K. Meira Goldberg is a flamenco performer, teacher, choreographer and historian. She teaches at Fashion Institute of Technology and is Scholar in Residence at the Foundation for Iberian Music at the CUNY Grad Center. She has taught and guest lectured at Sarah Lawrence College, New York University, Flamenco Festival International in Albuquerque, Ballet Hispanico, Bryn Mawr, Princeton, Duke, Juilliard, The New School, and Smith College.

Sonidos Negros is a groundbreaking work which addresses an essential period of the history of flamenco dance and one which has been under-researched and largely unknown ... Readable and revelatory, Goldberg's work is an important and impressive contribution to the literature on flamenco which will be of great interest to scholars in many disciplines

• List of IllustrationsAcknowledgmentsForeword: Brenda Dixon GottschildIntroduction: The Moor Inside Part I. Changing Places: Figuring Race and Empire in the Eighteenth-Century Fandango Chapter 1. Good Shepherd, Bumpkin Shepherd: Distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps) Chapter 2. Concentric Circles of Theatricality: Pantomimic Dances from the Sacred to the Secular Part II. A Modernist Becoming: The Power of BlacknessChapter 3. Parody and Sorrow Chapter 4. Nonsense of the Body Chapter 5. Tilting across the Racial Divide: Jacinto Padilla, "El Negro Meri" and the Flamenco ClownChapter 6. Jaleo de Jerez and Tumulte Noir: Juana Vargas "La Macarrona" at the Exposition Universelle, Paris, 1889Conclusions: "Lily-White Maidens" and "Black Gitanos" Bibliography:Index:

K. Meira Goldberg is a flamenco performer, teacher, choreographer and historian. She teaches at Fashion Institute of Technology and is Scholar in Residence at the Foundation for Iberian Music at the CUNY Grad Center. She has taught and guest lectured at Sarah Lawrence College, New York University, Flamenco Festival International in Albuquerque, Ballet Hispanico, Bryn Mawr, Princeton, Duke, Juilliard, The New School, and Smith College.

Sonidos Negros is a groundbreaking work which addresses an essential period of the history of flamenco dance and one which has been under-researched and largely unknown ... Readable and revelatory, Goldberg's work is an important and impressive contribution to the literature on flamenco which will be of great interest to scholars in many disciplines

• List of IllustrationsAcknowledgmentsForeword: Brenda Dixon GottschildIntroduction: The Moor Inside Part I. Changing Places: Figuring Race and Empire in the Eighteenth-Century Fandango Chapter 1. Good Shepherd, Bumpkin Shepherd: Distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps) Chapter 2. Concentric Circles of Theatricality: Pantomimic Dances from the Sacred to the Secular Part II. A Modernist Becoming: The Power of BlacknessChapter 3. Parody and Sorrow Chapter 4. Nonsense of the Body Chapter 5. Tilting across the Racial Divide: Jacinto Padilla, "El Negro Meri" and the Flamenco ClownChapter 6. Jaleo de Jerez and Tumulte Noir: Juana Vargas "La Macarrona" at the Exposition Universelle, Paris, 1889Conclusions: "Lily-White Maidens" and "Black Gitanos" Bibliography:Index:

K. Meira Goldberg is a flamenco performer, teacher, choreographer and historian. She teaches at Fashion Institute of Technology and is Scholar in Residence at the Foundation for Iberian Music at the CUNY Grad Center. She has taught and guest lectured at Sarah Lawrence College, New York University, Flamenco Festival International in Albuquerque, Ballet Hispanico, Bryn Mawr, Princeton, Duke, Juilliard, The New School, and Smith College.

Sonidos Negros is a groundbreaking work which addresses an essential period of the history of flamenco dance and one which has been under-researched and largely unknown ... Readable and revelatory, Goldberg's work is an important and impressive contribution to the literature on flamenco which will be of great interest to scholars in many disciplines

• List of IllustrationsAcknowledgmentsForeword: Brenda Dixon GottschildIntroduction: The Moor Inside Part I. Changing Places: Figuring Race and Empire in the Eighteenth-Century Fandango Chapter 1. Good Shepherd, Bumpkin Shepherd: Distinction in Villano Gambetas (Gambols) and Zapatetas (Stamps) Chapter 2. Concentric Circles of Theatricality: Pantomimic Dances from the Sacred to the Secular Part II. A Modernist Becoming: The Power of BlacknessChapter 3. Parody and Sorrow Chapter 4. Nonsense of the Body Chapter 5. Tilting across the Racial Divide: Jacinto Padilla, "El Negro Meri" and the Flamenco ClownChapter 6. Jaleo de Jerez and Tumulte Noir: Juana Vargas "La Macarrona" at the Exposition Universelle, Paris, 1889Conclusions: "Lily-White Maidens" and "Black Gitanos" Bibliography:Index: