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The Spanish Gypsy : the History of a European Obsession / Lou Charnon-Deutsch

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The Spanish Gypsy : the History of a European Obsession / Lou Charnon-Deutsch 00front.qxd 28/01/2004 8:33 AM Page i the spanish gypsy 00front.qxd 28/01/2004 8:33 AM Page ii [ii] 00front.qxd 28/01/2004 8:33 AM Page iii The Spanish Gypsy THE HISTORY OF A EUROPEAN OBSESSION LOU CHARNON-DEUTSCH THE PENNSYLVANIA STATE UNIVERSITY PRESS UNIVERSITY PARK, PENNSYLVANIA 00front.qxd 28/01/2004 8:33 AM Page iv Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Publication of this book has been aided by a grant from the Program for Cultural Cooperation Between Spain’s Ministry of Education, Culture, and Sports and United States Universities. library of congress cataloging-in-publication data Charnon-Deutsch, Lou. The Spanish Gypsy : the history of a European obsession / Lou Charnon-Deutsch. p. cm. Includes bibliographical references and index. ISBN 0-271-02359-7 (alk. paper) 1. Romanies—Spain—History. 2. Romanies—Europe—History. I. Title. DX251 .C48 2004 946´.00491497—dc21 2003010254 Copyright © 2004 The Pennsylvania State University All rights reserved Printed in the United States of America Published by The Pennsylvania State University Press, University Park, PA 16802-1003 The Pennsylvania State University Press is a member of the Association of American University Presses. It is the policy of The Pennsylvania State University Press to use acid-free paper. Publications on uncoated stock satisfy the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Material, ANSI Z39.48–1992. 00front.qxd 28/01/2004 8:33 AM Page v In memory of Roma Holocaust Victims 00front.qxd 28/01/2004 8:33 AM Page vi 00front.qxd 28/01/2004 8:33 AM Page vii Contents List of Illustrations ix Acknowledgments xi Introduction 1 [1] Cervantes’ Precious Jewel of Love 17 [2] The Discovery of the Romantic Spanish Gypsy 45 [3] Spreading the Good Word 87 [4] The Legacy of the Romany Rye 125 [5] “Our” Gypsies 179 Conclusion 239 Notes 243 Bibliography 265 Index 279 [vii] 00front.qxd 28/01/2004 8:33 AM Page viii 00front.qxd 28/01/2004 8:33 AM Page ix List of Illustrations 1 John Fulton, Illustration of Magdalena López for James Michener, Miracle in Seville (1995). 2 Frontispiece, Sancho de Moncada, Expulsión de los gitanos (1619). 3 L’Egytienne, illustration for Miguel de Cervantes, Nouvelles (1709 French edi- tion). Courtesy of the Department of Special Collections, Kenneth Spencer Research Library, University of Kansas. 4 Charles Auguste Steuben, La Esmeralda (1839). Art Resource, New York (photo: Erich Lessing). 5 Alfred Dehodencq, Bohémiens sur route (1856–63). 6 J. Rougeron, Zambra de gitanos (1883). 7 Baldomero Galofre y Jiménez, En la feria (detail) (1894). 8 Gustave Doré, Gitana dansant le vito sevillano (1862–73). 9 Gustave Doré, Famille de gitanos, a Totana (1862–73). 10 Gustave Doré, Toilette d’une gitana, a Diezma (1862–73). 11 Gustave Doré, Famille de musiciens nomades (1862–73). 12 Gustave Doré, Guitarrero et danseuse ambulante (1862–73). 13 Gipsies at Granada, unsigned sketch in Henry Blackburn’s Travelling in Spain in the Present Day (1866). 14 Henry Phillip, Gipsies Dancing the Vito, in Lady Louisa Tenison’s Castile and Andalucia (1853). 15 Cover of Catulle Mendès, Rodolphe Darzens, Les Belles au monde (1889). 16 Pierre Louÿs, illustration from La Femme et le pantin (1899), 56. 17 Harry Franck, unsigned photograph of author in Four Months Afoot in Spain (1911). 18 Walter Starkie, The author playing the Wddle. Unsigned photograph in In Sara’s Tents (1953), 246. Courtesy of Michael Starkie. 19 Pichi Hotorovitch: The Gypsy Princess, photograph by José Porta in In Sara’s Tents (1953), n.p. Courtesy of Michael Starkie. 20 Gypsy Nomads: Barcelona, photograph by José Porta, in In Sara’s Tents (1953), n.p. Courtesy of Michael Starkie. [ix] 00front.qxd 28/01/2004 8:33 AM Page x list of illustrations 21 Pepita, illustration from Vita Sackville-West’s Pepita (1938), frontispiece. Re- produced with permission of the Curtis Brown Group, Ltd., London, on behalf of the Estate of Vita Sackville-West. Copyright © Vita Sackville-West. 22 Gypsies of Sacro Monte, unsigned photograph in Juliette de Baïracli Levy’s As Gypsies Wander (1953), n.p. 23 Lillian Polhemus, The author. A few days after her return from Spain. Photo- graph by Pharaba Shirley, in Lillian Polhemus’s Good-bye Gypsy (1968). 24 Untitled photograph by André A. López in Jan Yoors’s The Gypsies of Spain (1974). Courtesy of André A. López. 25 Ángel de Huertas, Una gitana, in Blanco y Negro 466 (18 November 1899), cover. 26 Y así granizaron sobre ella cuartos. Scene from “La gitanilla,” in Ilustración Artística 27.1357 (1 January 1908), 5. 27 Julio Romero de Torres, Musa gitana (1908). Courtesy of Mercedes Valverde Candil, directora de los Museos Municipales, Excmo Ayuntamiento de Córdoba. 28 Julio Romero de Torres, Cante jondo (1930). Courtesy of Mercedes Valverde Can- dil, directora de los Museos Municipales, Excmo Ayuntamiento de Córdoba. 29 Figurita posterior al Diluvio, unsigned photo, to the right of a sketch of a can- taora from José Carlos de Luna’s Gitanos de la Bética (1951). Courtesy of Pedro Cervera Corbacho, Servicio de Publicaciones, Universidad de Cádiz. 30 Los ojos de los gitanos, unsigned photo from José Carlos de Luna’s Gitanos de la Bética (1951). Courtesy of Pedro Cervera Corbacho, Servicio de Publicaciones, Universidad de Cádiz. 31 La Lola se va los Puertos, clip from Wlm directed by Juan de Orduña (1942). [x] 00front.qxd 28/01/2004 8:33 AM Page xi Acknowledgments many thanks to the friends and colleagues who read all or portions of the early drafts of this book and supported me with their encouragement and exper- tise, especially Alda Blanco, Maria Luisa Nunes, Malcolm Read, Temma Kaplan, Barbara Morris, Jo Labanyi, Helen Cooper and Adrienne Munich. I wish to thank the State University of New York at Stony Brook for granting me a research leave during which major portions of the book were completed and the National Endow- ment for the Humanities for the grant that permitted me to complete the Wnal chapters. I am also grateful to the many librarians at the State University of New York who assisted me in the lengthy process of gathering materials and photo- graphs, especially Donna Sammis, David Wiener, and Amelia Salinero. David Simpson was a great help in locating and retrieving books from the New York Pub- lic Library and Kathy A. Lafferty of the University of Kansas Spencer Library assisted me in the quest to scan rare images. The burden of gathering informa- tion was also cheerfully borne by María Bobadilla, Eduardo Barros-Grela, Sarah Battaglia, Betty De Simone, Renee Deutsch, Melvin Simpson, Giulia Simpson, and Lucía Reyes. The commitment to excellence on the part of the team of editors at Penn State Press––Gloria Kury, Cherene Holland, Timothy Holsopple, and Ann Farkas among them––greatly facilitated the Wnal stages of the production progress. Finally, I owe thanks to the many colleagues who supported my efforts either by sharing ideas or encouraging me to persist in publishing this manuscript: Román De la Campa, Kathleen Vernon, James Mandrell, Rosemary Geisdorfer-Feal, Carlos Feal, José Colmeiro, José del Pino, Jesús Torrecilla, E. Ann Kaplan, Juan Carlos Rodríguez, Louise Vasvari, and Eva Woods. And, as always, I owe many thanks to Dale for soup-to-nuts support. [xi] 00front.qxd 28/01/2004 8:33 AM Page xii 00front.qxd 28/01/2004 8:33 AM Page 1 Introduction Sources that speak about Gypsies are never very trustworthy. —teresa de san román, La diferencia inquietante, xvii Miracle in Seville when asked to picture in their mind the Gypsies, many people, especially those with little or no contact with real Romany people, conjure up images of Xam- enco dancers, colorful wagons, dark-eyed fortune-tellers, horse traders, tinkers, a panoply of picturesque Wgures that invoke the stereotypes of the Romantic era. Shortly before his death in 1997, the proliWc novelist James Michener succumbed to the temptation to revisit some of the most hackneyed of Gypsy stereotypes he had earlier mostly avoided in Iberia (1968), as a backdrop to a book that showcased his status as serious aWcionado of the bullWght. In Miracle in Seville (1995), a bizarre novella that Michener called a “fantasy,” an American journalist tells the story of two powerful women who battle it out during Holy Week festivities in Seville: a luminous and compassionate Virgin Mary and an evil Gypsy fortune-teller Magda- lena López. The battle between heaven’s benevolent powers and Gypsy black magic and animal cleverness, in other words, between good and evil, is as old as the stones in the bridge that separate the “real Spain” of the Triana Gypsy district from the glittering streets of Seville on the opposite side of the Guadalquivir River. [1] 00front.qxd 28/01/2004 8:33 AM Page 2 introduction Thinking back on their supernatural powers, the narrator muses that women “possess an arcane power to inXuence men, making them see visions and inXuencing them to perform acts they would not normally commit.”1 The Virgin intercedes on behalf of the proprietor of a famous bull ranch who hopes to stage a comeback for his bulls. The Gypsy applies her dark magic to protect her cowardly brother from the horns of a Werce bull and the crowd’s anger at his cowardice. Michener’s scraggly bullWghter Lázaro López incarnates many of the worst com- monplaces of the male Gypsy stereotype. The narrator, an American journalist, derides him as an unlikely bearer of the proud tradition of matador.
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