Modern Asian Studies , () pp. –. © The Author(s), . Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/./), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi:./SX First published online January Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa* ANANYA JAHANARA KABIR Department of English, King’s College London Email:
[email protected] Abstract The mando is a secular song-and-dance genre of Goa whose archival attestations began in the s.Itisstilldancedtoday,instagedratherthansocialsettings.Itslyricsarein Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through * This article is based on fieldwork in Goa (field visits made in September , December , June ), as well as multiple field visits to Cape Verde, Brazil, Mozambique, Angola, and Lisbon (–), which have enabled me to comprehend music and dance across the Portuguese-speaking world. I have also drawn on fieldwork on the quadrille in the Indian Ocean (Mauritius, Seychelles, and Réunion, October– November ). All research fieldwork (except that in Angola) was done through ERC Advanced Grant funding.