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Meira Goldberg will take advantage of her presence in Spanish lands to present her book Black Sounds, and to screen the unpublished film by Leonide Massine where the legendary bailaora "La Macarrona" appears, hitherto unknown.
The event will be attended by Kiko Mora from the University of Alicante, Francisco Caballero, Coordinator of Culture at the University of Murcia and Guillermo Castro, from the Telethusa research center.
On Wednesday, November 28 at 7:00 pm in the Anonio Soler Classroom of the Campus de la Merced.
How does the politics of blackness fit into the flamenco body?
How does flamenco dance the negritude?
Or, to put it another way, how does the construction of the race in the Atlantic world unfold within flamenco dancing? Black Sounds: On the Blackness of Flamenco traces how, in the time elapsed between 1492-the year in which the Reconquest It coincides with the landing of Christopher Columbus on the American island of Hispaniola-and in 1933-when the Andalusian poet Federico García Lorca published his "Theory and play of the duende" -the Moor turns black, and how the imagined gypsy embodies the sonic battles and iconographic of this process.
Already in the nineteenth century, in the decline of its colonial rule, the Spanish identity is represented in terms of a juggler gypsy, a miscegenation of American and Spanish images of blackness.
The imaginary flamenco revolves around the imagined gypsy, who dances on the edge of the knife, delineating black and white worlds. Balancing between ostentatious and sinful confusion, on the one hand, and epiphanic humility on the other, this figure is related to a trope previous: the bobo pastor, who, seeing the apparition of the angel, must decide between accepting the illumination of Jesus Christ or remaining in darkness.
The symbolic link of this religious danger with the dark dungeon of slavery constitutes the evangelical narrative that defeated the Moors and subdued the Americas;
an ideological framework that would unfold in all the states of the slave domination.
The precarious condition of the state of confusion in which the fool finds himself, attractive for the comic, but also bearer of the pathos of the final bet of his decision-heaven or hell, security or extermination-opens the swarming vision of a bodily policy determined by exploitation, and shaping of colonial identity.
The Black Sounds of flamenco live in this eternal moment of noise, confusion and fuss that hides the resistance to subjugation, the lament for what has been lost, and the values ​​and aspirations that slavery and cultural genocide have made invisible .
K. MEIRA GOLDBERG was trained as a bailaora in the Madrid tablaos of the 80s, Los Cabales, Los Canasteros, and El Arco de Cuchilleros, having the privilege and the opportunity to learn from masters such as Antonio Canales, Arturo Pavón, Diego Carrasco, Ramón The Portuguese, Manolo Soler, and many more.
Returning to USA, he danced with American companies such as Carlota Santana, Fred Darsow, and Passion and Art, and undertook MFA and doctorate in dance studies at Temple University under the tutelage of Brenda Dixon Gottschild, the preeminent theorist of blackness within dance .
Her doctoral thesis on Carmen Amaya was based on interviews with Carmen's family and colleagues who had settled in New York and Mexico, like Sabicas' brother, Diego Castellón, and Carmen's sisters, but using emerging theories of blackness and the race in relation to the dance.
She was co-curator of 100 Years of Flamenco in NYC (NYC Public Library for the Performing Arts, 2013), and co-editor of Flamenco on the Global Stage (McFarland, 2015), The Global Reach of the Fandango in Music, Song and Dance (2016), and Transatlantic Malagueñas and Zapateados in Music, Song, and Dance (forthcoming, 2018).
She teaches at the Fashion Institute of Technology in New York and is a resident researcher at the Foundation for Iberian Music (CUNY).
Source: Agencias
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