| Description |
1 online resource (xix, 293 pages) |
| Series |
Currents in Latin American & Iberian music |
|
Currents in Latin American & Iberian music.
|
| Contents |
Good shepherd, bumpkin shepherd: distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps) -- Concentric circles of theatricality: pantomimic dances from the sacred to the secular -- Parody and sorrow -- Nonsense of the body -- Tilting across the racial divide: Jacinto Padilla "El Negro Meri," and the Flamenco Clown -- Jaleo de Jerez and tumulte noir: Juana Vargas "La Macarrona" at the Exposition Universelle, Paris, 1889 -- "Lily-White Maidens" and "Black Gitanos." |
| Summary |
"Sonidos Negros traces how, in the span between 1492--the year in which Christian reconquest of the Iberian Peninsula coincided with Christopher Columbus's landing on Hispaniola--and 1933--when Andalusian poet Federico García Lorca published his 'Theory and Play of the Duende'--the Moor became Black, and how the imagined Gitano ("Gypsy," or Roma) embodies the warring images and sounds of this process. By the nineteenth-century nadir of its colonial reach, Spanish identity came to be enacted in terms of a minstrelized Gitano, a hybrid of American and Spanish representations of Blackness. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Black and White worlds. Teetering between ostentatious and damning confusion and the humility of epiphany, this figure relates to an earlier Spanish trope: the pastor bobo (foolish shepherd), who, seeing an angelic apparition, must decide whether to accept the light of Christ--or remain in darkness. Spain's symbolic linkage of this religious peril with the Blackness of enslavement constitutes the evangelical narrative which vanquished the Moors and enslaved the Americas, an ideological framework that would be deployed by all the colonial slaving powers. The bobo's precarious state of confusion, appealingly comic but also holding the pathos of the ultimate stakes of his decision--heaven or hell, safety or extermination--opens up a teeming view of the embodied politics of colonial exploitation and creole identity formation. Flamenco's Sonidos Negros live in this eternal moment of bulla, the confusion and ruckus that protect embodied resistance to subjugation, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization"-- Provided by publisher |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Online resource; title from digital title page (viewed on March 15, 2019) |
| Subject |
Flamenco.
|
|
Flamenco -- Social aspects
|
|
Dance and race.
|
|
GAMES -- Reference.
|
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GAMES -- Travel Games.
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Dance and race
|
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Flamenco
|
| Form |
Electronic book
|
| LC no. |
2018028172 |
| ISBN |
0190466936 |
|
9780190466954 |
|
0190466952 |
|
9780190466930 |
|
9780190466947 |
|
0190466944 |
|
