Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 La Danza Bugabita: The History and Performance of Los Moros y Cristianos from Spain to the Municipality of Bugaba, Panamá Heather Jean Paudler Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC LA DANZA BUGABITA: THE HISTORY AND PERFORMANCE OF LOS MOROS Y CRISTIANOS FROM SPAIN TO THE MUNICIPALITY OF BUGABA, PANAMÁ By HEATHER JEAN PAUDLER A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2015 © 2015 Heather J. Paudler Heather J. Paudler defended this dissertation on April 13, 2015. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation Michael Uzendoski University Representative Douglass Seaton Committee Member Charles E. Brewer Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To my maternal grandmother, Darlene Jean Swanson, in memoriam. August 3rd, 1926 – December 2nd, 2013 iii ACKNOWLEDGMENTS The time dedicated to researching and writing this dissertation has been the greatest academic adventure and challenge I have yet faced. Although the general idea for this project arose before I started my Ph.D., its completion required the encouragement, involvement, and dedication of the musicology faculty at The Florida State University. Their guidance and insight were instrumental in bringing this project to fruition. I am honored to have such a brilliant and supportive dissertation committee, each of whom stands as a major figure in my scholarly development. You have all been invaluable mentors. I would like to express my warmest thanks to my advisor, Dr. Frank Gunderson. His interest in historical ethnomusicology piqued my interest from the first moment I took his African Soundscapes class; I never expected that my research would delve into African diasporic studies. Thank you for your support and friendship. My appreciation also goes to Dr. Michael Uzendoski and his critical theory prowess whose Latin American cultural studies and ethnopoetics led me to investigate sociotextual networks. I am grateful for the support offered by Dr. Douglass Seaton and his editing expertise. His graduate seminar in performance studies proved significant in the way I approached la danza Bugabita. Thank you to Dr. Charles Brewer and his insatiable curiosity and sense of wonder whose research champions an ethnographic historical musicology. Finally, I am particularly grateful for the assistance given by Dr. Denise Von Glahn. Her thematic studies and ability to create magnificent constellations between seemingly disparate ideas have been a constant source of inspiration and creativity in my research. I would especially like to thank her for the time sacrificed for copy editing this document. I am intellectually indebted to you all. Funding for this research was provided by the Curtis Mayes Fund and Carol Krebs Scholar Award for Dissertation Research from The Florida State University. This financial support facilitated three research trips to Panamá. I would like to thank the following institutions for their assistance with my archival research: the libraries of Harvard University, Yale University, the New England Conservatory, and the Boston Public Library; Instituto Nacional de Cultura (INAC); INAC’s Centro de Estudios Superiores de Bellas Artes y Folklore de David; Biblioteca Nacional Ernesto J. Castillero and its digitized collections; Universidad Católica Santa Maria La Antigua in David (UCSM-CHIRIQUÍ); Republica de Panamá Ministerio de Educación (MEDUCA) Biblioteca Pública “Santiago Anguizola Delgado” de David; Iglesia Inmaculada in iv La Concepción; and Feria de Antigüedades, Museo, Educación y Cultura “La Casona” in David. I also wish to acknowledge the kind, attentive FSU library staff and their aid in ILL services. My deepest appreciation also extends to the people in Panamá who have helped throughout this entire process. First, I am immensely grateful to Don Ray Williams, warden in David for the U.S. Embassy. Our friendship and his enormous support for this project began when I serendipitously encountered his blog www.chiriquichatter.net. I would like to thank him for my introduction to Scrivner which aided in the organization and completion of this document. I also offer my gratitude to his wife Lilliam and to her daughter, Natalie Staff, who graciously served as my personal translator. They all helped me immensely in locating resources, as well as facilitating and accompanying me to all my fieldwork sites. I am particularly thankful that they kept in contact with the community of Bugabita Arriba and the organizers of la danza Bugabita while I was back in the States. I was honored to be a witness at Don and Lilliam’s wedding in May 2014; they have become a second family to me. Video recording and photographs by Don and Chris Smoot were greatly appreciated. I especially want to thank Ángela Requena for sharing her indispensable wealth of scholarship and resources with me; I hope we can continue to research this dance-drama in tandem. You have all made this time so memorable. My research has been enriched by the people with whom I have come into contact at scholarly conferences. I would like to thank Dr. Simon Barton for the bibliography he provided me on Iberian Crusades, St. James, and los moros y cristianos. I am indebted to Dr. Gregory Hansen for the feedback he provided on folklore studies and the resources he has directed me toward. Thank you to Dr. Dale Olsen without whom I would not have decided to pursue studies in Panamá. It has been a pleasure to foster relationships with FSU alum at conferences; thank you to Damascus Kafumbe, Pete Hoesing, Trevor Harvey, and Elizabeth Clendinning for listening to me talk endlessly about los moros y cristianos. I have had the incredible opportunity to write alongside the delightful ethnomusicologist Katelyn Best as she finished her dissertation on the Deaf hip hop movement in the United States. May we always be pig/white Siberian tiger spirit animals. It is my heartfelt pleasure to thank the other three members of the fearsome foursome, Matthew DelCiampo, Catherine Hall, and Tristan Hall, for their unfaltering camaraderie and for making this entire graduate school experience worthwhile. The friendship and support of all my FSU colleagues have been sources of strength throughout my career. I v especially want to thank all the members of the Steve Holt! trivia team. My gratitude extends to Raley Beggs who has been an advocate and collaborator in this journey that has taken me to new lands and shown me new ways of writing history. Thank you for being my sounding board and keeping me grounded with jam sessions. Through the years I have been uplifted and supported by my family members. I am grateful to my parents, David and Eileen, for cultivating a strong commitment to education. Their encouragement has inspired me to follow many dreams, including this one. To my dad who pursued a career as a cartographer during the dawn of computers, whose resourcefulness, creativeness, and autodidactic nature led him to learn software programming languages and find a niche to build a now-thriving business in land records management: thank you for teaching me to always keep trying. To my librarian mother who read to me every night as a child and made sure Santa knew I actually wanted a dictionary for Christmas: thank you for instigating my addiction to the written word. Also, I extend all my love to my brother Jonathan and my sister- in-law Rai-Ning: 謝謝我親愛的弟弟強納森和弟媳睿寧, 在我心中你們兩位占有很重要的地 位, 希望未來我們能繼續一起體驗不同的冒險奇遇. And finally to caffeine - you have accompanied me through many a long day of writing. vi TABLE OF CONTENTS List of Figures ..................................................................................................................................x List of Musical Examples ............................................................................................................. xi Abstract ......................................................................................................................................... xii CHAPTER 1: INTRODUCTION AND CONTEXT FOR LOS MOROS Y CRISTIANOS FESTIVALS ....................................................................................................................................1 Focus of the Study ........................................................................................................................1 Purpose and Significance of the Study .........................................................................................2 Background and Historical Overview ...........................................................................................4 The Theme ..............................................................................................................................4 Santiago Matamoros ...............................................................................................................7 Troubadours, Music, and Epic Poetry – Poema de mio Cid ...................................................9 Mock Battles – Possible Roots of the Tradition ...................................................................10