The late nineteenth century witnessed the birth and popularization of a number of highly
emotional musical styles that played on the eagerness of modern Europeans and Americans to toy with the limits of sanity and to taste the ecstasies of living on the edge. This absorbing book explores these popular, passionate musical styles -- which include flamenco, tango and rebetika -- and points out that they arose as well-intentioned intellectuals co-opted the emotional experiences most closely associated with women. In drawing those experiences out of female practice, they defined, objectified, and turned them into strategies of domination, the deepest impact of which was felt, ironically, by modern women.
In bridging anthropology, sociology, cultural, media, body and gender studies, this book broadens the base of theory which has ignored the transnational world of Latin and Mediterranean popular culture and makes a powerful statement about the intersection of nationalism, sexuality, identity and authenticity.
emotional musical styles that played on the eagerness of modern Europeans and Americans to toy with the limits of sanity and to taste the ecstasies of living on the edge. This absorbing book explores these popular, passionate musical styles -- which include flamenco, tango and rebetika -- and points out that they arose as well-intentioned intellectuals co-opted the emotional experiences most closely associated with women. In drawing those experiences out of female practice, they defined, objectified, and turned them into strategies of domination, the deepest impact of which was felt, ironically, by modern women.
In bridging anthropology, sociology, cultural, media, body and gender studies, this book broadens the base of theory which has ignored the transnational world of Latin and Mediterranean popular culture and makes a powerful statement about the intersection of nationalism, sexuality, identity and authenticity.
