By Max Harris
In villages and cities throughout Spain and its former New international colonies, neighborhood performers level mock battles among Spanish Christians and Moors or Aztecs that diversity from short sword dances to large road theatre lasting numerous days. The pageant culture formally celebrates the triumph of Spanish Catholicism over its enemies, but this doesn't clarify its patience for greater than years nor its frequent diffusion.
In this insightful e-book, Max Harris seeks to appreciate Mexicans' "puzzling and enduring ardour" for fairs of moros y cristianos. He starts through tracing the performances' roots in medieval Spain and displaying how they got here to be superimposed at the mock battles that have been part of pre-contact Aztec calendar rituals. Then utilizing James Scott's contrast among "public" and "hidden transcripts," he finds how, within the arms of folks and indigenous performers, those spectacles of conquest grew to become prophecies of the eventual reconquest of Mexico by way of the defeated Aztec peoples. Even this day, as energetic descriptions of present fairs make undeniable, they continue to be a remarkably refined automobile for the communal expression of dissent.
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Additional info for Aztecs, Moors, and Christians : festivals of reconquest in Mexico and Spain
The kiss of peace also acknowledges Jaume’s authority. It is he who must ratify the 39 part two: spain, 1150 – 1521 inclusion of the converted Moors in the Christian kingdom of Aragon-Catalonia. At the same time, however, the script has him do so in a manner that reminds him of his own humanity. While the Moors kneel and prostrate themselves before Santiago and worship the cross, the Moorish captain stands before King Jaume and is greeted, in a manner ﬁtting for equals rather than for subordinates, with a kiss on the cheeks.
I am aware of very few accounts of mock battles between Moors and Christians before 1492. The two earliest reports depend on secondhand nineteenth-century citations of manuscripts now lost, and the ﬁrst evidence of a sustained tradition of local performances comes from the ﬁfteenth-century Barcelona Corpus Christi procession, which regularly included a dance of Turkish infantry and Christian hobby horses. Even in the sixteenth century, most moros y cristianos were occasional, staged as part of a royal entry or other special event.
Reading the mask (cuetzalan, 1988) licly, despite the risk of punishment by those in power, the message of the hidden transcript. To speak the truth in the face of the powerful grants a sense of necessary dignity to the powerless, but, as long as the truth remains disguised, that dignity is qualiﬁed. The next step, therefore, is to publish the hidden transcript in a way that may claim innocence and yet be clearly understood by those in power as an act of deﬁance. Supporters of Solidarity, in the Polish city of Lodz in 1983, “decided that in order to demonstrate their disdain for the lies propagated by the ofﬁcial government television news, they would all take a daily promenade timed to coincide exactly with the broadcast, wearing their hats backward.
Aztecs, Moors, and Christians : festivals of reconquest in Mexico and Spain by Max Harris