ROMANCE NOTES最新文献

Abstract:

How has the cultural appropriation of flamenco been conceived and questioned? What does it mean to profess ownership and rights of intangible minority cultural heritage, such as musical performance, when consumed globally? Do critics of cultural appropriation conceal a purist vision of culture or advance social justice against "culture vultures" who profit off aesthetics, beats, and stereotypes of different cultures? My article unpacks implicit questions involved in Rosalía's cultural appropriation by engaging with various theoretical models and contextual ambivalences. In doing so, I demonstrate why any critical reflection on this topic is complex. In order to provide a historical perspective on the discussion, I draw on Basilio Martín Patino's Desde lo más hondo II: El museo japonés (1998), a documentary discussing the Japanese commodification of flamenco. The film reveals how a Japanese entrepreneur appropriates the Andalusian Romani culture that was facing a decline in popularity in its original territory.

Résumé:

Dans Le Rond-point (2015) d'Évelyne Trouillot, se profilent à tour de rôle les parcours de trois habitants esseulés de Port-au-Prince au début des années 2000. Dans cette étude, il s'agira dans un premier temps de signaler la fonction pratique de l'aménagement routier éponyme, lequel est censé rendre la circulation plus fluide et contribuer à améliorer la sécurité routière. Or, puisque le rond-point se doit d'être pris au sens figuré dans ce roman, nous nous intéresserons dans un deuxième temps aux conséquences d'une société-voirie haïtienne où l'on ne s'arrête guère et où « les gens semblent évoluer dans des univers différents mais si proches » (43). Aussi nous pencherons-nous sur le mouvement-matrice qui s'opère au centre même de l'œuvre de Trouillot et qui ne cesse de donner lieu aux interactions essentielles et fondamentales entre ses différents personnages ; car ce qui nous préoccupera en l'occurrence, c'est que Le Rond-point semble, au contraire et de manière paradoxale, y marquer un point d'arrêt, une sorte de suspension non négligeable de l'élan chaleureux et combien rédempteur à l'égard de la condition humaine qui caractérise l'ensemble de la production écrite de l'écrivaine.

Abstract:

This article intervenes in the emerging field of Rosalía scholarship to demonstrate the viability of reading Rosalía as an experimental flamenco artist and to point to the value of such readings for studies of race in contemporary Spain. In this project, I demonstrate that Rosalía's 2020 single "Juro que" innovates upon flamenco's long tradition of decrying the violence of incarceration, particularly as that violence relates to gitano, or Spanish Roma, communities, and revises the historically masculinist boundaries of this tradition. By analyzing the racial and gendered dimensions of the construction of the poetic speaker in "Juro que," I argue that this text renders audible gitanidad and the critique of anti-gitanidad that is implicit in anti-carceral flamenco tradition while also circumventing a problematic identification with gitanidad itself. In its opposition to the criminal legal system as well as the racist stereotypes produced by the good Gypsy/bad Gypsy dichotomy, "Juro que" resists the historical function of the white Gypsy paradigm as defined by Eva Woods Peiró. Simultaneously, however, I examine the deployment of racially ambiguous aesthetics in "Juro que" in the context of that paradigm and point to the ways in which those aesthetics risk obfuscating anti-gitano carceral violence.

Abstract:

In this essay, I examine Rosalía's Motomami (2022) as a confessional text in which the artist speaks openly about her feelings and reflects on being a celebrity and her relationship with audiences. Music critics immediately noted that it departs from the formula of her previous flamenco-based albums and praised its experimentation and combination of multiple genres. The symbol of the butterfly that appears on the album cover, in the lyrics of the first track ("Saoko"), and on Rosalía's dental grills represents this transformation. But perhaps the biggest change has to do with the intimate tone of the entire album, as Rosalía confesses her struggles, fears, and desires. As Foucault shows in the History of Sexuality, confession has been a central ritual in the discursive production of truth in Western societies. Prominent celebrity studies scholars such as Sean Redmond have noted that the confessional address has become pervasive in contemporary celebrity culture, since it is almost mandatory as a promotional strategy to brand the celebrity persona and do damage control in the case of waning stars. Rosalía's confession is striking because it is played out not only in the lyrics of Motomami but also through the musical features. Most songs have a minimalist composition, with few instrumentals that are filtered and devoid of high frequencies to allow for Rosalía's vocal delivery to stand out. And it is often a bare voice that appears in contrast to aggressive drums to convey the hostile environment Rosalía has faced in the last few years.

Abstract:

Rosalía is an expert at borrowing and mixing elements from various time periods and places, resulting in a fusion of aesthetic styles, along with literary and cultural references. While her work is sometimes criticized for cultural appropriation, we might take another look at it to reframe Rosalía's ethos as one that is part and parcel of a generation that embraces multimedia. This note asks, then, what can we, as scholars and professors, adopt from her work for teaching purposes? The creative synergies she exemplifies as well as her own star persona encourage us to think more expansively about how to enlarge our pedagogical repertoire. Rosalía's creative output may be utilized to enhance our pedagogy by making literary texts more accessible to students, to make historical connections throughout different periods, and to teach about relevant topics, which is ultimately exemplified with an illustration of how I drew upon Rosalía's work in a 2021 undergraduate seminar I designed about fashioning women in modern Spain.

Resumen:

Glotofobia, del francés glottophobie, es el término acuñado recientemente por el sociolingüista francés Philippe Blanchet para denunciar la discriminación lingüística que, según él, no queda lo suficientemente expresada con términos más tradicionales como "lingüicismo" o "languagismo". El neologismo busca exponer la intención de odio y exclusión de ciertas personas por su lengua o por su uso particular de una determinada lengua. En España, de todas las variedades lingüísticas, la andaluza es percibida como un habla inculta, un español mal hablado, o una forma de hablar cómica. La discriminación del habla andaluza es palpable en muchas áreas de la sociedad española; sin embargo, la escena musical contemporánea se ha visto inundada de un auténtico tsunami de intérpretes que cantan con acento andaluz, ya sean andaluces o no. Entre dichos intérpretes se encuentra la estrella internacional Rosalía, la cual ha sido acusada de apropiación cultural por cantar flamenco sin ser gitana, aunque poco o nada se ha dicho de su acento andaluz impostado. El presente trabajo analizará el contraste entre la "andalufobia", y el fenómeno de la profusión del andaluz en la música popular actual como un caso de apropiación cultural que se extiende más allá de Rosalía. Un análisis desde la lente teórica de la privación relativa o relative deprivation servirá para exponer conflictos de marginación de distintas identidades en España, así como para revelar la larga tradición de discriminación de género en las artes y, en particular, en el mundo de la industria musical.

Abstract:

While the styles and sources of Rosalía's music are diverse and eclectic, flamenco is certainly the genre of which she has made most consistent and extensive use, with her idiosyncratic and original interpretations provoking much controversy in flamenco circles. Without discussing such polemics, this article explores in some specificity the particular flamenco forms she has used, from her first album Los Ángeles through her 2022 Motomami. It further makes some general observations about her flamenco interpretations, though these resist facile categorization. Some of the specific flamenco forms (cantes and estilos) that she performs are familiar and iconic, such as the "yeli yeli" tango chorus in "Di mi nombre." Others, such as the tango of Porrina de Badajoz in "Juro que," are items that only flamenco connoisseurs would recognize. Similarly, some of her interpretations are straightforward and por derecho, while others are strikingly original, whether in terms of instrumental accompaniment, production effects, or her own vocal rendering. A close observation of these rearticulations reveals both her originality as well as her deliberate engagement with traditional flamenco forms.