Shu, F

This book situates Taiwan’s indigenous knowledge in comparative contexts across other indigenous knowledge formations. The content is divided into four distinct but interrelated sections to highlight the importance and diversity of indigenous knowledge in Taiwan and beyond. It begins with an exploration of the recent development and construction of an indigenous knowledge and educational system in Taiwan, as well as issues concerning research ethics and indigenous knowledge.

If history has always been written by the winners, in the case of Spain's youth music of the late '50s and early '60s, it has basically been told by the records, first by the few that were actually released, and finally by the lucky ones that enjoyed certain success and critical appreciation. Set aside as marginal, the rest have been left ignored due to the debatable and apparently set in stone statement that the history of Spanish rock starts with the legendary festivals at Madrid's Price venue promoted by musician Pepe Nieto, then drummer in Los Pekenikes. Without wanting to reduce in the slightest the importance of those shows as a revitalizing element of Spain's rock scene, the start date of those famed Madrid matinees (end of 1962) doesn't respect the fact that at the end of the '50s, and at the pace that the autarkic Spanish society of the time allowed, the foreign young rhythms slowly reached the country with the healthy intention to stay and make people dance.

If history has always been written by the winners, in the case of Spain's youth music of the late '50s and early '60s, it has basically been told by the records, first by the few that were actually released, and finally by the lucky ones that enjoyed certain success and critical appreciation. Set aside as marginal, the rest have been left ignored due to the debatable and apparently set in stone statement that the history of Spanish rock starts with the legendary festivals at Madrid's Price venue promoted by musician Pepe Nieto, then drummer in Los Pekenikes. Without wanting to reduce in the slightest the importance of those shows as a revitalizing element of Spain's rock scene, the start date of those famed Madrid matinees (end of 1962) doesn't respect the fact that at the end of the '50s, and at the pace that the autarkic Spanish society of the time allowed, the foreign young rhythms slowly reached the country with the healthy intention to stay and make people dance.

If history has always been written by the winners, in the case of Spain's youth music of the late '50s and early '60s, it has basically been told by the records, first by the few that were actually released, and finally by the lucky ones that enjoyed certain success and critical appreciation. Set aside as marginal, the rest have been left ignored due to the debatable and apparently set in stone statement that the history of Spanish rock starts with the legendary festivals at Madrid's Price venue promoted by musician Pepe Nieto, then drummer in Los Pekenikes. Without wanting to reduce in the slightest the importance of those shows as a revitalizing element of Spain's rock scene, the start date of those famed Madrid matinees (end of 1962) doesn't respect the fact that at the end of the '50s, and at the pace that the autarkic Spanish society of the time allowed, the foreign young rhythms slowly reached the country with the healthy intention to stay and make people dance.

The perfect music for the perfect wedding! Quiet, joyful classics to delight your guests before the ceremony starts, then walk down the aisle in style to one of the great wedding tunes. All the familiar favourites are here, including Wagner’s ‘Here comes the bride’, Pachelbel’s Canon and the Trumpet Voluntary .