Fandango

Abstract: Climatic change emphasize the importance of biodiversity maintenance, suggesting that germplasm adapted to organic, low input, or conventional conditions is needed to face future demands. This study presents: I - The two steps genesis of the synthetic maize popula- tion 'Fandango'. A) 'NUTICA' creation: in 1975, Miguel Mota and Silas Pego, initiated a new type of polycross method involving 77 yellow elite inbred lines (dent and flint; 20% Portuguese and 80% North American germplasm) from the NUMI programme (NUcleo de mel- horamento de MIlho, Braga, Portugal). These inbreds were intermated in natural isolation and progenies sub- mitted to intensive selection for both parents during con- tinued cycles; B) From 'NUTICA' to 'Fandango': 'Fandan- go' was composed of all the crosses that resulted from a North Carolina Design 1 matting design (1 male crossed with 5 females) applied to 'NUTICA'. II - The diversity evolution of 'Fandango' under a Partici- patory Breeding project at the Portuguese Sousa Valley re- gion (VASO) initiated in 1985 by Pego, with CIMMYT sup- port. Morphological, fasciation expression, and yield trials were conducted in Portugal (3 locations, 3 years) and in the USA (4 locations, 1 year) using seeds obtained from five to seven cycles of mass selection (MS). The selection across cycles was done by the breeder (until cycle 5) and farmer (before cycle 11 till present). ANOVA and regres- sion analysis on the rate of direct response to selection were performed when the assumption of normality was positively confirmed. Otherwise the non parametric Multi- variate Adaptive Regression Splines (MARS) was per- formed. Response to mass selection in Iowa showed significant decrease in yield, while in Portugal a significant increase for time of silking, plant and ear height, ear diameters 2, 3, 4, kernel number, cob diameters, and rachis was ob- served. At this location also a significant decrease was ob- served for thousand kernel weight and ear length. These results showed that mass selection were not effective for significant yield increase, except when considered Lousa- da with breeder selection (3.09% of gain per cycle per year). Some non-parametric methods (MARS, decision trees and random forests) were used to get insights on the causes that explain yield in Fandango. Kernel weight and ear weight were the most important traits, although row numbers, number of kernels per row, ear length, and ear diameter were also of some importance influencing 'Fandango' yield.

Abstract: This paper analyses the different ways that two groups in the Los Angeles area use son jarocho, a musical practice from Veracruz, Mexico and the participatory values in a fandango, a communal gathering, to build community and to connect with their Mexican heritage. The first group is composed primarily of Mexican Americans and Chicanas/os who refer to themselves as jaraneros, or players of the main son jarocho instrument, the jarana. For the jaraneros, fandangos provide an opportunity for people to come together in a democratic setting in which the main tenets of neo-liberalism such as competition and privileging the individual over the community are eradicated. The jaraneros are also connected to the Zapatista movement and a global effort to re-examine and ultimately challenge the new world order and its modes of capitalism like free trade under NAFTA. The second group, the jarochas, is composed primarily of immigrants from Veracruz. For members of this group, playing son jarocho is about connecting with their traditions from their hometowns in Veracruz and building community with others from that part of Mexico. Using these two communities as my case studies, I demonstrate the different ways that diasporic and immigrant communities cultivate the practice of fandango and son jarocho in Los Angeles. I argue that the meaning each group has assigned to this practice is reflective of each one's respective relationships to the homeland, Mexico, and more specifically to Veracruz, where son jarocho originates.

Abstract: In the world of formal varieties of flamenco styles, the fandango is representative of a unique musical structure, shared by Levante songs as forms of fandango they are. The musical structure of the fandango has been called by the term bimodal. This article discusses the meaning of the term and its suitability to qualify the fandango, doing a fandango historical journey from primitive fandangos to the miners flamenco songs.