"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 Garc???ia 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 ...
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"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 Garc???ia 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"--
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Fine. Trade paperback (US). Glued binding. 320 p. Currents in Latin American and Iberian Music. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Sonidos Negros: On the Blackness of Flamenco to cart. $46.02, new condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 2019 by Oxford University Press, USA.
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
New. Trade paperback (US). Glued binding. 320 p. Currents in Latin American and Iberian Music. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
