The music is Morisco music, found on Iberian Garden, Vol. 1 by
Altramar. The piece is Muwashshah: Mā li-l-muwallah, 1113-1198.
This music takes place at the beautiful gardens along the Guadalquiver, near Cordoba.
This is during the "convivencia" under Alfonso X (El Sabio - The Wise), the time
before Granda fell: when Christians, Moslems and Jews lived at peace with each
other. Muwashshah are songs in poetic form, with instrumental interludes in the
form of Ibn Bājja (Avempace): 1470-1520. This is Morisco art.
The first thing that immediately is obvious is that the costumes worn by
Ottoman Turks (above) sharply differs from the costumes of Jews, Moriscos, and the
Gypsies (New Castilians)!
Flamenco dance in Spain, has been influenced by Morisco culture, and in itself
should be considered a separate study. A brief mention of some relevant material.
Just as there were New Christians in Spain, meaning newly forcefully converted
Jews (Conversos), and newly forcefully converted Muslems (Moriscos), there also
were newly forcefully converted Gypsies, called "New Castilians"
(Gypsies), distinguished from Old Castilians (non-Gypsies).
1
The form of Catholicism practiced in Spain was, in simple terms, fanatic rascist
hatred. The Gypsies were effectively treated the same way as were the Jews,
Moriscos, Huguenotes, Illuminists, etc. As the Spanish Crown considered methods
such as mass castration; rape/murder, enslavement, plunder; forced religious conversion,
putting populations on ships then scuttling the ships, expulsion, etc. as a basis of
"accepting" assimilation, such methods only increased racial hatred and alienation,
and failed as a method of securing control based upon a uniform cultural religious
identity. The Gypsies were treated in the same way. Thus
starting in 1499, 1539 and in 1560, Gypsies were subject to laws that expelled them,
allowing one to three months preparation. Gypsies were sentenced to at least 6 years
as galley slaves. Gypsy galley slaves sometimes mutinied, in response. Gypsy women
were whipped and then banished from Spain. Gypsey music and dances were prohibited
in 1633. 2
In 1738 the Santa Hermandad (A Holy Brotherhood) or army delt with the problem
of hunting down Gypsies (bounties were created to hunt Gypsies). Use of iglesias frías
("cold immunity") by which protection provided by refuge on church property was called
into question: arrest on church premises required return to the church where arrested,
else continued appeal to the church could take place. 3
In 1747 through 1749, the Catholic church (Bishop of Oviedo), Gypsies were subject
to mass arrests, subjecting them to forced labour
; all men aged 15 to 50 were sent to forced labour in the arsenals, boys aged 12 to
15 were forced into the Navy. As a consequence of the expulsion of the Moriscos, there
was a severe shortage of labourers, with economic and financial consequences. Gypsies
had filled this need for labour, as blacksmiths, bakers, millers, shhep shearers, etc.
Instead, severe shortages of labourers and lack of services occured again (many
Catholics viewed them selves as "Hidalgos", refusing to work).
These Gypsy men forced into heavy labour were forced into transporting extremely heavy
stones, while up to their waists in mud and water while in leg chains. As this was the
time of the "Enlightenment", members of the Spanish government emulted Voltaire (recall
Voltaire in a letter to Catherine the Great, had proposed genocide as a way to deal with
Ottomans - thus we understand what enlightened views meant). Thus it was proposed to
separate all male and female Gypsies as a method of extermination.
4
Gypsy music was influenced by the Ottomans, as was "European" music.
The Ottoman czimbalom, used other
instruments as well, including drums, tambourines ("pandero" or
"pandereta", with "sonajas" or
"jingles"), 5 and Gypsy musical structure
commonly followed the Ottoman structure employing the lassau,
lassan, or keserrgö
(a slow prelude, followed by fast friss, or
friska. 6
Gypsy dances included the polvico, zarabanda,
salterello, chacona, csárda,
etc. 7
Glossary
Term
Meaning
Caló
"Black" Gitanos (Black Gypsies of Spain and Southern France, and also name of their language)
Carcelera
Gypsie tonás (unaccompanied) prison songs.
Ghawazi
Gypsie dancing girls from Egypt.
Kharja, Jarcha
Final stanza of muwashshah poetry.
Martinete
Tonás song, associated with blacksmith anvil work.
New Castilian
Eighteenth century word used in place of "Gypsie".
1
"Gypsies and Flamenco: The Emergence of the art of flamenco in Andalusia",
by Bernard Leblon, p. 134