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- W4220804701 abstract "Abstract “Blood purity” legislated Spain’s vast American empire, condemning non-Christians—Jews and Muslims, Africans and Native Americans alike—to exile, bondage, and extirpation. Raza (“race”) signified the—invisible, because carried in the blood—Blackness of religious difference. Cast onto the surface of the skin, raza metastacized into the racist economic and social structures that plague the Atlantic world today. Yet in its homeland raza engendered a society wracked by anxieties about false identity, for the consequences of pretending to be another were indeed terrible. Flamenco performs these riddles of identity, the crux of Spain’s conceptualizations of race. Seeming to perform the Christian virtue which founds Spain’s Whiteness, flamencos cannily perform being who they are not—signifying racial instability instead. Like the Jews, flamencos claim agency and subjectivity—stubbornly claim to be Chosen. Yet, to put it in terms of the biblical story of brother murdering brother over a stolen birthright, if flamenco performs identity as feigned, who then is Cain and who is Abel? Who is Chosen and who is outcast? Flamenco seems to perform harmonious Christian universalism and belonging, yet it vibrates with the murderous rage and howling desolation of Abel’s heretically discordant, outcast twin. Skeptical of its own performative surface, flamenco vibrates with the “alienation and distance” that for performance theorist and poet Fred Moten “represent the critical possibility of freedom.” In this chapter the author reflects on her own Jewish identity as a portal through which to step into creative and ethical alignment with flamenco’s radical fugitivity." @default.
- W4220804701 created "2022-04-03" @default.
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- W4220804701 date "2022-03-18" @default.
- W4220804701 modified "2023-10-17" @default.
- W4220804701 title "Raising Cain" @default.
- W4220804701 doi "https://doi.org/10.1093/oxfordhb/9780197519516.013.17" @default.
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