Staging Narcocorridos: Las Reinas Chulas’ Dissident Audio-Visual Performance

The four female performers of Banda de Las Recodas (a.ka., Las Reinas Chulas) are a teatro-cabaret group based in Mexico City. Originally conceived as a theatre piece, the musical group has taken on a life of its own, becoming known for its socio-politically engagement. This paper focuses on Banda de Las Recodas’ (re)-interpretation of the narcocorrido in their song “Lo hecho en México.” Banda de Las Recodas utilizes auditory and visual performative strategies as part of a satirical critique of the role of this popular music in Mexican society as well as the government’s pervasive lack of response to the Juárez femicides. The exploration of audio-visual techniques includes the song’s accessibility on iTunes, YouTube, and its live transmission, all of which compliment and complicate the way audiences understand its meaning. Moreover, this study examines how the two modes of watching and listening to “Lo hecho en México” at once inform listener/audience interpretations of the work and emphasize the need to critically consider how cultural products are consumed

Wounds, Remembrance, Sutures: Performing Existence in Times of Gore Capitalism

Since 2006, the initiation of Mexico’s “War on Drugs,” the nation has experienced horrific violence despite increased militarization of its streets. As cartels have deepened their networks, controlling the northern border states and beyond, (random) acts of violence have become an endemic crisis. In this Mexico, one where a new daily vernacular constantly evolves to articulate brutal acts and the state has routinely espoused a rhetoric of ignorance, performer-activists have turned to creative initiatives to combat efforts that invisibilize and derealize victims. From her work, Gore Capitalism, in which she explores the human body as commodity and casualty in 21st century Mexico, this paper situates Sayak Valencia’s declaration at its center: “We do not want abstract discourses disconnected from the body, but instead discourses that are able to re-frame the causes, extend and persistence of violence in the gore-ridden Third World. We want discourses that refuse to appeal to victimization and the nullification of our subjectivities and agency” (11). Focusing on embodiment, both of those pertaining to the living world and those lost to Mexico’s “war,” the work of Violeta Luna and Teresa Margolles stand out as exemplary models. Luna’s piece, Requiem for a Lost Land (2013), and Margolles’ piece Sutura, 2018, forefront a critique of Mexico under ex-President Enrique Peña Nieto (2012-2018) and establish new modes of performance art that grapple with re-centering liminal bodies, those doubly lost to violence and the State’s rhetoric of erasure. As part of analyzing the work of these two artists, this paper will explore the role of art/musuem spaces to house performances, the notion of bodily presence, and the responsibility of the artist in times of turmoil

Staging Narcocorridos: Las Reinas Chulas’ Dissident Audio-Visual Performance

The four female performers of Banda de Las Recodas (a.ka., Las Reinas Chulas) are a teatro-cabaret group based in Mexico City. Originally conceived as a theatre piece, the musical group has taken on a life of its own, becoming known for its socio-politically engagement. This paper focuses on Banda de Las Recodas’ (re)-interpretation of the narcocorrido in their song “Lo hecho en México.” Banda de Las Recodas utilizes auditory and visual performative strategies as part of a satirical critique of the role of this popular music in Mexican society as well as the government’s pervasive lack of response to the Juárez femicides. The exploration of audio-visual techniques includes the song’s accessibility on iTunes, YouTube, and its live transmission, all of which compliment and complicate the way audiences understand its meaning. Moreover, this study examines how the two modes of watching and listening to “Lo hecho en México” at once inform listener/audience interpretations of the work and emphasize the need to critically consider how cultural products are consumed

Memoria y Resistencia: Sharing UD experiences at the Encuentro to Close the School of the Americas

At UD, our Catholic and Marianist values inform us to uphold the human rights of all people, especially those whose agency has been diminished by unjust laws and corporate government policies. Guided by the principles of Catholic Social Teaching, including solidarity with the poor, we seek ways to join together to bring about a more peaceful and just world. The annual SOA Watch Encuentro, a peaceful protest to close the School of the Americas (SOA), is such a movement. Established in 1946, the SOA has operated at Fort Benning, Georgia since the 1980s. Technically closed in 2000, it immediately reopened as the Western Hemisphere Institute for Security Cooperation (WHINSEC) in 2001. For over 70 years, the SOA/WHINSEC has trained thousands in military tactics, prompting reigns of terror and human rights abuses throughout Latin America. Names like Efraín Ríos Montt, Manuel Noriega, and Mexico’s Zeta Cartel founders are all graduates of the SOA/WHINSEC. The SOA Watch started following the assassination of Archbishop Oscar Romero, a champion for the poor, slain while saying mass in San Salvador on March 24, 1980. His assassins were members of the Salvadoran death squads, including two SOA graduates. Major Roberto D’Aubuisson, also a graduate, was identified as ordering the killing by the 1993 UN Truth Commission. The Encuentro, held along the U.S. Mexican border, is an intersectional initiative, bringing together activists to share spaces, stories, and objectives for closing the SOA. With actions like the Presente! Litany, a roll call of the missing or murdered, the public is reminded that memory is strong, powerful and affective. This panel will focus on the stories of UD faculty, staff, and students who have been immersed in this environment of artistic interventions, activist speeches, and scholarly perspectives, all of which that they bring back to Dayton, OH and our campus

Female teat size is a reliable indicator of annual breeding success in European badgers: Genetic validation

Assessing which females have bred successfully is a central requirement in many ecological field studies, providing an estimate of the effective female population size. Researchers have applied teat measurements previously to assess whether females, in a variety of mammalian species, have bred; however, this technique has not been validated genetically. Furthermore, several analytical techniques are available to classify individuals, but their misclassification rates have not been compared. We used 22 microsatellite loci to assign maternity, with 95% confidence, within a high-density population of European badgers Meles meles, as plural and subterranean breeding means that maternity cannot be inferred from behavioural observations. The teat lengths and diameters of 136 females, measured May–July 1994–2005, from social groups in which all offspring were assigned a mother, were reliable indicators of recent breeding success. A Generalised Linear Mixed Model (GLMM) classified both breeding and non-breeding females with lower error rates than discriminant analyses and crude teat-size criteria. The GLMM model logit probability = −20 + 1.8 month + 1.6 mean teat length + 1.0 mean teat diameter can be applied quickly in the field to assess the probability with which a female badger should be assigned maternity. This is a low-cost measure which, after validation, could be used in other badger or mammalian populations to assess the breeding success of females. This may be a particularly useful welfare tool for veterinary practitioners, especially during badger culls

Archeota, Spring 2015

The inaugural issue of Archeota, the official newsletter for San Jose State University\u27s Society of American Archivists Student Chapter.https://scholarworks.sjsu.edu/saasc_archeota/1000/thumbnail.jp

Spinal cord stimulation in chronic pain: evidence and theory for mechanisms of action.

Well-established in the field of bioelectronic medicine, Spinal Cord Stimulation (SCS) offers an implantable, non-pharmacologic treatment for patients with intractable chronic pain conditions. Chronic pain is a widely heterogenous syndrome with regard to both pathophysiology and the resultant phenotype. Despite advances in our understanding of SCS-mediated antinociception, there still exists limited evidence clarifying the pathways recruited when patterned electric pulses are applied to the epidural space. The rapid clinical implementation of novel SCS methods including burst, high frequency and dorsal root ganglion SCS has provided the clinician with multiple options to treat refractory chronic pain. While compelling evidence for safety and efficacy exists in support of these novel paradigms, our understanding of their mechanisms of action (MOA) dramatically lags behind clinical data. In this review, we reconstruct the available basic science and clinical literature that offers support for mechanisms of both paresthesia spinal cord stimulation (P-SCS) and paresthesia-free spinal cord stimulation (PF-SCS). While P-SCS has been heavily examined since its inception, PF-SCS paradigms have recently been clinically approved with the support of limited preclinical research. Thus, wide knowledge gaps exist between their clinical efficacy and MOA. To close this gap, many rich investigative avenues for both P-SCS and PF-SCS are underway, which will further open the door for paradigm optimization, adjunctive therapies and new indications for SCS. As our understanding of these mechanisms evolves, clinicians will be empowered with the possibility of improving patient care using SCS to selectively target specific pathophysiological processes in chronic pain

Master Recital

Program listing performers and works performe