Zendaya schools the world on cultural appropriation

In a new interview Zendaya has weighed in on the heated subject of cultural appropriation. It’s a topic that keeps rearing its head, both in the media and on Twitter – whether it’s a conversation about M.I.A.’s new video or Kylie Jenner’s cornrows. Speaking with Nylon, the 18-year-old singer and actress stressed that there’s a difference between appreciating and appropriating other cultures. “You can go about it as cultural appreciation or cultural appropriation,” she said. “You have to be very careful. “I urge people to take the extra step of knowledge and learn about things,” she continued. It’s not the first time Zendaya – who is of mixed heritage – has entered into the race debate. Like Zendaya, fellow actress Amandla Stenberg has also been outspoken on the subject of cultural appropriation, from calling out Kylie Jenner for wearing cornrows to making a video (aptly titled Don’t Cash Crop My Cornrows) which she described as a “crash discourse on black culture”.

Grooves and Waves: Cyclicity and Narrativity in Cuban Timba Piano | Orlando Fiol repetition’ involving race, class and popular dance music stereotypes. Stepping back in time, I provide a historical overview of the piano’s function and gestural vocabulary in Cuban popular music. “Melón” González, Tirso Duarte and Eduardo “Chak a Nápoles, I provide an updated if preliminary taxonomy of timba’s pianistic gestures and methodologies for playing changing material atop cycling harmonic progressions. II. Like Cuban popular music’s predecessors, timba arrangements conform to some general structural divisions: introducción cuerpo estribillo and coda . formula generally applies to the cuerpo section in which the lead singer carries the song’s textual and musical melodic content. puente or bridge sections highlighting the arranger’s harmonic prowess by exp loring distant keys and extended jazz sonorities build upon additive sixth, seventh, ninth, eleventh and thirteenth chords. motivo, (unison or octave doubled), treatments of bass tumbaos, with piano or synth doubling the bass line. mambos coro/guía

'Guajira' entry in the Encyclopedia of Latin American and Caribbean Music | Sue Miller Spain and the 2ew :orld)" The punto cubano , with its line#up of 1ocal, $uitar, bandurría (type of mandolin), laúd (type of lute) and hand percussion could be said to be the wellsprin$ of the guajira theater $enre" This form of música campesina uses6/8 and 3/4 meter, a particular style of $uitar techni;ue called punto, instrumentalinterludes between 1erses, and décima (ten line declarati1e sun$ poetry usin$ ei$htsyllables per line) these lines are either impro1ised (0libre0) or fied (0fio0)" The Theatrical Guajira The composed guajiras of the Cuban zarzuelas and teatro bufo performancesin the early twentieth century were similar in structure to these countryforms in that they employed the alternation of 3/4 and 6/8 meter, form, andlyrics which promoted idealised 5ispanic ima$es of rural Cuba" Composers such as-or$e <n! , wrote basedon the punto cubano, and <n! style (>ro1io %&8%)" <ccordin$ to zarzuela composer Snche+de uentes (%8=4# %&44), a comprised a section in a minor ! décimas , by composerssuch as <n!

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