2021
DOI: 10.1017/s0026749x20000311
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Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa

Abstract: The mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in 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, … Show more

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Cited by 5 publications
(5 citation statements)
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“…Despite its suppression, the sarabanda continued to flourish, spreading to Italy and France where it evolved into a "much slower and more stately version" in the seventeenth century. This taming of the sarabanda is comparable to processes and discourses around the mando, kaffringha, and sega, where "crazy" variants were transformed into, and/or coexisted with more controlled and dignified versions (Kabir 2021;Capper 1878;Sheeran 1998). 19.…”
Section: Onclusionmentioning
confidence: 81%
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“…Despite its suppression, the sarabanda continued to flourish, spreading to Italy and France where it evolved into a "much slower and more stately version" in the seventeenth century. This taming of the sarabanda is comparable to processes and discourses around the mando, kaffringha, and sega, where "crazy" variants were transformed into, and/or coexisted with more controlled and dignified versions (Kabir 2021;Capper 1878;Sheeran 1998). 19.…”
Section: Onclusionmentioning
confidence: 81%
“…While scholars have often emphasized this African association, all of the genres that are known by variants of the name developed out of the combination of different musical elements. For example, they bring together influences associated with African music, including syncopation and hemiola, largely Asian vocal styles, melodic influences and performance contexts, and largely European-derived diatonic melodies based on primary chord structures or dance formations (Kartomi 1997Sarkissian 1995;Kabir 2021). Yet the interculturality of these forms often contrasts with past and contemporary understandings and attitudes shaped by the racial legacies of colonialism (Sheeran 2004;cf.…”
Section: The Bail Aspherementioning
confidence: 99%
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“…It was especially in such domains of public sociability that new, creolized practices emerged, which drew on the technical and formal resources of European music but subverted them to fit local performance environments, social structures, and aesthetic sensibilities. 12 Likewise, the spread of commercial printing and recording technologies transformed local musical economies, often to the advantage of hybridized genres which embodied the popular urban cultures that flourished in global port cities and imperial metropolises around 1900. 13 The emergence of new forms of popular music and dance was undoubtedly related to the adaptation of technologies and social practices that had their origins in western Europe, as their practitioners were well aware.…”
Section: Western Art Music and Global Modernitymentioning
confidence: 99%