In Sonidos Negros, readers learn how Flamenco's sensuality, quixotic idealism, and fierce soulfulness echo with contests that trace the rise and fall of the Spanish empire. From Inquisitional certifications of blood purity to Christmas pageants staged throughout the Americas, flamenco's Janus-faced stage Gypsy walks a knife's edge between Blackness and Whiteness.
In Sonidos Negros, readers learn how Flamenco's sensuality, quixotic idealism, and fierce soulfulness echo with contests that trace the rise and fall of the Spanish empire. From Inquisitional certifications of blood purity to Christmas pageants staged throughout the Americas, flamenco's Janus-faced stage Gypsy walks a knife's edge between Blackness and Whiteness.
K. Meira Goldberg is a flamenco performer, teacher, choreographer and historian. She teaches at Fashion Institute of Technology and is Scholar in Residence at the Foundation for Iberian Music at the CUNY Grad Center. She has taught and guest lectured at Sarah Lawrence College, New York University, Flamenco Festival International in Albuquerque, Ballet Hispanico, Bryn Mawr, Princeton, Duke, Juilliard, The New School, and Smith College.
Inhaltsangabe
* List of Illustrations * Acknowledgments * Foreword: Brenda Dixon Gottschild * Introduction: The Moor Inside * Part I. Changing Places: Figuring Race and Empire in the Eighteenth-Century Fandango * Chapter 1. Good Shepherd, Bumpkin Shepherd: Distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps) * Chapter 2. Concentric Circles of Theatricality: Pantomimic Dances from the Sacred to the Secular * Part II. A Modernist Becoming: The Power of Blackness * Chapter 3. Parody and Sorrow * Chapter 4. Nonsense of the Body * Chapter 5. Jacinto Padilla, "El Negro Meri" and the Flamenco Clown * Tightropes and Wild Horses: The Dance of the Blackface Clown * Chapter 6. Jaleo de Jerez and Tumulte Noir: Juana Vargas "La Macarrona" at the Exposition Universelle, Paris, 1889 * Conclusions: "Lily-White Maidens" and "Black Gitanos" * Bibliography: * Index:
* List of Illustrations * Acknowledgments * Foreword: Brenda Dixon Gottschild * Introduction: The Moor Inside * Part I. Changing Places: Figuring Race and Empire in the Eighteenth-Century Fandango * Chapter 1. Good Shepherd, Bumpkin Shepherd: Distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps) * Chapter 2. Concentric Circles of Theatricality: Pantomimic Dances from the Sacred to the Secular * Part II. A Modernist Becoming: The Power of Blackness * Chapter 3. Parody and Sorrow * Chapter 4. Nonsense of the Body * Chapter 5. Jacinto Padilla, "El Negro Meri" and the Flamenco Clown * Tightropes and Wild Horses: The Dance of the Blackface Clown * Chapter 6. Jaleo de Jerez and Tumulte Noir: Juana Vargas "La Macarrona" at the Exposition Universelle, Paris, 1889 * Conclusions: "Lily-White Maidens" and "Black Gitanos" * Bibliography: * Index:
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