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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.
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:
