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Flamenco and Its Gitanos an Investigation of the Paradox of Andalusia: History, Politics and Dance Art Rosamaria Cisneros-Kostic

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Flamenco and Its Gitanos an Investigation of the Paradox of Andalusia: History, Politics and Dance Art Rosamaria Cisneros-Kostic University of New Mexico UNM Digital Repository Theatre & Dance ETDs Electronic Theses and Dissertations 2-9-2010 Flamenco and Its Gitanos An Investigation of the Paradox of Andalusia: History, Politics and Dance Art Rosamaria Cisneros-Kostic Follow this and additional works at: https://digitalrepository.unm.edu/thea_etds Recommended Citation Cisneros-Kostic, Rosamaria. "Flamenco and Its Gitanos An Investigation of the Paradox of Andalusia: History, Politics and Dance Art." (2010). https://digitalrepository.unm.edu/thea_etds/3 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Theatre & Dance ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Rosamaria E. Cisneros- Kostic Candidate Theatre and Dance Department This thesis is approved, and it is acceptable in quality and form for publication on microfilm: Approved by the Thesis Committee: , Chairperson Accepted: Dean, Graduate School Date Flamenco and Its Gitanos An Investigation of the Paradox of Andalusia: History, Politics and Dance Art BY Rosamaria E. Cisneros-Kostic BFA-Dance University of Wisconsin-Madison, 2006 M.A., Theatre and Dance, University of New Mexico, 2009 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Theatre and Dance The University of New Mexico Albuquerque, New Mexico August, 2009 ©2009, Rosamaria E. Cisneros-Kostic iii DEDICATION To the woman who made this real and to the man who made it possible: Mama, gracias por ser la madre que eres. Aunque no lo sabes, te adoro, respeto y agradezco todo que has hecho por mí. La vida no nos ha dado la oportunidad de enterdernos muy bien, pero algún día espero que puedas aceptar cuanto te he querído y necesitado. Gracias por enseñarme lo que es vivir el Flamenco. I love you up to the sky! Haluk, you brought logic into my life and because of you, I landed on the stars. You have taught me how to find real peace and offered me the space to practice my yoga and dance my beliefs. Thank-you for being my best friend, colleague and number one fan. Because of you this thesis made it to paper. iv ACKNOWLEDGMENTS I heartily acknowledge Mary Anne “Tía María” Santos Newhall, my advisor and thesis chair, for continuing to encourage me through the years of classroom teachings and the long number of months writing and rewriting these chapters. Her guidance and professional style will remain with me as I continue my career. Muchísimas Gracias Tía! I also thank my committee members, Brian Herrera, Jim Linnell and Jennifer Predock-Linnell, for their valuable recommendations pertaining to this study and assistance in my professional development. Gratitude is extended to the Department of Theatre and Dance and Christina Squire for their support to pursue this research. To Dr. Quincy Spurlin, instructor from the School of Education, thank-you for teaching me how to find “Peace in Every Step.” Your love, support, humor, grace and elegance is inspiring. Thank-you! To my sister Bethany and wise friend Sally, you are the family I never had. Thank-you for always being a pillar I could lean on or a voice I could trust. Sister, thank- you for sharing Nana’s world with me! To my friend Nicole, thank-you for the many years of support. Words cannot express what you mean to me. Thank-you for allowing me to be me and for guiding me when I felt lost. To Dr. Roberts, Professora, Will, Casi, Sorana, Melinda, Riti, Erica, Jason and the UW-Madison community, who gave me immeasurable support over the years. Your encouragement is greatly appreciated. Finally, to my better half, Haluk, your love and face is the greatest gift of all. I love you with all of my dancing being. Seni Seviyorum. v Flamenco and Its Gitanos An Investigation of the Paradox of Andalusia: History, Politics and Dance Art BY Rosamaria E. Cisneros-Kostic ABSTRACT OF THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Theatre and Dance The University of New Mexico Albuquerque, New Mexico August, 2009 Flamenco and Its Gitanos An Investigation of the Paradox of Andalusia: History, Politics and Dance Art by Rosamaria E. Cisneros-Kostic B.F.A. Dance University of Wisconsin-Madison, 2006 ABSTRACT Andalusia, Spain is considered the birthplace of flamenco. The art form not only embodies but represents the complex, multifaceted Andalusian identity. The southern region is a land of contradictions which includes the Gitano/Roma culture. The Spanish Gitano community laid the foundation for what we now call flamenco. The amalgamation of the cultures which existed in Spain informed the genre. These influences are explored with a thorough analysis of the of the Gitano/Roma nation. I document their journey from India to Spain and unravel the core elements of their identity. I focus on flamenco history and break down the song, guitar and dance techniques while discussing the emotional and paradoxical nature of the genre. I examine how eugenics, the Bullring, concepts of honor and shame, as well as flamenco, feed the Andalusian paradox. Flamenco under the dictator Franco, became an icon of Spain and as a result the female body was commodified. Gender roles are examined and a discourse on power is established. I conclude that this study represents an important contribution to the understanding of Andalusia, flamenco and the Gitano/ Roma nation. With the transmission of the arts, social, political as well as gender complexities are revealed. vii TABLE OF CONTENTS INTRODUCTION .........................................................................................................1 SUMMARY AND SURVEY OF LITERATURE: .......................................................7 CHAPTER ONE- GYPSY/ROMA HISTORY: FROM INDIA TO SPAIN .............12 Paradox Overview ...................................................................................................12 History of Andalusia................................................................................................14 Andalusian Community......................................................................................18 Gypsy/Roma History ...............................................................................................19 Roma Migration.......................................................................................................22 Roma In Spain .........................................................................................................24 Perceptions of Roma................................................................................................26 Roma and Gadje ......................................................................................................28 Roma Nomadism ...............................................................................................30 Roma and Laws .................................................................................................32 Expulsion...........................................................................................................37 Slavery...............................................................................................................38 Detachment........................................................................................................41 Sedentary Roma.................................................................................................42 Gitano History and Laws ...................................................................................44 Summary of Chapter................................................................................................50 CHAPTER TWO- GYPSY/ROMA IDENTITY: THE CORE ELEMENTS ...........52 Chapter Introduction................................................................................................52 Family and Social Structure .....................................................................................57 viii Mourning the Dead ............................................................................................59 Unwritten Law System: The Kris .......................................................................61 Education within the Roma Nation.....................................................................65 Boundary Crossing and Boundary Maintenance.......................................................71 Health......................................................................................................................78 Roma Exchanges .....................................................................................................86 Work Exchanges ................................................................................................87 Art Exchanges....................................................................................................93 Summary of Chapter:.............................................................................................102 CHAPTER THREE- SCIENCE AND ART IN SPAIN: FROM EUGENICS TO THE BULLRING ......................................................................................................104 Chapter Introduction:.............................................................................................104 Eugenics History....................................................................................................104 Criminal Anthropology ....................................................................................107
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