Abstract:

This article intervenes in the emerging field of Rosalía scholarship to demonstrate the viability of reading Rosalía as an experimental flamenco artist and to point to the value of such readings for studies of race in contemporary Spain. In this project, I demonstrate that Rosalía's 2020 single "Juro que" innovates upon flamenco's long tradition of decrying the violence of incarceration, particularly as that violence relates to gitano, or Spanish Roma, communities, and revises the historically masculinist boundaries of this tradition. By analyzing the racial and gendered dimensions of the construction of the poetic speaker in "Juro que," I argue that this text renders audible gitanidad and the critique of anti-gitanidad that is implicit in anti-carceral flamenco tradition while also circumventing a problematic identification with gitanidad itself. In its opposition to the criminal legal system as well as the racist stereotypes produced by the good Gypsy/bad Gypsy dichotomy, "Juro que" resists the historical function of the white Gypsy paradigm as defined by Eva Woods Peiró. Simultaneously, however, I examine the deployment of racially ambiguous aesthetics in "Juro que" in the context of that paradigm and point to the ways in which those aesthetics risk obfuscating anti-gitano carceral violence.

摘要：

本文介入罗莎莉亚学术的新兴领域，以证明将罗莎莉亚视为实验性弗拉门戈艺术家进行解读的可行性，并指出此类解读对于当代西班牙种族研究的价值。在这个项目中，我展示了 Rosalía 2020 年的单曲“Juro que”，它创新了弗拉明戈谴责监禁暴力的悠久传统，特别是因为这种暴力与gitano（或西班牙罗姆人）社区有关，并修改了这一传统历史上的男性主义界限。通过分析《Juro que》中诗意说话者的构建的种族和性别维度，我认为这篇文本呈现了可听的gitanidad和隐含在反监狱弗拉门戈传统中的反gitanidad批评，同时也规避了有问题的识别与gitanid本身。在反对刑事法律制度以及好吉普赛/坏吉普赛二分法所产生的种族主义刻板印象的过程中，“Juro que”抵制了伊娃·伍兹·佩罗（Eva Woods Peiró）定义的白人吉普赛范式的历史功能。然而，与此同时，我在该范式的背景下审视了《十郎阙》中种族模糊美学的运用，并指出了这些美学可能会混淆反吉塔诺监狱暴力的风险。