Rapsodia Ibero-Indiana
Transoceanic creolization and the mando of Goa
Bibliographic Data
| ID | 3608599 |
|---|---|
| Authors | Ananya Jahanara Kabir (0000-0003-1895-8412, King's College London, corresponding author) |
| Year | 2021 |
| Volume | 55 |
| Issue | 5 |
| Pages | 1581-1636 |
| Publication date | 2021-09-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Modern Asian Studies (JOURNAL) |
| Journal identifiers | ISSN: 0026-749X • E-ISSN: 1469-8099 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0026749x20000311 |
| OpenAlex | W3121125397 |
| Language | EN |
| Citations received | 5 |
| References cited | 32 |
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, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through processes of creolization that linked the cultural worlds of the Indian and Atlantic Oceans-a manifestation of what early twentieth-century Goan composer Carlos Eugénio Ferreira called a 'rapsodia Ibero-Indiana' ('Ibero-Indian rhapsody'). I investigate the mando's kinetic, performative, musical, and linguistic aspects, its emergence from a creolization ofmentalitésthat commenced with the advent of Christianity in Goa, its relationship to other dances in Goa and across the Indian and Atlantic Ocean worlds, as well as the memory of inter-imperial cultural encounters it performs. I thereby argue for a new understanding of Goa through the processes of transoceanic creolization and their reverberation in the postcolonial present. While demonstrating the heuristic benefit of theories of creolization to the study of peninsular Indic culture, I bring those theories to peninsular India to develop further their standard applications
Creolization · Lyrics · Diversity and Impact of Dance · Music History and Culture · Theater, Performance, and Music History
In the break
The black Atlantic
The Portuguese seaborne empire, 1415-1825
Between Empires
Creolization as balancing act in the transoceanic quadrille
Pale imitations
Secular Devotion
The Career and Legend of Vasco da Gama
Sounds of the Metropolis
Hegemony, dance and nation
Inquisition Records from Goa as Sources for the Study of Slavery in the Eastern Domains of the Portuguese Empire
Community, Memory, and Migration in a Globalizing World
The empire of apostles
The Career and Legend of Vasco da Gama
The Portuguese Empire, 1415-1808
Slavery and the Culture of Taste
Unfinished Gestures
The Archive and the Repertoire
Connected Histories
What More Remains
The Repeating Island
Classical Music," "Folk Music," and the Brahmanical Temple in Kerala, India
Blackness in the White Nation
Rhythms of Resistance
Decolonizing time through dance with Kwenda Lima
| Unique citing works | 5 |
|---|---|
| Citations per year | 1 |
| Citation span | 2021 - 2025 (5) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 5 |