UNIVERSITY OF CALIFORNIA RIVERSIDE Flamenco Capital: Tradition, Revolution and Renewal in Seville, Spain A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Joshua Michael Brown August 2014 Dissertation Committee: Dr. Jonathan Ritter, Chairperson Dr. Walter Aaron Clark Dr. Deborah A. Wong Copyright by Joshua Michael Brown 2014 The Dissertation of Joshua Michael Brown is approved: Committee Chairperson University of California, Riverside 2014 Acknowledgements There are so many people and organizations that helped make this dissertation possible. First, I would like to thank the members of my dissertation committee: Walter Clark, Deborah Wong and Jonathan Ritter. Throughout my time at UC Riverside, each of these professors provided me with encouragement, support, feedback and guidance that have helped me grow as a scholar, teacher, musician, community member and human being. Dr. Clark has taught me so much about music, history and Spain. His leadership and teaching styles have had a serious impact on my approaches to pedagogy, presentation and professionalism. Deborah Wong has consistently challenged me to become a better scholar and to think more deeply and critically about my work. I am grateful for her advice and teachings, and that she demanded excellence from me at every turn. Finally, Jonathan Ritter has been such a great advisor and mentor. His patience, kindness, humor and wisdom are all boundless. I admire Jonathan for so many reasons, and pattern myself after him in a number of ways. I consider myself very lucky for being able to work with these three remarkable individuals and scholars. Moreover, I look to them as models of distinction in the spheres of scholarship, musicianship and pedagogy. I want to thank all of the organizations that have funded my research throughout the years: the UC Office of the President for the Dissertation Year Fellowship in 2014- 15, the UC Riverside Center for Ideas and Society for a Humanities Graduate Student Research Grant in 2012-13, the Fulbright Institute of International Education in Spain (also known as Fulbright España) for a research grant in 2011-12, as well as the College iv of the Humanities and Social Sciences at UCR for several travel grants. These institutions believed in my ideas and allowed for this research to develop and materialize. I would also like to thank the Gluck Program for the Arts, which helped to fund me through five years of graduate study and research. The Gluck Program enabled me to connect with the local community in Riverside through outreach in schools and other venues. Christine Leapman and Shane Shukis are caring people that do a wonderful job of coordinating absolutely everything. Karen Wilson’s impact on me has been profound. Her style, grace, wisdom and love permeate everything that she does and touch all of those around her. Karen helped me grow as a performer, scholar and public speaker. I was extremely fortunate to be able to join a supportive community of graduate students in the music department at UCR. My colleagues and friends have been with me through all the ups and downs of grad school. It has been great working alongside Supeena Adler, Hannah Balcomb, William Beuche, Daniel Castro Pantoja, Tori Dalzell, Aaron Fruchtman, Loribeth Gregory and Jeff Beck, Martin Jaroszewicz, Erica Jones, Nana Kaneko, Neal Matherne, Matthew Neil, No.e Parker and Anas, Paula Propst, Popi Primadewi, Tony Rasmussen, Eileen Regullano, Jake Rekedal, Teresa Sanchez, Erica Siegel, Aaron Singer, Miles Shrewsbery, Russ Skelchy, Desmond Stevens, Robert Wahl, and Liz Wood. I especially want to thank Alexandra Anaya Green, Ron Conner, Alyson Payne, Gary Barnett, Kate Alexander and Taylor Greene for their love and support during this grueling process. There are a number of graduate students from outside UCR’s music department that also deserve mention here. I am indebted to Sarah Grant, Renzo Aroni, Jessie v Vallejo and Nolan Warden for their support, friendship and counsel. I continue to learn a great deal from Sarah, whose passions for knowledge and adventure are truly inspiring. I am grateful for the teachings of UCR professors René T.A. Lysloff, Paul Ryer and Sally Ness. Professor Lysloff has supported my scholarly development from day one and continues to show me new ways of thinking about my research. Former UCR professor Renee Coloumbe was an incredible mentor who introduced me to the wide world of critical theory with unparalleled vivacity and vision. As an undergraduate at UC Santa Barbara, Professor Scott Marcus introduced me to North Indian Classical music and the field of ethnomusicology. Scott is one of the most talented and caring people that I have ever known. Without his love and encouragement, I would never have made it this far. In addition, professors Timothy Cooley, Anthony McCann, Jay Carlander and David Lawyer inspired me to continue searching for questions and answers both inside and outside of books. I will always treasure my time with the late Professor Lawyer, who was a beacon of genius and fire that lifted me up in the classroom. Seville feels like home because of all the wonderful friendships that I have forged there over the years. I do not even want to fathom where I would be or what I would have done without all of the following people. Alberto Aguilar and Cristina Rodríguez invited me into their home again and treated me like family. They also made the mistake of allowing me to participate in a serious game of fútbol with them. José Luis Cabezas Serrano and Reyes Velasco were technically my landlords, but they took care of me and I look up to them as my Andalusian parents. Together with their son, Luis Cabezas vi Velasco, José Luis and Reyes took me in and made me feel at home. They were also quite supportive of my research and introduced me to a number of important artists, albums and ideas. I learned so much from my dear friends Jesús Sousa, Jesús Gotor, as well as Luis Ángel Hernández Nieto and Linda. I continue to treasure their friendships and marvel at the love that they showed me during my research year. Although he was not there for most of my stay, I constantly felt Alberto Andrés Martinez Sánchez’s presence in Seville. Alberto inspired me to pursue research in Andalusia and helped generate some of the foundational ideas for this dissertation. Moreover, Alberto is one of my biggest supporters and has provided invaluable assistance with grant applications, translations and much more. I am forever indebted to him and honored to call him one of my best friends. Alicia Acuña is an amazing cantaora and teacher. She allowed me to sit in on cante classes even though my accompaniment skills were subpar. Alicia’s strength can only be matched by her talent, generosity and love. Her parents, Aurelia and Blas, were helpful and always willing to recount stories to me regarding the history of their peña and Seville at large. José Antonio Jiménez Berenguer, the final president of Peña Pies Plomo, consistently went out of his way to assist me and make me feel welcome. I learned a great deal about the local flamenco community in Seville from Pepe. Several other individuals in Spain were helpful in the course of my research including Curro Aix, Juan Vergillos, Estela Zatania, Alicia González, Manuel Macias, Raúl Rodríguez, Manuel Flores, Juan del Gastor, José Padilla, Francisco Águilar Gamero and Jesús Cosano. Curro is a brilliant scholar and friend who inspires me with his vii activism and always makes me laugh. Estela was always willing to answer my questions and her first-hand knowledge of flamenco performance, culture and history is extraordinary. Juan Vergillos continues to teach me about Spain and flamenco, and his generosity was overwhelming. In the United States, I was lucky to be able to consult with Brook Zern, Pablo Shalmy, Steve Kahn, Tao Ruspoli, Evan Harrar and Mica Graña. Tao’s films Flamenco: A Personal Journey (2005) and Manuel (2013) were revealing and helped me learn what flamenco means to people in Andalusia. Although highly suspect of academics in general, Steve Kahn and Brook Zern shared their experiences in and feelings about flamenco with me quite freely. I am grateful to them for their encouragement, candor and friendship throughout this project. I also want to give thanks to my wonderful friends and mentors. Jerry Kay’s generosity and love is unbelievable and I am so thankful for his friendship. Beau Flasher, Jason Pinsker, Tadj Correia and Courtney Gordon are great friends that have kept me sane through grad school. Mentors that nurtured my intellectual world outside of the university include George Winard, Margarita Talavera, Michael Melton, Ed Pearl and my grandfather, Samuel Brown. Margarita brought me to Spain for the first time and helped spark my love for and interest in her native country. David Ferguson, Ali Akbar Khansahib and Edward Jaxon are my musical mentors, three individuals that taught me how to listen and be one with sound. Finally, I must thank all of the members of my family (including the McCormicks) for their endless support and love. My mother, Mary Ett Brown, has viii always encouraged me in my musical and educational pursuits. She consistently pushed me to be the best that I could be, and that is one of the main reasons that I have been successful. My father, Jonathan Brown, fostered my love for music and fretted instruments. He also taught me the value of hard work, practice and patience. My partner, Hallie McCormick, has been my rock for close to four years now. More than anyone else, she has been there on the brightest days and during the darkest hours.