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Sonidos Negros: On the Blackness of Flamenco (Currents in Latin American and Iberian Music) de K. Meira Goldberg
Descripción - Críticas Meira Goldberg analyzes, with notable erudition, how the politics of Blackness is inscribed in flamenco. (Diario de Sevilla)Sonidos Negros explores unprecedented new ground, the interrelated politics of Blackness and flamenco dance. It does this from historical, anthropological, and sociological angles which until now have scarcely been tread. It is another way of viewing and interpreting history, which constructs unprecedented identities ? it identifies 'Blackness' with 'religious confusion' ? and unusual binaries ? blood purity/depravity, purity/impurity. It constitutes a complete challenge to traditionally assumed concepts. (José Luis Navarro Garcia, author of Semillas de ébano: el elemento negro y afroamericano en el baile flamenco)Accessibly written and engaging, K. Meira Goldberg has gifted us an original monograph that will impress and tantalize a diverse array of readers across many scholarly disciplines in the humanities and social sciences. (Black Perspectives)Sonidos Negros is a majestic work - readable, revelatory, and bringing to bear all Goldberg's previous work in research and practice to reach this tome of truth. She speaks in a voice both personal and professional, inviting us in to share the insights of a life lived in flamenco, insights that may well shake up the ways in which scholars and lay readers, alike, perceive what it means to look at what we think we know, or realize we don't know, with new eyes. (From the Foreword by Brenda Dixon Gottschild)A surprising and necessary book, especially in an area - flamenco studies - where there is little scholarship bringing together ample documentation, interpretive richness and, above all, an original focus. Neither the academy nor flamenco aficionados will remain indifferent to this work. (Alberto del Campo Tejedor) Reseña del editor How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, in the span between 1492 and 1933, the vanquished Moor became Black, and how this figure, enacted in terms of a minstrelized Gitano, paradoxically came to represent Spain itself. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Christian and non-Christian, White and Black worlds. This figure's subversive teetering undermines Spain's symbolic linkage of religion with race, a prime weapon of conquest. Flamenco's Sonidos Negros live in this precarious balance, amid the purposeful confusion and ruckus cloaking embodied resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization. Biografía del autor 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.
Detalles del Libro
- Name: Sonidos Negros: On the Blackness of Flamenco (Currents in Latin American and Iberian Music)
- Autor: K. Meira Goldberg
- Categoria: Libros,Arte, cine y fotografía,Música
- Tamaño del archivo: 16 MB
- Tipos de archivo: PDF Document
- Descargada: 264 times
- Idioma: Español
- Archivos de estado: AVAILABLE
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Sonidos Negros - Hardcover - K. Meira Goldberg - Oxford ~ Sonidos Negros On the Blackness of Flamenco K. Meira Goldberg Currents in Latin American and Iberian Music. A new theoretical-methodological approach to flamenco dance history; Well illustrated with over three dozen images
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La Musa y el Duende REVISTA INTERNACIONAL DE FLAMENCO ~ Entre sus publicaciones, destacan los libros siguientes: “Un estudio sobre el cante flamenco, enfocando especialmente a las siguiriyas y las soleares” (HISPANICA, 1972), “Esbozo de la prehistoria del cante flamenco” (HISPANICA, 1979), Coplas Flamencas de tradición oral, traducidas y anotadas (1981), Invitación al flamenco (1986, varios autores), Cantes de las minas (1989 .
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