Bernard Gordillo

Roundtable: Sounding/Voicing/Embodying Blackness in the Early Modern Iberian World

Abstract

Since the publication of Nicholas R. Jones’s book Staging Habla de Negros: Radical Performances of the African Diaspora in Early Modern Spain, wide interest in and the study of black dance, soundscapes, and voices has exploded in academic circles within early modern Iberian Studies on both sides of the Atlantic. Focusing on sonic Blackness and textuality, this roundtable engages Jones’s work on black dances and black musical practices/tradition active in early modern Iberia, New Spain, and the Caribbean. Cesar Favila considers the early modern vocal archive and reflects on aurality with respect to the African Baroque among the inhabitants of New Spain’s cloistered convents. The materiality of black women’s bodies comes to the fore in a sonic and gendered critique of seventeenth-century and eighteenth-century Catholic narratives on the nature of temporal and eternal salvation. Ireri Chávez Bárcenas traces the performance of Blackness in cathedral villancicos informed by the Black festive practices of the African diaspora in New Spain. The recovery of defiant voices and expressions of collective identity in this repertoire amplifies the lived experiences of free and enslaved men and women of African descent that resisted or negotiated the restrictive structures imposed by Spanish rule. Bernard Gordillo Brockmann explores a sensorial environment of the Spanish colonial cathedral coro in which constructed black women’s voices sang in devotion to God. The villancico de negro serves as a sonic-textual liminal space in which the Spanish and mestizo male gaze embodied and appropriated Blackness. Nicholas Jones’s intervention attends to the powerful ways Black Performance Studies and Black Sound Studies can productively impact and nuance the study of Blackness in Early Modern Iberian Studies writ large.

Bio

Bernard Gordillo Brockmann, a native of Nicaragua, is a Postdoctoral Associate and Lecturer at the Yale Institute of Sacred Music. He holds a Ph.D. in historical musicology from the University of California at Riverside. His scholarship lies at the crossroads of music, sound, and politics, and indigeneity in Latin America and the region’s historical relations with the United States. Under contract with the Oxford University Press, his book project, Canto de Marte: Art Music, Popular Culture, and U.S. Intervention in Nicaragua, examines the cultural impact of early twentieth-century United States intervention through the art and popular music of Nicaraguan composer Luis Abraham Delgadillo. He serves as area editor for Central America with the Grove Dictionary of Latin American and Iberian Music.