{"id":50510,"date":"2016-12-30T22:04:55","date_gmt":"2016-12-30T22:04:55","guid":{"rendered":"http:\/\/www.mixedracestudies.org\/?p=50510"},"modified":"2017-01-04T02:19:47","modified_gmt":"2017-01-04T02:19:47","slug":"call-for-papers-spaniards-natives-africans-and-gypsies-transatlantic-malaguenas-and-zapateados-in-music-song-and-dance","status":"publish","type":"post","link":"https:\/\/mixedracestudies.org\/wp\/?p=50510","title":{"rendered":"Call For Papers: Spaniards, Natives, Africans, and Gypsies: Transatlantic Malague\u00f1as and Zapateados in Music, Song, and Dance"},"content":{"rendered":"

Call For Papers: <\/strong><\/em>Spaniards, Natives, Africans, and Gypsies: Transatlantic Malague<\/strong>\u00f1as and Zapateados in Music, Song, and Dance<\/strong><\/p>\n

2016-10-16<\/p>\n

<\/a><\/p>\n

K. Meira Goldberg<\/strong><\/a>, Visiting Research Scholar
\nFoundation for Iberian Music<\/em>
\nThe Graduate Center
\nThe City University of New York
\n365 Fifth Avenue
\nNew York, New York 10016<\/p>\n

Prof. Walter Clark<\/strong><\/a>, Director
\nThe Center for Iberian and Latin American Music<\/em>
\nDepartment of Music
\nUniversity of California
\n900 University Avenue
\nRiverside,\u00a0California 92521<\/p>\n

Antoni Piz\u00e0<\/strong><\/a>, Director
\nFoundation for Iberian Music<\/em>
\nThe Graduate Center
\nThe City University of New York
\n365 Fifth Avenue
\nNew York, New York 10016
\napiza@gc.cuny.edu<\/em><\/a><\/p>\n

The Center for Iberian and Latin American Music<\/a> at the University of California at Riverside<\/a>, and the Foundation for Iberian Music<\/a> at The Barry S. Brook Center for Music Research and Documentation at the CUNY Graduate Center will host a conference on the transatlantic circulation of malague\u00f1as<\/a> and zapateados<\/a> at University of California, Riverside on April 6\u20137, 2017<\/strong>.<\/p>\n

In the inaugural conference in this series, Spaniards, Indians, Africans, and Gypsies: The Global Reach of the Fandango in Music, Song, and Dance<\/em>, we gathered in New York<\/a> to explore the fandango<\/a> as a mestizaje<\/em><\/a>, a m\u00e9lange of people, imagery, music and dance from America<\/a>, Europe<\/a>, and Africa<\/a>, whose many faces reflect a diversity of exchange across what were once the Spanish<\/a> and Portuguese Empires<\/a>. At that conference, we considered the broadest possible array of the fandango across Europe and the Americas<\/a>, asking how the fandango participated in the elaboration of various national identities, how the fandangos of the Enlightenment<\/a> shed light on musical populism and folkloric nationalism as armaments in revolutionary struggles for independence of the eighteenth and nineteenth centuries, and how contemporary fandangos function within the present-day politics of decolonialization<\/a> and immigration. We asked whether and what shared formal features\u2014musical, choreographic, or lyric\u2014may be discerned in the diverse constituents of the fandango family in Spain<\/a> and the Americas, and how our recognition of these features might enhance our understanding of historical connections between these places. We hoped with that pioneering effort to gather international, world-renowned scholars to open new horizons and lay the foundation for further research, conferences, and publications. We are immensely proud of that 2015 gathering, and of the two published editions of its proceedings: in bilingual form in the Spanish journal M\u00fasica Oral del Sur<\/em><\/a> (vol. 12, 2015) and in English (forthcoming 2016 from Cambridge Scholars Publishing<\/a>).<\/p>\n

But the inaugural conference merely set the first stone. All of the participants in the 2015 meeting agreed that conversations should continue, relationships should develop, and that many questions and avenues of research remain. We are therefore pleased to issue a call for papers for the upcoming conference on two nineteenth-century forms related to the fandango\u2014at least in their standing as iconic representations of Spanishness: malague\u00f1as and zapateados.<\/p>\n

How do these forms comprise a \u201crepertoire\u201d in performance theorist Diana Taylor\u2019s<\/a> sense of the term as enacting \u201cembodied memory\u201d and \u201cephemeral, nonreproducible knowledge,\u201d allowing for \u201can alternative perspective on historical processes of transnational contact\u201d and a \u201cremapping of the Americas\u2026following traditions of embodied practice\u201d? The Center and the Foundation invite interested scholars, graduate students, and practitioners including musicians and dancers to propose presentations on all subjects related to malague\u00f1as and zapateados. Although we are not limited to them, we expect to gain special insight into the following topics:<\/p>\n

    \n
  1. From their virtuoso elaborations in flamenco<\/a> song, to the solo guitar ronde\u00f1as<\/a> of \u201cEl Murciano,\u201d from the 1898 La malague\u00f1a y el torero<\/em> filmed by the Lumi\u00e8re brothers<\/a> to Denishawn\u2019s<\/a> 1921 Malague\u00f1a<\/em>, from Isaac Alb\u00e9niz\u2019s<\/a> iconic pianistic malague\u00f1as<\/em> to the interpretation by Cuban composer Ernesto Lecuona<\/a> which, as Walter Clark<\/a> observes, became a global pop tune, how do malague\u00f1as address the aspirations of growing middle-class concert audiences on both sides of the Atlantic<\/a>?<\/li>\n
  2. How do they reflect and crystalize prevailing yet contested notions of what is \u201cSpanish\u201d?<\/li>\n
  3. How, in the transgressive ruckus and subversive sonorities of Afro-Latin zapateados circulating through, as performance scholar Stephen Johnson<\/a> says, the ports, waterways, and docks of the Black Atlantic may we describe the race mimicry inherent in nineteenth-century performance?<\/li>\n
  4. What is the relationship of zapateado with tap and other forms of percussive dance in American popular music?<\/li>\n
  5. And how in the roiled and complicated surfaces of these forms may we discern the archived rhythmic and dance ideas of African and Amerindian lineage that are magical, or even sacred?<\/li>\n
  6. How do zapateado rhythms express the tidal shift in accentuation of the African 6\/8<\/a> from triple<\/a> to duple meter<\/a> described by Rolando Perez Fernandez<\/a>?<\/li>\n
  7. How did the zapateados danced in drag, in bullrings and ballets, resist nineteenth-century gender codes?<\/li>\n
  8. What secrets are held in the zapateados performed on a tarima planted in the earth and tuned by ceramic jugs in Michoac\u00e1n<\/a>?<\/li>\n
  9. In light of compelling research by Andr\u00e9s Res\u00e9ndez<\/a> and Benjamin Madley<\/a> into the devastating history of enslavement and genocide of indigenous peoples of the Americas, what new considerations arise with regard to best practices for historiographically<\/a> aware nomenclature? How should we view and use words like \u201cIndian,\u201d \u201cNative,\u201d \u201cmestizo<\/a>,\u201d \u201ccriollo<\/a>,\u201d etc.?<\/li>\n<\/ol>\n

    Paper presentations will be 20 minutes, with 10 minutes of discussion. We also welcome workshop-style presentations incorporating dance, music, and song. Please send a title and a 150-200 word abstract to K. Meira Goldberg<\/a> at fandangoconference.cuny@gmail.com<\/em><\/a>. by December 31, 2016.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

    Call For Papers: Spaniards, Natives, Africans, and Gypsies: Transatlantic Malague\u00f1as and Zapateados in Music, Song, and Dance 2016-10-16 K. Meira Goldberg, Visiting Research Scholar Foundation for Iberian Music The Graduate Center The City University of New York 365 Fifth Avenue New York, New York 10016 Prof. Walter Clark, Director The Center for Iberian and Latin […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,21,8,20,27],"tags":[25673,25667,25678,6725,25670,25676,25672,25669,1392,25675,25677,25679,18068,25674,25671,25668],"class_list":["post-50510","post","type-post","status-publish","format-standard","hentry","category-arts","category-latincarib","category-media-archive","category-usa","category-wanted","tag-antoni-piza","tag-arts","tag-center-for-iberian-and-latin-american-music","tag-dance","tag-fandango","tag-foundation-for-iberian-music","tag-k-meira-goldberg","tag-malaguena","tag-music","tag-musicology","tag-the-center-for-iberian-and-latin-american-music","tag-the-foundation-for-iberian-music","tag-university-of-california-at-riverside","tag-walter-aaron-clark","tag-walter-clark","tag-zapateado"],"_links":{"self":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/50510","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=50510"}],"version-history":[{"count":6,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/50510\/revisions"}],"predecessor-version":[{"id":51015,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/50510\/revisions\/51015"}],"wp:attachment":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=50510"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=50510"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=50510"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}