimonies, they were able to create instruments with low cost resources but with great timbre quality. It is worth noting that the four brothers lacked much academic musical knowledge, although they were part of the musicians of the first Banda de Música de Xinzo (parish of Ponteareas). The first-born son, Antonio, became deputy director of this group and composed his own bagpipe pieces. Currently, some of these compositions by Antonio, O Marreco are part of the programme of the Conservatorio Superior de Música de Vigo, specialising in traditional music. Finally, the focus of my dissertation will be based on three pillars: historical contextualisation of the life and work of these artisans, study and analysis of the musical compositions found by O Marreco and description of a cultural project in homage to the four of them.
Direction
Silva Dominguez, M Carme (Tutorships)
Silva Dominguez, M Carme (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
Memories overseas: proposal for the valorization of architectural heritage in Viveiro
Authorship
I.L.B.
Master in Cultural Services (3ªed)
I.L.B.
Master in Cultural Services (3ªed)
Defense date
09.18.2024 16:30
09.18.2024 16:30
Summary
The present work focuses on the domestic indian architecture in the city of Viveiro and its importance as a witness to Galician emigration. Transoceanic journeys brought with them new experiences and cultures, allowing returning Galicians to build houses with unique characteristics that became symbols of modern local architecture. This study reflects on cultural proposals for the enhancement of this heritage to ensure its longevity and strengthen commitments to the recovery of memory.
The present work focuses on the domestic indian architecture in the city of Viveiro and its importance as a witness to Galician emigration. Transoceanic journeys brought with them new experiences and cultures, allowing returning Galicians to build houses with unique characteristics that became symbols of modern local architecture. This study reflects on cultural proposals for the enhancement of this heritage to ensure its longevity and strengthen commitments to the recovery of memory.
Direction
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
Bronzed eagles, brazen lions, and ambivalent snakes: the discourses of the “new radical right” of Donald Trump in the United States and Javier Milei in Argentina
Authorship
C.B.M.
Master in Cultural Services (3ªed)
C.B.M.
Master in Cultural Services (3ªed)
Defense date
09.12.2024 16:00
09.12.2024 16:00
Summary
We aim to conduct a linguistic investigation of the discourse of emerging right wing movements in the last decade, focusing on two particular figures: Donald Trump in the United States and Javier Milei in Argentina. First, we will aim to carry out a semiotic analysis based on the symbolism, iconography, and colors these groups use and how they contribute to their narrative. Additionally, we will conduct an analysis of the actors and audience to identify both how neoliberal right wing movements construct and present themselves and how they address their audiences and the types of responses they aim to elicit. In the same vein, and centrally, we will attempt an analysis of their narratives and the use of metaphors in constructing meaning: how they discursively outline their political enemies based on a pre existing imaginary (which has been and continues to be fertile ground for frustrations, fears, and resentments) using hyperboles and metaphors largely related to the animal world. We will establish the differences in how their respective and different audiences are co opted according to their contexts: the xenophobic American right wing presents itself as perhaps an extreme but natural consequence of the prevailing ideology (from the meritocratic country of do it yourself and self made men), while in Argentina, the far right reemerges as a consequence of the end of a populist movement cycle that has led to a population exhausted by the economic strain of hyperinflations. To this end, we will outline a brief historical and social contextualization to understand the global framework of fear in which these discourses emerge. We also propose to analyze the depictions of masculinity by both candidates: orthodox, white, American, and even kitsch in the case of Trump, who holds a calm power above good and evil, versus the almost performative exaggeration of the Argentine candidate who combines formal suits with a punk tinged exaltation that admires and praises the absence of American social policies. We will also attempt to cover how the press has evolved in its presentation of these figures, using sources such as journalistic articles, political party websites with their respective electoral programs, proposals, and statements, videos of candidate interviews, among others.
We aim to conduct a linguistic investigation of the discourse of emerging right wing movements in the last decade, focusing on two particular figures: Donald Trump in the United States and Javier Milei in Argentina. First, we will aim to carry out a semiotic analysis based on the symbolism, iconography, and colors these groups use and how they contribute to their narrative. Additionally, we will conduct an analysis of the actors and audience to identify both how neoliberal right wing movements construct and present themselves and how they address their audiences and the types of responses they aim to elicit. In the same vein, and centrally, we will attempt an analysis of their narratives and the use of metaphors in constructing meaning: how they discursively outline their political enemies based on a pre existing imaginary (which has been and continues to be fertile ground for frustrations, fears, and resentments) using hyperboles and metaphors largely related to the animal world. We will establish the differences in how their respective and different audiences are co opted according to their contexts: the xenophobic American right wing presents itself as perhaps an extreme but natural consequence of the prevailing ideology (from the meritocratic country of do it yourself and self made men), while in Argentina, the far right reemerges as a consequence of the end of a populist movement cycle that has led to a population exhausted by the economic strain of hyperinflations. To this end, we will outline a brief historical and social contextualization to understand the global framework of fear in which these discourses emerge. We also propose to analyze the depictions of masculinity by both candidates: orthodox, white, American, and even kitsch in the case of Trump, who holds a calm power above good and evil, versus the almost performative exaggeration of the Argentine candidate who combines formal suits with a punk tinged exaltation that admires and praises the absence of American social policies. We will also attempt to cover how the press has evolved in its presentation of these figures, using sources such as journalistic articles, political party websites with their respective electoral programs, proposals, and statements, videos of candidate interviews, among others.
Direction
Silva Dominguez, M Carme (Tutorships)
Silva Dominguez, M Carme (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
González Pereira, Miguel (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
González Pereira, Miguel (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
Barefoot dancers. Exhibition project on the pioneers of modern dance in Spain.
Authorship
A.B.F.L.
Master in Cultural Services (3ªed)
A.B.F.L.
Master in Cultural Services (3ªed)
Defense date
09.12.2024 18:30
09.12.2024 18:30
Summary
Barefoot dancers, whose title refers to the nickname with which Rubén Darío baptized Tórtola Valencia, is a proposal for a traveling exhibition that promotes the role of women pioneers of modern dance in Spain. Modern dance is a genre that embodied modernist ideals in the late 19th and early 20th centuries, whose artists challenged the artificiality of classical ballet, which dominated the Western scene at that time. On the contrary, they were looking for a “natural” and “free” movement with which to achieve freedom of the mind through freedom of the body. Thus, the representatives of this dance genre became aesthetic and social symbols of change, in line with the feminist movements of the time. The exhibition will offer different scenarios combining traditional elements (photographs, posters, costumes, etc.) and audiovisual resources, to publicize the contributions of personalities as Tórtola Valencia, Àurea de Sarrà or Charito Delhor. Jointly, it will offer guided tours and complementary activities where visitors can experience dance through different dance and musical proposals. The main objective of the project is to vindicate the role of these women who were pioneers in the change in the conception of dance in Spain. Other objectives are: to disseminate the history of dancers and choreographers; promote contemporary dance; bring the performing arts closer as a cultural and leisure alternative; make known the life of women at the turn of the century and fight against the stereotype of women in dance as an object of entertainment.
Barefoot dancers, whose title refers to the nickname with which Rubén Darío baptized Tórtola Valencia, is a proposal for a traveling exhibition that promotes the role of women pioneers of modern dance in Spain. Modern dance is a genre that embodied modernist ideals in the late 19th and early 20th centuries, whose artists challenged the artificiality of classical ballet, which dominated the Western scene at that time. On the contrary, they were looking for a “natural” and “free” movement with which to achieve freedom of the mind through freedom of the body. Thus, the representatives of this dance genre became aesthetic and social symbols of change, in line with the feminist movements of the time. The exhibition will offer different scenarios combining traditional elements (photographs, posters, costumes, etc.) and audiovisual resources, to publicize the contributions of personalities as Tórtola Valencia, Àurea de Sarrà or Charito Delhor. Jointly, it will offer guided tours and complementary activities where visitors can experience dance through different dance and musical proposals. The main objective of the project is to vindicate the role of these women who were pioneers in the change in the conception of dance in Spain. Other objectives are: to disseminate the history of dancers and choreographers; promote contemporary dance; bring the performing arts closer as a cultural and leisure alternative; make known the life of women at the turn of the century and fight against the stereotype of women in dance as an object of entertainment.
Direction
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
González Pereira, Miguel (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
González Pereira, Miguel (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
Between Francoism and the New Right. An approach to VOX's hate speeches around migration, gender sexuality and rurality.
Authorship
D.M.W.
Master in Cultural Services (3ªed)
D.M.W.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 18:30
07.16.2024 18:30
Summary
This Master's Final Project (TFM, by the acronym in Spanish) aims to trace the physiognomy and genealogy of the principal hate speeches of the Spanish far-right political party VOX, as well as answer the question of whether it is a novel phenomenon of the new right or if it is a reconversion of the legacies of the Franco regime. An introduction will be made about the formation of this party, as well as its transformations in the period 2015 and 2019, in which they combine the opposition to Catalan autonomy, the conservative response to the migratory influx, the rise of other far-right European parties, Trump's seizure of presidential power and the COVID 19 pandemic. To do this, we focus on three objectives that drive the research: Deconstruct the narrative about immigrants, which finds a series of similarities with the conspiratorial thinking of the 'Great Replacement', which was revitalized with the media coverage of movements from North African and Arab Muslim countries around 2015, through maritime routes in the Mediterranean Sea. Problematize its heteropatriarchal reading, whose conception of gender and sexuality has been a constant due to Catholic influence, but which has approached a transnational discourse of 'gender ideology', whose core is found in Latin American anti-feminist groups such as the hashtag Do not mess with my children (Conmishijosnotemetas). Unravel the construction of the 'rural' as a disputed empty signifier, which took the discourses of the Franco regime about the cities and transformed it into part of a cultural battle for symbols associated with the 'traditional', whose counterpart is to expel from that field semantic to everything that does not fall into its nationalist and heteropatriarchal vision, which is related to the two previous items. Among the primary sources to be used are political speeches, electoral programs and media coverage about and from VOX. On the other hand, for the necessary contextualization and comparison with other movements, specialized secondary bibliography in English, Spanish, Portuguese and French will be used.
This Master's Final Project (TFM, by the acronym in Spanish) aims to trace the physiognomy and genealogy of the principal hate speeches of the Spanish far-right political party VOX, as well as answer the question of whether it is a novel phenomenon of the new right or if it is a reconversion of the legacies of the Franco regime. An introduction will be made about the formation of this party, as well as its transformations in the period 2015 and 2019, in which they combine the opposition to Catalan autonomy, the conservative response to the migratory influx, the rise of other far-right European parties, Trump's seizure of presidential power and the COVID 19 pandemic. To do this, we focus on three objectives that drive the research: Deconstruct the narrative about immigrants, which finds a series of similarities with the conspiratorial thinking of the 'Great Replacement', which was revitalized with the media coverage of movements from North African and Arab Muslim countries around 2015, through maritime routes in the Mediterranean Sea. Problematize its heteropatriarchal reading, whose conception of gender and sexuality has been a constant due to Catholic influence, but which has approached a transnational discourse of 'gender ideology', whose core is found in Latin American anti-feminist groups such as the hashtag Do not mess with my children (Conmishijosnotemetas). Unravel the construction of the 'rural' as a disputed empty signifier, which took the discourses of the Franco regime about the cities and transformed it into part of a cultural battle for symbols associated with the 'traditional', whose counterpart is to expel from that field semantic to everything that does not fall into its nationalist and heteropatriarchal vision, which is related to the two previous items. Among the primary sources to be used are political speeches, electoral programs and media coverage about and from VOX. On the other hand, for the necessary contextualization and comparison with other movements, specialized secondary bibliography in English, Spanish, Portuguese and French will be used.
Direction
CABANA IGLESIA, ANA (Tutorships)
CABANA IGLESIA, ANA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
Between Francoism and the New Right. An approach to VOX's hate speeches around migration, gender sexuality and rurality.
Authorship
D.M.W.
Master in Cultural Services (3ªed)
D.M.W.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 18:30
07.16.2024 18:30
Summary
This Master's Final Project (TFM, by the acronym in Spanish) aims to trace the physiognomy and genealogy of the principal hate speeches of the Spanish far-right political party VOX, as well as answer the question of whether it is a novel phenomenon of the new right or if it is a reconversion of the legacies of the Franco regime. An introduction will be made about the formation of this party, as well as its transformations in the period 2015 and 2019, in which they combine the opposition to Catalan autonomy, the conservative response to the migratory influx, the rise of other far-right European parties, Trump's seizure of presidential power and the COVID 19 pandemic. To do this, we focus on three objectives that drive the research: Deconstruct the narrative about immigrants, which finds a series of similarities with the conspiratorial thinking of the 'Great Replacement', which was revitalized with the media coverage of movements from North African and Arab Muslim countries around 2015, through maritime routes in the Mediterranean Sea. Problematize its heteropatriarchal reading, whose conception of gender and sexuality has been a constant due to Catholic influence, but which has approached a transnational discourse of 'gender ideology', whose core is found in Latin American anti-feminist groups such as the hashtag Do not mess with my children (Conmishijosnotemetas). Unravel the construction of the 'rural' as a disputed empty signifier, which took the discourses of the Franco regime about the cities and transformed it into part of a cultural battle for symbols associated with the 'traditional', whose counterpart is to expel from that field semantic to everything that does not fall into its nationalist and heteropatriarchal vision, which is related to the two previous items. Among the primary sources to be used are political speeches, electoral programs and media coverage about and from VOX. On the other hand, for the necessary contextualization and comparison with other movements, specialized secondary bibliography in English, Spanish, Portuguese and French will be used.
This Master's Final Project (TFM, by the acronym in Spanish) aims to trace the physiognomy and genealogy of the principal hate speeches of the Spanish far-right political party VOX, as well as answer the question of whether it is a novel phenomenon of the new right or if it is a reconversion of the legacies of the Franco regime. An introduction will be made about the formation of this party, as well as its transformations in the period 2015 and 2019, in which they combine the opposition to Catalan autonomy, the conservative response to the migratory influx, the rise of other far-right European parties, Trump's seizure of presidential power and the COVID 19 pandemic. To do this, we focus on three objectives that drive the research: Deconstruct the narrative about immigrants, which finds a series of similarities with the conspiratorial thinking of the 'Great Replacement', which was revitalized with the media coverage of movements from North African and Arab Muslim countries around 2015, through maritime routes in the Mediterranean Sea. Problematize its heteropatriarchal reading, whose conception of gender and sexuality has been a constant due to Catholic influence, but which has approached a transnational discourse of 'gender ideology', whose core is found in Latin American anti-feminist groups such as the hashtag Do not mess with my children (Conmishijosnotemetas). Unravel the construction of the 'rural' as a disputed empty signifier, which took the discourses of the Franco regime about the cities and transformed it into part of a cultural battle for symbols associated with the 'traditional', whose counterpart is to expel from that field semantic to everything that does not fall into its nationalist and heteropatriarchal vision, which is related to the two previous items. Among the primary sources to be used are political speeches, electoral programs and media coverage about and from VOX. On the other hand, for the necessary contextualization and comparison with other movements, specialized secondary bibliography in English, Spanish, Portuguese and French will be used.
Direction
CABANA IGLESIA, ANA (Tutorships)
CABANA IGLESIA, ANA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
Economic and Sociocultural Impact of Rock Music Festivals: Review of Evaluation Methods and Case Study of the Caudal Fest
Authorship
M.A.F.G.
Master in Cultural Services (3ªed)
M.A.F.G.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 16:00
07.16.2024 16:00
Summary
This master's thesis studies different methods for evaluating the impact of music festivals. It focuses on the study of methodologies that globally analyze the reality of music festivals. After the bibliographic review and the theoretical analysis of three methodologies of these characteristics, we proceed to the case study of the Caudal Fest, in which the application of the 360o methodology (one of the methodologies analyzed) in the report prepared by FEST Galicia is analyzed in 2019 and interviews are carried out to find out how the different stakeholders use the impact evaluation reports to know the return on their sponsorship or investment. The results show different particularities of each methodology analyzed or that the most measured impact by stakeholders is the communicative impact, since the main form of collaboration is advertising sponsorship.
This master's thesis studies different methods for evaluating the impact of music festivals. It focuses on the study of methodologies that globally analyze the reality of music festivals. After the bibliographic review and the theoretical analysis of three methodologies of these characteristics, we proceed to the case study of the Caudal Fest, in which the application of the 360o methodology (one of the methodologies analyzed) in the report prepared by FEST Galicia is analyzed in 2019 and interviews are carried out to find out how the different stakeholders use the impact evaluation reports to know the return on their sponsorship or investment. The results show different particularities of each methodology analyzed or that the most measured impact by stakeholders is the communicative impact, since the main form of collaboration is advertising sponsorship.
Direction
BANDE RAMUDO, ROBERTO (Tutorships)
BANDE RAMUDO, ROBERTO (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
Economic and Sociocultural Impact of Rock Music Festivals: Review of Evaluation Methods and Case Study of the Caudal Fest
Authorship
M.A.F.G.
Master in Cultural Services (3ªed)
M.A.F.G.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 16:00
07.16.2024 16:00
Summary
This master's thesis studies different methods for evaluating the impact of music festivals. It focuses on the study of methodologies that globally analyze the reality of music festivals. After the bibliographic review and the theoretical analysis of three methodologies of these characteristics, we proceed to the case study of the Caudal Fest, in which the application of the 360o methodology (one of the methodologies analyzed) in the report prepared by FEST Galicia is analyzed in 2019 and interviews are carried out to find out how the different stakeholders use the impact evaluation reports to know the return on their sponsorship or investment. The results show different particularities of each methodology analyzed or that the most measured impact by stakeholders is the communicative impact, since the main form of collaboration is advertising sponsorship.
This master's thesis studies different methods for evaluating the impact of music festivals. It focuses on the study of methodologies that globally analyze the reality of music festivals. After the bibliographic review and the theoretical analysis of three methodologies of these characteristics, we proceed to the case study of the Caudal Fest, in which the application of the 360o methodology (one of the methodologies analyzed) in the report prepared by FEST Galicia is analyzed in 2019 and interviews are carried out to find out how the different stakeholders use the impact evaluation reports to know the return on their sponsorship or investment. The results show different particularities of each methodology analyzed or that the most measured impact by stakeholders is the communicative impact, since the main form of collaboration is advertising sponsorship.
Direction
BANDE RAMUDO, ROBERTO (Tutorships)
BANDE RAMUDO, ROBERTO (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
Social media as a tool for promoting classical music
Authorship
A.C.G.
Master in Cultural Services (3ªed)
A.C.G.
Master in Cultural Services (3ªed)
Defense date
09.12.2024 17:15
09.12.2024 17:15
Summary
Classical music remains relevant in the contemporary world, despite the evolution of the music industry and current public tastes. The genre represents an important part of the cultural and musical heritage of various societies. Although it may not occupy the same space in popular culture as other styles, classical music has resisted the test of time and continues to be appreciated and enjoyed by the people of all ages all over the world. With the evolution of technology and the way people consume content, social media offers new opportunities to reach wider and more diversified audiences. This new form of communication has changed the way culture is promoted and consumed. Different entities use online platforms to increase their visibility, share engaging visual content that can attract younger audiences and connect directly with the public. Live streaming of concerts and interaction with fans through surveys and questions encourage participation. In addition, social media facilities music education, collaboration with other artists, promotion of events and preservation of musical heritage, allowing global reach to break down traditional geographical barriers.
Classical music remains relevant in the contemporary world, despite the evolution of the music industry and current public tastes. The genre represents an important part of the cultural and musical heritage of various societies. Although it may not occupy the same space in popular culture as other styles, classical music has resisted the test of time and continues to be appreciated and enjoyed by the people of all ages all over the world. With the evolution of technology and the way people consume content, social media offers new opportunities to reach wider and more diversified audiences. This new form of communication has changed the way culture is promoted and consumed. Different entities use online platforms to increase their visibility, share engaging visual content that can attract younger audiences and connect directly with the public. Live streaming of concerts and interaction with fans through surveys and questions encourage participation. In addition, social media facilities music education, collaboration with other artists, promotion of events and preservation of musical heritage, allowing global reach to break down traditional geographical barriers.
Direction
Silva Dominguez, M Carme (Tutorships)
Silva Dominguez, M Carme (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
González Pereira, Miguel (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
González Pereira, Miguel (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
Intergenerational relationships on rural environment through the music and the language. A cultural project in Visantoña's music school
Authorship
U.G.C.
Master in Cultural Services (3ªed)
U.G.C.
Master in Cultural Services (3ªed)
Defense date
07.15.2024 11:15
07.15.2024 11:15
Summary
Galician society has changed in recent times and with it the intergenerational relationships. Even with deep separations, the rural environment remains, through the old people, the grandfathers and grandmothers, as the main preserver of tradition and identity, mainly through language and music. The aim of this work is to design and develop a multidisciplinary cultural project in the context of the Visantoña music school. The project is based on previous research into the relationships between generations and their role in cultural transmission. Through it, we intend to contribute to the understanding, maintenance and reinforcement of the links between generations. In this way, the work will consist of two fundamental parts: the research, in which a bibliographical review of the issues to be addressed will be carried out; and the development of the cultural project in the music school, which will consist of a process based on the collection of information about the elderly by the students. Through the work of collection, materials will be obtained that will be readapted to be used by the students through small theatre plays and simple music. In this way, interrelationships will be strengthened and both parts, adults and children, will play an active role in the process.
Galician society has changed in recent times and with it the intergenerational relationships. Even with deep separations, the rural environment remains, through the old people, the grandfathers and grandmothers, as the main preserver of tradition and identity, mainly through language and music. The aim of this work is to design and develop a multidisciplinary cultural project in the context of the Visantoña music school. The project is based on previous research into the relationships between generations and their role in cultural transmission. Through it, we intend to contribute to the understanding, maintenance and reinforcement of the links between generations. In this way, the work will consist of two fundamental parts: the research, in which a bibliographical review of the issues to be addressed will be carried out; and the development of the cultural project in the music school, which will consist of a process based on the collection of information about the elderly by the students. Through the work of collection, materials will be obtained that will be readapted to be used by the students through small theatre plays and simple music. In this way, interrelationships will be strengthened and both parts, adults and children, will play an active role in the process.
Direction
DIAZ GEADA, ALBA (Tutorships)
DIAZ GEADA, ALBA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
Scene versus life: pop culture and historical reality from the perspective of critical theory
Authorship
A.B.V.
Master in Cultural Services (3ªed)
A.B.V.
Master in Cultural Services (3ªed)
Defense date
07.12.2024 10:00
07.12.2024 10:00
Summary
Kurt Cobain's death -still mourned by many today- shocked the entire world on April 5, 1994; just two days later, the worst genocide in African's recent history began in Rwanda. In 2017, singer Beyoncé took over social media thanks to her stunning appearance at the Grammys and the announcement of her pregnancy; that same year, Burmese authorities decreed the ethnic cleansing of the Rohingya. The whole world commented on Will Smith's punch against Chris Rock at the 2022 Oscars, and that same year the United States Supreme Court overturned the nearly half-century-old right to universal abortion. These are just a few examples that highlight the triumph of pop culture media over social reality in the collective imagination. Scene versus life: pop culture and historical reality is a critique of the culture industry discussed by Adorno and Horkheimer, and aims to study and analyze which knowledge is publicized and for what purpose. The project consists of a photographic exhibition of viral pop culture moments (with each explanation), each paired with a significant social historical event that occurred in the same year.
Kurt Cobain's death -still mourned by many today- shocked the entire world on April 5, 1994; just two days later, the worst genocide in African's recent history began in Rwanda. In 2017, singer Beyoncé took over social media thanks to her stunning appearance at the Grammys and the announcement of her pregnancy; that same year, Burmese authorities decreed the ethnic cleansing of the Rohingya. The whole world commented on Will Smith's punch against Chris Rock at the 2022 Oscars, and that same year the United States Supreme Court overturned the nearly half-century-old right to universal abortion. These are just a few examples that highlight the triumph of pop culture media over social reality in the collective imagination. Scene versus life: pop culture and historical reality is a critique of the culture industry discussed by Adorno and Horkheimer, and aims to study and analyze which knowledge is publicized and for what purpose. The project consists of a photographic exhibition of viral pop culture moments (with each explanation), each paired with a significant social historical event that occurred in the same year.
Direction
ROCHA ALVAREZ, DELMIRO (Tutorships)
ROCHA ALVAREZ, DELMIRO (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
Eu nacín nesta casa. Stories about childbirth during the second half of the 20th century in rural Galiza
Authorship
L.G.G.
Master in Cultural Services (3ªed)
L.G.G.
Master in Cultural Services (3ªed)
Defense date
09.18.2024 12:30
09.18.2024 12:30
Summary
The way boys and girls came into the world half a century ago was substantially different from what is the norm today. Births often took place at the family home, in the strict privacy of women-only spaces. For one thing, free medical insurance was not accessible to a large portion of the Galician population, meaning that healthcare was exclusively requested when high-risk situations arose. For another, childbirth was naturalized as a physiological process, and the existing sorority among women in the same community was enough to deal with any eventualities. At the core of these communities, there was also a crucial figure: midwives, known as partureiras, who lacked of official training in obstetrics, but seemed in possesion of ancestral knowledge. These women, who generally volunteered their labor, held a significant position at the heart of these tiny rural societies. This reality persisted over time, especially in the Galician countryside, where babies were still commonly born at home well into the seventies. The work presented in this document intends to shed light on this small part of women’s history, which has frequently been relegated to the background and consequently deserves more visibility. We dig into the memory of rural women, specifically in A Limia, located in the interior region of the province of Ourense, in order to restore a unique piece of cultural heritage that belongs to the feminine world and is nearly lost, as evidenced by the fact we are no longer able to find any living partureiras who could speak for themselves. We therefore weave our story from the voices of women born in the decade of 1950s or earlier, who lived or witnessed or experienced home births. To create a sense of continuity, we approached a number of present-day mothers assotiations. These were created not only as support networks for women, in a sense replicating the solidarity of our elders but also as active hubs in the fight against systemic obstetric violence in Galician public health institutions. We thereby draw a connection between past and present, aware that the knowledge compiled in the countryside can constitute a valuable source for new moms, who experience their maternity under the siege of capitalism and the shadow of a new publicly acceptable form of sexist violence.
The way boys and girls came into the world half a century ago was substantially different from what is the norm today. Births often took place at the family home, in the strict privacy of women-only spaces. For one thing, free medical insurance was not accessible to a large portion of the Galician population, meaning that healthcare was exclusively requested when high-risk situations arose. For another, childbirth was naturalized as a physiological process, and the existing sorority among women in the same community was enough to deal with any eventualities. At the core of these communities, there was also a crucial figure: midwives, known as partureiras, who lacked of official training in obstetrics, but seemed in possesion of ancestral knowledge. These women, who generally volunteered their labor, held a significant position at the heart of these tiny rural societies. This reality persisted over time, especially in the Galician countryside, where babies were still commonly born at home well into the seventies. The work presented in this document intends to shed light on this small part of women’s history, which has frequently been relegated to the background and consequently deserves more visibility. We dig into the memory of rural women, specifically in A Limia, located in the interior region of the province of Ourense, in order to restore a unique piece of cultural heritage that belongs to the feminine world and is nearly lost, as evidenced by the fact we are no longer able to find any living partureiras who could speak for themselves. We therefore weave our story from the voices of women born in the decade of 1950s or earlier, who lived or witnessed or experienced home births. To create a sense of continuity, we approached a number of present-day mothers assotiations. These were created not only as support networks for women, in a sense replicating the solidarity of our elders but also as active hubs in the fight against systemic obstetric violence in Galician public health institutions. We thereby draw a connection between past and present, aware that the knowledge compiled in the countryside can constitute a valuable source for new moms, who experience their maternity under the siege of capitalism and the shadow of a new publicly acceptable form of sexist violence.
Direction
BASANTA LLANES, NOEMI (Tutorships)
BASANTA LLANES, NOEMI (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
Lugo: A cultural proposal through San Froilan posters
Authorship
S.D.B.C.
Master in Cultural Services (3ªed)
S.D.B.C.
Master in Cultural Services (3ªed)
Defense date
09.18.2024 11:15
09.18.2024 11:15
Summary
This work is a proposal for a cultural intervention to be developed in the city of Lugo and linked to the history and tradition of the San Froilan Festival. The proposal for a cultural intervention consists on the design of two activities based on the posters of the festival. On the one hand, we find an exhibition, which will show the different posters of the festival and will focus its discourse on the dissemination of the psychology of colour through the study of its use in them. This exhibition will have a workshop that will allow attendees to paint the displayed posters with the colours they consider most appropriate. On the other hand, we have an activity that will be developed outdoors and that requires the participation of those attending the festival and that aims to disseminate the San Froilán Festival through social networks, to direct participants through different areas of the city of Lugo and to promote local commerce in these same areas.
This work is a proposal for a cultural intervention to be developed in the city of Lugo and linked to the history and tradition of the San Froilan Festival. The proposal for a cultural intervention consists on the design of two activities based on the posters of the festival. On the one hand, we find an exhibition, which will show the different posters of the festival and will focus its discourse on the dissemination of the psychology of colour through the study of its use in them. This exhibition will have a workshop that will allow attendees to paint the displayed posters with the colours they consider most appropriate. On the other hand, we have an activity that will be developed outdoors and that requires the participation of those attending the festival and that aims to disseminate the San Froilán Festival through social networks, to direct participants through different areas of the city of Lugo and to promote local commerce in these same areas.
Direction
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
Revelation proyect about Cabo Blanco (Valdepares, Asturias)
Authorship
R.G.M.
Master in Cultural Services (3ªed)
R.G.M.
Master in Cultural Services (3ªed)
Defense date
09.16.2024 11:15
09.16.2024 11:15
Summary
The Castro de Cabo Blanco is one of the unique spaces on the western coast of Asturias. It stands out for its archaeological value as a fortified settlement of Iron Age, being one of the largest maritime hillforts in Asturias. In addition traces of the geological history of the area can be appreciated in its location, with samples of slates and sandstones, as well as its integration into the coastal flatland. It is also an exceptional birdwatching point, as seabirds and countryside birds meet in this space that combines the two habitats. All of this can be discovered on the self-guide tour that is proposed. History, geology and ornithology gathered in one only tool: our mobile phone. A structured tour in twelve georeferenced stops where twelve short videos allow the visitor to uncover the secrets of Cabo Blanco.
The Castro de Cabo Blanco is one of the unique spaces on the western coast of Asturias. It stands out for its archaeological value as a fortified settlement of Iron Age, being one of the largest maritime hillforts in Asturias. In addition traces of the geological history of the area can be appreciated in its location, with samples of slates and sandstones, as well as its integration into the coastal flatland. It is also an exceptional birdwatching point, as seabirds and countryside birds meet in this space that combines the two habitats. All of this can be discovered on the self-guide tour that is proposed. History, geology and ornithology gathered in one only tool: our mobile phone. A structured tour in twelve georeferenced stops where twelve short videos allow the visitor to uncover the secrets of Cabo Blanco.
Direction
DOPICO CAINZOS, MARIA DOLORES (Tutorships)
DOPICO CAINZOS, MARIA DOLORES (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
Gaudila Village. Toponomy as popular memory and cultural identity.
Authorship
J.C.G.P.
Master in Cultural Services (3ªed)
J.C.G.P.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 17:15
07.16.2024 17:15
Summary
We start in Goias, a parish located attending to the limits which appear in the land registry of the Marquis Ensenada and modified by the parish arrangement in1891. Then, as a main thrust of our work, we gather information about “microtoponymy” (small villages, springs, waters, lands and stones) related to this parish in Lalín ( this gathering being so extended, is approached in the appendix taking into account space). More than ethimology, we are interested in the information we learn from its oral tradition: usage, quality and description of the land, even past events hidden under toponyms. In this way we will knit a dialogue with the history of this parish as an example of oral tradition not only defining and identifying one community but also fixing its memory .That’s the reason of the work’s subtitle: toponomy as popular memory and cultural identity. Recently this parish in Goias called Gaudila Village has been rated by the regional Ministry of Rural Areas in Galicia as an aim of land reparcelling (decree passed 27/10/2022-DOG 16/11/2022) Lands or sites with different names but in the same area will appear under two or three names depending on the new owners. Smallholding from the former regime, rich in microtoponomy, will give way to landlordism in this new regime. Intangible/inmaterial wealth toponymy provides, will be reduced to numbers related to industrial states and áreas, losing the rich tradition each toponym meant. Finally, in conclusión, we have worked on a classification of microtoponyms gathered by reason of origin and taking into account their linguistic symbolism of the areas and traditions. In a virtual way, a link to a location in Google Maps where these places can be geolocalizaed and microtoponyms gathered, will be provided.
We start in Goias, a parish located attending to the limits which appear in the land registry of the Marquis Ensenada and modified by the parish arrangement in1891. Then, as a main thrust of our work, we gather information about “microtoponymy” (small villages, springs, waters, lands and stones) related to this parish in Lalín ( this gathering being so extended, is approached in the appendix taking into account space). More than ethimology, we are interested in the information we learn from its oral tradition: usage, quality and description of the land, even past events hidden under toponyms. In this way we will knit a dialogue with the history of this parish as an example of oral tradition not only defining and identifying one community but also fixing its memory .That’s the reason of the work’s subtitle: toponomy as popular memory and cultural identity. Recently this parish in Goias called Gaudila Village has been rated by the regional Ministry of Rural Areas in Galicia as an aim of land reparcelling (decree passed 27/10/2022-DOG 16/11/2022) Lands or sites with different names but in the same area will appear under two or three names depending on the new owners. Smallholding from the former regime, rich in microtoponomy, will give way to landlordism in this new regime. Intangible/inmaterial wealth toponymy provides, will be reduced to numbers related to industrial states and áreas, losing the rich tradition each toponym meant. Finally, in conclusión, we have worked on a classification of microtoponyms gathered by reason of origin and taking into account their linguistic symbolism of the areas and traditions. In a virtual way, a link to a location in Google Maps where these places can be geolocalizaed and microtoponyms gathered, will be provided.
Direction
BALIÑAS PEREZ, JOSE CARLOS (Tutorships)
BALIÑAS PEREZ, JOSE CARLOS (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
Gaudila Village. Toponomy as popular memory and cultural identity.
Authorship
J.C.G.P.
Master in Cultural Services (3ªed)
J.C.G.P.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 17:15
07.16.2024 17:15
Summary
We start in Goias, a parish located attending to the limits which appear in the land registry of the Marquis Ensenada and modified by the parish arrangement in1891. Then, as a main thrust of our work, we gather information about “microtoponymy” (small villages, springs, waters, lands and stones) related to this parish in Lalín ( this gathering being so extended, is approached in the appendix taking into account space). More than ethimology, we are interested in the information we learn from its oral tradition: usage, quality and description of the land, even past events hidden under toponyms. In this way we will knit a dialogue with the history of this parish as an example of oral tradition not only defining and identifying one community but also fixing its memory .That’s the reason of the work’s subtitle: toponomy as popular memory and cultural identity. Recently this parish in Goias called Gaudila Village has been rated by the regional Ministry of Rural Areas in Galicia as an aim of land reparcelling (decree passed 27/10/2022-DOG 16/11/2022) Lands or sites with different names but in the same area will appear under two or three names depending on the new owners. Smallholding from the former regime, rich in microtoponomy, will give way to landlordism in this new regime. Intangible/inmaterial wealth toponymy provides, will be reduced to numbers related to industrial states and áreas, losing the rich tradition each toponym meant. Finally, in conclusión, we have worked on a classification of microtoponyms gathered by reason of origin and taking into account their linguistic symbolism of the areas and traditions. In a virtual way, a link to a location in Google Maps where these places can be geolocalizaed and microtoponyms gathered, will be provided.
We start in Goias, a parish located attending to the limits which appear in the land registry of the Marquis Ensenada and modified by the parish arrangement in1891. Then, as a main thrust of our work, we gather information about “microtoponymy” (small villages, springs, waters, lands and stones) related to this parish in Lalín ( this gathering being so extended, is approached in the appendix taking into account space). More than ethimology, we are interested in the information we learn from its oral tradition: usage, quality and description of the land, even past events hidden under toponyms. In this way we will knit a dialogue with the history of this parish as an example of oral tradition not only defining and identifying one community but also fixing its memory .That’s the reason of the work’s subtitle: toponomy as popular memory and cultural identity. Recently this parish in Goias called Gaudila Village has been rated by the regional Ministry of Rural Areas in Galicia as an aim of land reparcelling (decree passed 27/10/2022-DOG 16/11/2022) Lands or sites with different names but in the same area will appear under two or three names depending on the new owners. Smallholding from the former regime, rich in microtoponomy, will give way to landlordism in this new regime. Intangible/inmaterial wealth toponymy provides, will be reduced to numbers related to industrial states and áreas, losing the rich tradition each toponym meant. Finally, in conclusión, we have worked on a classification of microtoponyms gathered by reason of origin and taking into account their linguistic symbolism of the areas and traditions. In a virtual way, a link to a location in Google Maps where these places can be geolocalizaed and microtoponyms gathered, will be provided.
Direction
BALIÑAS PEREZ, JOSE CARLOS (Tutorships)
BALIÑAS PEREZ, JOSE CARLOS (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
Analysis and comparison of the four classical music festivals organized in 21st century Galician.
Authorship
M.D.L.O.G.L.
Master in Cultural Services (3ªed)
M.D.L.O.G.L.
Master in Cultural Services (3ªed)
Defense date
02.16.2024 12:30
02.16.2024 12:30
Summary
Festivals are events that are organized with the purpose of celebrating a specific cultural, artistic, religious or social activity. Festivals reflect a diversity of characteristics that make them unique and attractive. The festivals are occasions for celebration, where people gather to enjoy, have fun and share experiences. There is a wide range of artistic activities and expression, ranging from music and theater to gastronomy and folk traditions. This Master Thesis focuses on the Classical Music Festivals that are held in places in Galician far from the cities. The main objective of this work is to analyze the cultural, economic, artistic and social impact that these artistic manifestations project in the environments where they are held and to investigate the preference of these places and not the cities for their organization. The research focuses on four Galician festivals that are celebrated in different provinces of the community. The interviews are the means to carry out this investigation and with these oral sources an analysis of the data collected will be made to assess the mark left by this type of festivals on Galician society.
Festivals are events that are organized with the purpose of celebrating a specific cultural, artistic, religious or social activity. Festivals reflect a diversity of characteristics that make them unique and attractive. The festivals are occasions for celebration, where people gather to enjoy, have fun and share experiences. There is a wide range of artistic activities and expression, ranging from music and theater to gastronomy and folk traditions. This Master Thesis focuses on the Classical Music Festivals that are held in places in Galician far from the cities. The main objective of this work is to analyze the cultural, economic, artistic and social impact that these artistic manifestations project in the environments where they are held and to investigate the preference of these places and not the cities for their organization. The research focuses on four Galician festivals that are celebrated in different provinces of the community. The interviews are the means to carry out this investigation and with these oral sources an analysis of the data collected will be made to assess the mark left by this type of festivals on Galician society.
Direction
Silva Dominguez, M Carme (Tutorships)
Silva Dominguez, M Carme (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
Analysis and comparison of the four classical music festivals organized in 21st century Galician.
Authorship
M.D.L.O.G.L.
Master in Cultural Services (3ªed)
M.D.L.O.G.L.
Master in Cultural Services (3ªed)
Defense date
02.16.2024 12:30
02.16.2024 12:30
Summary
Festivals are events that are organized with the purpose of celebrating a específico cultural, artistic, religious or social activity. Festivals reflect a variety of properties that make them unique and attractive. The festivals are occasions for celebration, where people gather to enjoy, have fun and share experiences. There is a wide range of artistic activities and expression, ranging from music and theater to gastronomy and folk traditions. This Master Thesis focuses on the classical music festivals that are held in places in Galician far from the cities. The main objective of this work is to analyze the cultural, economic, artistic and social impact that these artistic manifestations project in the environments where they are held and to investigate the preference of these places and not the cities for their organization. The research focuses on four Galician festivals that are celebrated in different provinces of the community. The interviews are the means to carry out this investigation and with these oral sources an analysis of the data collected will be made to assess the mark left by this type of festivals on Galician society.
Festivals are events that are organized with the purpose of celebrating a específico cultural, artistic, religious or social activity. Festivals reflect a variety of properties that make them unique and attractive. The festivals are occasions for celebration, where people gather to enjoy, have fun and share experiences. There is a wide range of artistic activities and expression, ranging from music and theater to gastronomy and folk traditions. This Master Thesis focuses on the classical music festivals that are held in places in Galician far from the cities. The main objective of this work is to analyze the cultural, economic, artistic and social impact that these artistic manifestations project in the environments where they are held and to investigate the preference of these places and not the cities for their organization. The research focuses on four Galician festivals that are celebrated in different provinces of the community. The interviews are the means to carry out this investigation and with these oral sources an analysis of the data collected will be made to assess the mark left by this type of festivals on Galician society.
Direction
Silva Dominguez, M Carme (Tutorships)
Silva Dominguez, M Carme (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
Proposal for the Renovation of Museo del Agua Exhibition Space
Authorship
B.P.G.
Master in Cultural Services (3ªed)
B.P.G.
Master in Cultural Services (3ªed)
Defense date
07.12.2024 12:30
07.12.2024 12:30
Summary
This project consists of the redefinition of the current Water Museum of Mondariz-Balneario. It is intended to provide a renewal, sustainable and gender-sensitive proposal of contents, infrastructures and materials, to be a much more appealing and inclusive museum. An exhibition that shows the history of this village since its birth thanks to the rediscovery of the hot springs of Gándara and Troncoso, and the creation of Peinador’s brothers' bath establishment of Mondariz-Balneario.
This project consists of the redefinition of the current Water Museum of Mondariz-Balneario. It is intended to provide a renewal, sustainable and gender-sensitive proposal of contents, infrastructures and materials, to be a much more appealing and inclusive museum. An exhibition that shows the history of this village since its birth thanks to the rediscovery of the hot springs of Gándara and Troncoso, and the creation of Peinador’s brothers' bath establishment of Mondariz-Balneario.
Direction
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
Linguistic materials in physical format generated in two galician spaces: ways for youth participation.
Authorship
A.R.B.
Master in Cultural Services (3ªed)
A.R.B.
Master in Cultural Services (3ªed)
Defense date
07.15.2024 12:30
07.15.2024 12:30
Summary
The aim of this paper is to analyze the role of non-electronic linguistic materials in cultural programs focused on young audiences. For this purpose, the case study of Noites Abertas and Nocturnia has been carried out, two initiatives that, as will be indicated, belong to the programming of two urban Galician city councils. Through the collection and analysis of these dissemination instruments, the comparison of their latest programmes and interviews with the managers of both cultural initiatives, a guide manual has been drawn up with guidelines to increase participation in different Galician town councils.
The aim of this paper is to analyze the role of non-electronic linguistic materials in cultural programs focused on young audiences. For this purpose, the case study of Noites Abertas and Nocturnia has been carried out, two initiatives that, as will be indicated, belong to the programming of two urban Galician city councils. Through the collection and analysis of these dissemination instruments, the comparison of their latest programmes and interviews with the managers of both cultural initiatives, a guide manual has been drawn up with guidelines to increase participation in different Galician town councils.
Direction
Silva Dominguez, M Carme (Tutorships)
Silva Dominguez, M Carme (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
Blanco Garcia, Carmen (Chairman)
OCA GONZALEZ, LUZIA (Secretary)
ALONSO PEREZ, SILVIA (Member)
As Marondas. Landing queer movement in the rural.
Authorship
A.C.G.
Master in Cultural Services (3ªed)
A.C.G.
Master in Cultural Services (3ªed)
Defense date
02.15.2024 13:30
02.15.2024 13:30
Summary
In this work we map the reality of sexual dissidence in rural Galicia, as well as its studies, initiating a dialogue between theory and praxis that challenges metronormative approaches in queer studies. We engage the rural collective As Marondas located in the Concello of As Neves, Pontevedra, as a practical case study that demonstrates an approach to the construction of new ruralities from the queer movement. The collective is part of a larger pattern of change in various rural spaces in Galicia reflected in community initiatives that are tied to the territory, advocating for the reconstruction and reconfiguration of our imaginaries and futures from more integrative, diverse, and ecological positions. Art and culture play a fundamental role as tools of dissemination and transformation as forms of disobedience against the social order. This framework offers an approach to the theoretical foundations that sustain As Marondas, from its birth and brief life as a collective to its past, present, and future practical development.
In this work we map the reality of sexual dissidence in rural Galicia, as well as its studies, initiating a dialogue between theory and praxis that challenges metronormative approaches in queer studies. We engage the rural collective As Marondas located in the Concello of As Neves, Pontevedra, as a practical case study that demonstrates an approach to the construction of new ruralities from the queer movement. The collective is part of a larger pattern of change in various rural spaces in Galicia reflected in community initiatives that are tied to the territory, advocating for the reconstruction and reconfiguration of our imaginaries and futures from more integrative, diverse, and ecological positions. Art and culture play a fundamental role as tools of dissemination and transformation as forms of disobedience against the social order. This framework offers an approach to the theoretical foundations that sustain As Marondas, from its birth and brief life as a collective to its past, present, and future practical development.
Direction
CABANA IGLESIA, ANA (Tutorships)
CABANA IGLESIA, ANA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
BASANTA LLANES, NOEMI (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
BASANTA LLANES, NOEMI (Secretary)
DIAZ GEADA, ALBA (Member)
Manuel Dávila: a pegada do oficio na vida. An artwork proposal
Authorship
A.D.F.
Master in Cultural Services (3ªed)
A.D.F.
Master in Cultural Services (3ªed)
Defense date
09.16.2024 12:30
09.16.2024 12:30
Summary
The work of Manuel Dávila García (Santiago de Compostela, 1934) tells a personal story that is chiselled through silversmithing and metalwork. This project presents an exhibition proposal around his works, training, professional relationships, and context, which recreates a life tale inscribed within the evolution of Santiago de Compostela and analyzes the craft as a form of individual and collective identity. Under this premise, we document the design, production, and assessment process of the proposal, on the approach that cultural management can serve the local community by defending its identity, enhancing its development, and stimulating changes that project improvements in the present and future.
The work of Manuel Dávila García (Santiago de Compostela, 1934) tells a personal story that is chiselled through silversmithing and metalwork. This project presents an exhibition proposal around his works, training, professional relationships, and context, which recreates a life tale inscribed within the evolution of Santiago de Compostela and analyzes the craft as a form of individual and collective identity. Under this premise, we document the design, production, and assessment process of the proposal, on the approach that cultural management can serve the local community by defending its identity, enhancing its development, and stimulating changes that project improvements in the present and future.
Direction
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
Comparison of 3d scanning techniques for heritage objects: photogrammetry vs. 3d laser scanning
Authorship
M.F.N.R.
Master in Cultural Services (3ªed)
M.F.N.R.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 10:00
07.16.2024 10:00
Summary
This study analyzes and compares photogrammetry and 3D laser scanning techniques in the 3D modelling of sculptural heritage objects, evaluating their ease of use, efficiency, quality of generated models, and limitations. The comparison is carried out by modelling the Ara of the Domus do Mitreo in Lugo (Spain) using both techniques. The results show that both techniques are accurate and reliable, with photogrammetry standing out for its accessibility and cost flexibility, and laser scanning for its high precision and immediacy. Furthermore, this study contributes to the examination of the feasibility of utilizing these techniques in the daily activities of museums and other cultural institutions, even considering the potential absence of personnel specialized in digitization or graphic design. It provides cultural managers with useful information to make informed decisions about the implementation of these technologies, thereby improving the preservation and dissemination of cultural heritage in a sustainable and effective manner.
This study analyzes and compares photogrammetry and 3D laser scanning techniques in the 3D modelling of sculptural heritage objects, evaluating their ease of use, efficiency, quality of generated models, and limitations. The comparison is carried out by modelling the Ara of the Domus do Mitreo in Lugo (Spain) using both techniques. The results show that both techniques are accurate and reliable, with photogrammetry standing out for its accessibility and cost flexibility, and laser scanning for its high precision and immediacy. Furthermore, this study contributes to the examination of the feasibility of utilizing these techniques in the daily activities of museums and other cultural institutions, even considering the potential absence of personnel specialized in digitization or graphic design. It provides cultural managers with useful information to make informed decisions about the implementation of these technologies, thereby improving the preservation and dissemination of cultural heritage in a sustainable and effective manner.
Direction
Ortiz Sanz, Juan Pedro (Tutorships)
Ortiz Sanz, Juan Pedro (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
The path of time in Cancelo
Authorship
L.M.S.L.
Master in Cultural Services (3ªed)
L.M.S.L.
Master in Cultural Services (3ªed)
Defense date
07.16.2024 11:15
07.16.2024 11:15
Summary
This work focuses on a task of recovery of cultural, material and immaterial heritage. Through the generational memory of a family, we will study the evolution and changes experienced by the toponymy through the houses of the village of Cancelo (Triacastela). After this reflection, a proposal for a dynamic activity of the territory will be presented, which seeks to recover the memory of the past, keeping it in the present and projecting it for the future.
This work focuses on a task of recovery of cultural, material and immaterial heritage. Through the generational memory of a family, we will study the evolution and changes experienced by the toponymy through the houses of the village of Cancelo (Triacastela). After this reflection, a proposal for a dynamic activity of the territory will be presented, which seeks to recover the memory of the past, keeping it in the present and projecting it for the future.
Direction
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
CORTÉS LÓPEZ, MIRIAM ELENA (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
DOVAL ADAN, ANTONIO (Chairman)
FERNANDEZ SUAREZ, GONZALO FRANCISCO (Secretary)
DIAZ GEADA, ALBA (Member)
How many versions of Juliet have we seen? Bodies on stage and gender stereotypes perpetuation
Authorship
C.S.C.
Master in Cultural Services (3ªed)
C.S.C.
Master in Cultural Services (3ªed)
Defense date
07.12.2024 11:15
07.12.2024 11:15
Summary
The body as a fundamental element of the machinery required to put on a play is essential to the theatrical event. For this reason, the physical features of actresses become crucial factors. We understand that there is a tendency to select actresses that can play any kind of role, thus it seems necessary that their bodies shall not not deviate from the hegemonic norm. In this sense, the body is conceived as a tabula rasa on which new meanings can be written, thus preventing the diversity of bodies from being bearers of meaning and a starting point for creation themselves. This work aims to analyse to what extent bodies’ hegemony continues to influence representation of female roles in contemporary Montevideo stage production. The aim of this work is to generate input to rethink the performing arts from new perspectives of gender identity.
The body as a fundamental element of the machinery required to put on a play is essential to the theatrical event. For this reason, the physical features of actresses become crucial factors. We understand that there is a tendency to select actresses that can play any kind of role, thus it seems necessary that their bodies shall not not deviate from the hegemonic norm. In this sense, the body is conceived as a tabula rasa on which new meanings can be written, thus preventing the diversity of bodies from being bearers of meaning and a starting point for creation themselves. This work aims to analyse to what extent bodies’ hegemony continues to influence representation of female roles in contemporary Montevideo stage production. The aim of this work is to generate input to rethink the performing arts from new perspectives of gender identity.
Direction
BASANTA LLANES, NOEMI (Tutorships)
BASANTA LLANES, NOEMI (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
How many versions of Juliet have we seen? Bodies on stage and gender stereotypes perpetuation
Authorship
C.S.C.
Master in Cultural Services (3ªed)
C.S.C.
Master in Cultural Services (3ªed)
Defense date
07.12.2024 11:15
07.12.2024 11:15
Summary
The body as a fundamental element of the machinery required to put on a play is essential to the theatrical event. For this reason, the physical features of actresses become crucial factors. We understand that there is a tendency to select actresses that can play any kind of role, thus it seems necessary that their bodies shall not not deviate from the hegemonic norm. In this sense, the body is conceived as a tabula rasa on which new meanings can be written, thus preventing the diversity of bodies from being bearers of meaning and a starting point for creation themselves. This work aims to analyse to what extent bodies’ hegemony continues to influence representation of female roles in contemporary Montevideo stage production. The aim of this work is to generate input to rethink the performing arts from new perspectives of gender identity.
The body as a fundamental element of the machinery required to put on a play is essential to the theatrical event. For this reason, the physical features of actresses become crucial factors. We understand that there is a tendency to select actresses that can play any kind of role, thus it seems necessary that their bodies shall not not deviate from the hegemonic norm. In this sense, the body is conceived as a tabula rasa on which new meanings can be written, thus preventing the diversity of bodies from being bearers of meaning and a starting point for creation themselves. This work aims to analyse to what extent bodies’ hegemony continues to influence representation of female roles in contemporary Montevideo stage production. The aim of this work is to generate input to rethink the performing arts from new perspectives of gender identity.
Direction
BASANTA LLANES, NOEMI (Tutorships)
BASANTA LLANES, NOEMI (Tutorships)
Court
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)
CORTÉS LÓPEZ, MIRIAM ELENA (Coordinator)
FERNANDEZ HERRERO, BEATRIZ (Chairman)
NOVO VAZQUEZ, MARIA AMPARO (Secretary)
Silva Dominguez, M Carme (Member)