The Rosalía Polemic
Defining Genre Boundaries and Legitimacy in Flamenco
Edición: Versión en línea publicada en Atril Flamenco con la autorización expresa del autor y de la Society for Ethnomusicology, editora de la revista Ethnomusicology.
Fecha de publicación: 2021
Número de páginas: 30
Enlace: https://doi.org/10.5406/ethnomusicology.65.1.0032
Cómo citar: Manuel, Peter. 1989. «The Rosalía Polemic. Defining Genre Boundaries and Legitimacy in Flamenco». Ethnomusicology, n.º 65 (1): 32-61. University of Illinois Press.
Índice
- The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco
- “Authenticity,” Universality, and Social Embedding in Flamenco
- Defining Flamenco—and the Importance of Doing So
- Enter Rosalía
- El mal querer: Flamenco or Not?
- The Importance of “Credentials,” and Again, Defining Bulerías and Flamenco
- “Malamente” and Minstrelsy
- Conclusions and Cross-Cultural Perspectives
- Acknowledgments
- References
Resumen
In 2018 Spanish singer Rosalía attained international popularity with her innovative flamenco-fusion album El mal querer. Within the flamenco world, the Rosalía vogue provoked vehement and ongoing polemics involving whether or not her music should be regarded as “flamenco,” whether she had the social credentials to be accepted as a flamenco innovator, and whether it was proper for her to adopt the persona of a ghetto-girl Gypsy in her hit music video, “Malamente.” These controversies reveal much about flamenco culture and the tensions inhering to its status as both a concert art form and a traditional idiom embedded in Gitano subculture.
Keywords: Rosalía, flamenco, legitimacy, genre boundaries.
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