{"id":594,"date":"2025-03-06T08:57:58","date_gmt":"2025-03-06T07:57:58","guid":{"rendered":"https:\/\/www.unioviedo.es\/ballet-esp\/?page_id=594"},"modified":"2025-11-11T21:58:20","modified_gmt":"2025-11-11T20:58:20","slug":"publicaciones-aida-marino-ardura","status":"publish","type":"page","link":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/publicaciones\/publicaciones-aida-marino-ardura\/","title":{"rendered":""},"content":{"rendered":"\n<p class=\"has-heading-font-family\"><strong>AIDA MARI\u00d1O ARDURA<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li class=\"has-contrast-2-color has-text-color has-link-color has-heading-font-family has-medium-font-size wp-elements-b0773fd784daccde5c5d755fcd660605\">MARI\u00d1O ARDURA, Aida. 2025. \u00abBaselgas, Leticia. 2024. Diarios d\u2019una Panderetera. Gij\u00f3n: La Fabriquina. ISBN: 978-84-09-66125-1\u00bb\u00a0(rese\u00f1a).\u00a0<em>Cuadernos de Etnomusicolog\u00eda,\u00a0<\/em>20, 1, pp. 6-11.\u00a0\u00a0<a href=\"https:\/\/www.sibetrans.com\/etno\/cuaderno\/42\/cuadernos-de-etnomusicologia-n-20-1\">https:\/\/www.sibetrans.com\/etno\/cuaderno\/42\/cuadernos-de-etnomusicologia-n-20-1<\/a><\/li>\n\n\n\n<li class=\"has-contrast-2-color has-text-color has-link-color has-heading-font-family has-medium-font-size wp-elements-f0fc91ad615ffe663bc424dbef7627a4\">MARI\u00d1O ARDURA, Aida. 2025. \u201cEl binarismo de g\u00e9nero en el baile tradicional asturiano a trav\u00e9s de la serie documental de RTVE \u2018Ra\u00edces\u2019 (1972-1983)\u201d. En: <em>Los medios y la pol\u00edtica: el poder de la comunicaci\u00f3n en la Historia. <\/em>Pablo Berd\u00f3n Prieto (coord.). Valencia: Tirant Humanidades, pp. 123-138.<\/li>\n\n\n\n<li class=\"has-contrast-2-color has-text-color has-link-color has-heading-font-family wp-elements-dd1c90cd957d287b5ef3f78b4fdc7ddc\">MARI\u00d1O ARDURA, Aida. 2024. \u00abDi\u00e1logos entre tradici\u00f3n y diversidad: talleres de baile tradicuir asturiano \u00bb. <em>Eikas\u00eda<\/em>, 121, pp. 189-200. <a href=\"https:\/\/doi.org\/10.57027\/eikasia.121.895\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/doi.org\/10.57027\/eikasia.121.895<\/a>. <\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>AIDA MARI\u00d1O ARDURA<\/p>\n","protected":false},"author":1,"featured_media":256,"parent":218,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-594","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/pages\/594","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/comments?post=594"}],"version-history":[{"count":5,"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/pages\/594\/revisions"}],"predecessor-version":[{"id":678,"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/pages\/594\/revisions\/678"}],"up":[{"embeddable":true,"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/pages\/218"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/media\/256"}],"wp:attachment":[{"href":"https:\/\/www.unioviedo.es\/ballet-esp\/index.php\/wp-json\/wp\/v2\/media?parent=594"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}