Transatlantic Malagueñas and Zapateados is an exploration of two fandango dances, recording the circulations of people, imagery, music, and dance across what were once the Spanish and Portuguese Empires. Although these dance-musics seem to be mirror images, the unbreachable space between them reflects the political fault-lines along which nineteenth-century musical populism and folkloric nationalism extend into present-day debates about globalization, immigration, neoliberalism, and neofascism. If malagueñas are a fantastic incarnation of Spanishness, caught like a fly in amber by their anachronistic references to a fraught imperial past, noisy and raucous zapateado dances cut toward the future. Inherently marked by European conventions of zapatos (shoes), zapateados are nonetheless shaped by Africanist and Native American footwork traditions. In these Afro-Indigenous mestizajes, not only are European aesthetic values reordered and resignified, but the Catholic catechism which indoctrinated the New World yields to alternate spiritual systems springing out of a culture of resistance to European domination.

How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, in the span between 1492 and 1933, the vanquished Moor became Black, and how this figure, enacted in terms of a minstrelized Gitano, paradoxically came to represent Spain itself. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Christian and non-Christian, White and Black worlds. This figure's subversive teetering undermines Spain's symbolic linkage of religion with race, a prime weapon of conquest. Flamenco's Sonidos Negros live in this precarious balance, amid the purposeful confusion and ruckus cloaking embodied resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization.

St. Patrick’s Day is definitely the day to wear green. This exciting book introduces readers to some of this holiday’s most famous traditions. Readers will remain engaged from cover to cover with full-color photographs and easy-to-follow text in English and Latin-American Spanish.

The contents of this book represent Gayle Kowalchyk and E. L. Lancaster’s favorite sheet music solos. Many of the solos are among the most requested by piano teachers and students alike. Several of the pieces contain optional duet accompaniments. This book contains 9 early elementary to elementary pieces. Titles: *Back to School Boogie *Beautiful Things *First Cha-Cha-Cha *First Hoedown *First Waltz *Hurry, Halloween! *It Only Takes a Mouse *Midnight Shadows *Run, Mister Turkey!

The contents of this book have been personally selected by Catherine Rollin as some of her all-time favorite sheet music solos. Many of the solos are among the most requested by piano teachers and students alike. The varied styles of each piece makes this book a valuable supplement to most piano methods. This book contains 10 early elementary to late elementary pieces. Titles: * Bean Bag Dog * Chocolate Chip Cookies * Hoe-Down * Lefty's Cool Strut * Octopuses All Have 8 * Rock It! * Sneaky Skeleton * Sunlight Waltz * The Swan Witches' Brew. "Hoe-Down" and "Witches' Brew" are Federation Festivals 2016-2020 selections.

Australians have been transported to an imaginary Spain from at least the 1830s, when cachuchas were first danced on the Sydney stage. In Take Me to Spain John Whiteoak explores the rich tapestry of Australians’ fascination with all thing Spanish, from the voluptuous sensuality of Lola Montez to operas featuring señoritas, toreadors and Gypsies, and from evocative silent and later Spain-themed Hollywood movies to the dazzlingly creative artistry of the flamenco dancers and guitarists who toured Australia in the 1960s and ’70s. Examining the diverse ways that Spanish music and dance have been mediated or hybridised to cater for Australian popular taste, this landmark study reveals how Hispanic traditions have become integral to the cultural history of the nation.

Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of home and homeland in a postmodern world. Contributors: Homi Bhabha, Thomas Elsaesser, Rosa Linda Fregoso, Teshome H. Gabriel, George Lipsitz, Margaret Morse, David Morley, John Peters, Patricia Seed, Ella Shohat, and Vivian Sobchack.

A facing page translation of Emilia Pardo Bazán's classic novel