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"This book explores how women of the early Franco regime (1939-53) adapted rural music traditions and Spanish nationalism according to different political circumstances. The Sección Femenina (Women's Section) of the fascist Falange party officially represented the regime's views and policies on female gender roles. Through their Music Department, these women shaped traditional Spanish songs and dances to promote ideas of Catholic morality throughout the nation's culturally diverse regions, helped legitimize colonial involvement in Spain's African territories, and formed political ties with the Allied powers after the Second World War. This book is particularly relevant to readers with interests in 20th-century Spanish history, cultural diplomacy, and the Cold War"--
How did flamenco—a song and dance form associated with both a despised ethnic minority in Spain and a region frequently derided by Spaniards—become so inexorably tied to the country’s culture? Sandie Holguín focuses on the history of the form and how reactions to the performances transformed from disgust to reverance over the course of two centuries. Holguín brings forth an important interplay between regional nationalists and image makers actively involved in building a tourist industry. Soon they realized flamenco performances could be turned into a folkloric attraction that could stimulate the economy. Tourists and Spaniards alike began to cultivate flamenco as a representation of the country's national identity. This study reveals not only how Spain designed and promoted its own symbol but also how this cultural form took on a life of its own.
Over the last two decades, public diplomacy has become a central area of research within Cold War studies. Yet, this field has been dominated by studies of the United States' soft power practices. However, the so-called 'cultural dimension' of the Cold war was a much more multifaceted phenomenon. Little attention has been paid to European actors' efforts to safeguard a wide range of strategic and political interests by seducing foreign publics. This book includes a series of works which examine the soft power techniques used by various European players to create a climate of public opinion overseas which favored their interests in the Cold war context. This is a relevant book for three reasons. First, it contains a wide variety of case studies, including Western and Eastern, democratic and authoritarian, and core and peripheral European countries. Second, it pays attention to little studied instruments of public diplomacy such as song contests, sport events, tourism and international solidarity campaigns. Third, it not only concentrates on public diplomacy programs deployed by governments, but also on the role played by some non-official actors in the cultural Cold War in Europe
This book analyzes the promotion of subnational identities undertaken by Spanish fascism and the Franco regime between 1930 and 1975, as well as their patterns of survival, accommodation and adaptation. It examines the proactive attitudes of the various actors committed to the dictatorship – from Falangists to Francoist intellectuals to Catholic conservatives – alongside their repressive or annihilating approach to regional cultures and languages. As in most Fascist regimes between 1922 and 1945, a narrative of the ethnocultural, ethnoterritorial and historic diversity of the nation persisted, with differing degrees of intensity and different tendencies. These discourses and practices were not limited exclusively to the ideological and social sphere of anti-Francoism, and the roots of the ‘State of the Autonomous Communities’, which gave rise to the extension of political autonomy to all Spanish regions from 1978 onwards, date back to the deep structure of the dictatorship, with foundations in demands put forward by the local, provincial and regional elites within later Francoism. The volume is primarily written for scholars and students of Iberian Studies, European Modern and Contemporary History, Cultural Studies, especially those with an interest in memory studies, fascism, nationalism and regionalism, cultural resistance under dictatorship, and transitions from dictatorship to democracy.
In Music Criticism and Music Critics in Early Francoist Spain, Eva Moreda Rodríguez presents a kaleidoscopic portrait of the diverse and often divergent writings of music critics in the early years of the Franco regime. Carefully selecting contemporary writings by well-known music critics, Moreda Rodríguez contextualizes music criticism written during the Franco regime within the broader intellectual history of Spain from the nineteenth century onwards.
This book will be essential for scholars and students interested in Ibero-American cultural studies, gender, religion, and totalitarian politics. --Book Jacket.
This book provides an in-depth ethnographic investigation of the greatly underestimated and underappreciated contributions of women singers, the cantaoras, to the creation, transmission and innovation in flamenco song. Situating the study of flamenco in the context of social and political currents that have shaped twentieth-century Spain, and drawing on interviews with the cantaoras themselves, Loren Chuse shows how flamenco is a complex of cultural practices at once musical, physical, verbal and social, involving the expression and negotiation of complex multi-layered identities, including notions of Andalusian, regional, gypsy and gender identity. Chuse shows how women are engaged in the formation of flamenco today, and how they respond to the balance and tensions between tradition and innovation. In so doing, she encourages a deeper appreciation of flamenco and initiates new approaches within ethnomusicology, feminist scholarship, flamenco, gender and popular music studies.
This book provides a cultural history of Spanish politics from the civil war of 1833 to the Spanish adoption of the Euro in 2002, a period dominated for the most part by violent military interventions in the political process, a succession of weak, unstable, but repressive governments, and the ever-present threat of rebellion from below, and culminating in the victory and repressive dictatorship of General Franco. Using a wide range of sources, both textual and material, Mary Vincent focuses on the question of how ordinary people came to identify themselves both as citizens and as Spaniards throughout this turbulent period. She argues that a weak state rather than a weak sense of nation was the key to Spain's problematic development and that this is the key to explaining both the persistence of political violence and the strength of regional nationalism in modern Spain. But, as Vincent shows, from the 1970s, with modernization of the state and the introduction of democratic politics, all Spaniards - including Catalans and Basques - enthusiastically adopted an additional identity, that of Europeans. And, while questions over the territorial unity of the Spanish state have still not been wholly resolved, nevertheless the political choices facing Spaniards today are very similar to those of other western European nations - and Spanish singularity appears, at last, to be consigned to the past.
This study examines the discourses of nationalism as they intersected or clashed with Spanish film production from its inception to the present. While the book addresses the discourses around filmmakers such as Almodóvar and Medem, whose work has achieved international recognition, Spanish National Cinema is particularly novel in its treatment of a whole range of popular cinema rarely touched on in studies of Spanish cinema. Using accounts of films, popular film magazines and documents not readily available to an English-speaking audience, as well as case studies focusing on the key issues of each epoch, this volume illuminates the complex and changing relationship between cinema and Spanish national identity.