Publication
New York, NY : Oxford University Press, [2019]
ISBN
9780190466916
Collections
Notes
CONTENTS
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
1. Good Shepherd, Bumpkin Shepherd: Distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps)
2. Concentric Circles of Theatricality: Pantomimic Dances from the Sacred to the Secular
PART II. A Modernist Becoming: The Power of Blackness
3. Parody and Sorrow
4. Nonsense of the Body
5. Jacinto Padilla, "El Negro Meri" and the Flamenco Clown
Tightropes and Wild Horses: The Dance of the Blackface Clown
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
1. Good Shepherd, Bumpkin Shepherd: Distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps)
2. Concentric Circles of Theatricality: Pantomimic Dances from the Sacred to the Secular
PART II. A Modernist Becoming: The Power of Blackness
3. Parody and Sorrow
4. Nonsense of the Body
5. Jacinto Padilla, "El Negro Meri" and the Flamenco Clown
Tightropes and Wild Horses: The Dance of the Blackface Clown
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