The mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through processes of creolization that linked the cultural worlds of the Indian and Atlantic Oceans—a manifestation of what early twentieth-century Goan composer Carlos Eugénio Ferreira called a ‘rapsodia Ibero-Indiana’ (‘Ibero-Indian rhapsody’). I investigate the mando's kinetic, performative, musical, and linguistic aspects, its emergence from a creolization of mentalités that commenced with the advent of Christianity in Goa, its relationship to other dances in Goa and across the Indian and Atlantic Ocean worlds, as well as the memory of inter-imperial cultural encounters it performs. I thereby argue for a new understanding of Goa through the processes of transoceanic creolization and their reverberation in the postcolonial present. While demonstrating the heuristic benefit of theories of creolization to the study of peninsular Indic culture, I bring those theories to peninsular India to develop further their standard applications.

中文翻译：

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Rapsodia Ibero-Indiana：跨洋克里奥尔化和果阿的曼多

mando 是果阿的一种世俗歌舞流派，其档案证明始于 1860 年代。它今天仍在跳舞，在舞台而不是社交环境中。它的歌词是康卡尼语，他们的音乐伴奏结合了欧洲和当地的乐器，它的舞蹈遵循了 19 世纪欧洲群舞的原则，称为四边形，这种舞蹈在欧洲以外的环境中激增，产生了各种克里奥尔化形式。本文利用果阿的克里奥尔化理论、档案和实地研究，以及对四轮舞作为一种社会和纪念行为的理解，将曼多舞呈现为半岛、印度、克里奥尔化的四轮舞。rapsodia 伊比利亚-印第安纳州'（'伊比利亚-印度狂想曲'）。我研究了 mando 的动力学、表演、音乐和语言方面，它从克里奥尔化的心态它始于果阿基督教的出现，它与果阿其他舞蹈以及印度洋和大西洋世界的关系，以及它所表演的帝国间文化相遇的记忆。因此，我主张通过跨洋克里奥尔化过程及其在后殖民时代的回响，对果阿进行新的理解。在展示克里奥尔化理论对半岛印度文化研究的启发性好处的同时，我将这些理论带到了印度半岛，以进一步发展它们的标准应用。