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28-516: ¡Plaza!, que allá va la nata y la espuma de la gente de bronce, la perla de los barrios, el alma de los fandangos, la gloria y ambición de la gente de "sarape y montecristo", la que me subleva y me alarma, y me descoyunta y me... (The plaza!—filled with the cream and the dregs of the bronzed people, the pearl of the neighborhoods, the soul of the fandangos , the glory and ambition of the people of " sarape and montecristo", that which stirs and alarms me, and disjoints me, and...) The fashion design of

56-574: A china woman would have seen a corset , she would have thought it a torture device such as used on Saint Ursula and the Eleven Thousand Virgins ; and that her face was not some sort of " cake frosting ", an allusion to the "proper" women whose faces would have to be washed to see if the colors run: [...] no conoce el corsé; si lo viera, desde luego pensaría que semejante aparato fue uno de los intrumentos que sirvieron para el martirio de Santa Úrsula y sus once mil compañeras [...] y está tan

84-741: A Fellow of the Royal Society of Canada . He held the 2017 Panofsky Professorship at the Zentralinstitut für Kunstgeschichte in Munich. Bailey was born in Vancouver, B.C., on 8 July 1966. He attended the Schillergymnasium Münster among other schools, and graduated from Trinity College, Toronto at the University of Toronto with a B.A. in 1989 and M.A. in 1990, and from Harvard University with

112-768: A Ph.D. in 1996. Bailey has taught Renaissance, Baroque, Latin American, and Asian art at King’s College at the University of Aberdeen , Boston College and Clark University , where he was program director for Art History and twice won the Hodgkins Junior Faculty Teaching Award (1999, 2002), and he has held guest professorships at the Zentralinstitut für Kunstgeschichte in Munich (as the 2017 Panofsky Professor), Boston University and Georgetown University . He has published nine books including, most recently, The Palace of Sans-Souci in Milot, Haiti (ca. 1806–13):

140-445: A oscuras en eso de cascarillas, colorete y vinagres radicales, que si se hallara tales chucherías entre sus limpios peines y adornadas escobetas, creería sin duda que aquello era para pintar las ollas del tinajero, pues, como dijo el otro, el novio de la china no tiene necesidad de lavar antes a la novia, como a las indianas, para ver si se destiñe, prueba a que deberían estar sujetas algunas hermosuras del buen tono. ...she knows not

168-496: A product of the evolution of Mexican culture during the first decades of the 20th century. In fact, las chinas became a well defined meme in the 19th century, a little more than a century after the death of Catarina de San Juan. Writer Gauvin Alexander Bailey points out: The china poblana of popular imagination—of shiny embroidered blouse and shawl—is a product of the nineteenth century. Symbol of Mexican femininity, she

196-533: A result of the extravagant features of the dance, the word fandango is used as a synonym for "a quarrel", "a big fuss", or "a brilliant exploit". In Veracruz, Mexico , a fandango is a party where people get together to dance, to play and to sing in a community setting. As local musicians perform the Son Jarocho music, people dance " zapateado " atop a large wooden platform known as a Tarima . [REDACTED] This article incorporates text from this source, which

224-765: Is given by Dohrn in the Neue Zeitschrift f. Music. The current 4 pattern of the fandango, its distinctive progression (i–iv–V) lyrics with octosyllabic verses and the use of castanets and guitars are well-documented from the 18th century. The fandangos grandes (big fandangos) are normally danced by couples, which start out slowly with gradually increasing tempo. Many varieties are derived from this one. The fandanguillos (little fandangos) are livelier, more festive derivations of fandangos. Some regions of Spain have developed their own style of fandangos, such as Huelva (fandangos de Huelva) and Málaga (fandangos de Málaga , or Verdiales ) . Northern areas such as

252-654: Is in the public domain : Grove, Sir George (1908). Grove's Dictionary of Music and Musicians . New York, McMillan. Gauvin Alexander Bailey Gauvin Alexander Bailey is an American-Canadian author and art historian . He is Professor and Alfred and Isabel Bader Chair in Southern Baroque Art at Queen's University . Bailey is a correspondent étranger at the Académie des Inscriptions et Belles-Lettres , Institut de France and

280-554: Is inspired on the fandango of the regions of Alentejo and Ribatejo of Portugal. Camille Saint-Saëns' "Danse Macabre" also follows the rhythm of the fandango. Italian composer Domenico Scarlatti , who was influenced by Iberian folk music, had several passages reminiscent of fandango, such as in his keyboard sonata K. 492 (1756) which has been called "Fandango portugués". The piece "Fandango del Sigr. Escarlate" has been attributed to him, but some scholars dispute this claim and its similarity to fandangos. The Spanish form of fandango

308-518: Is linked to Spanish prototypes such as the maja , immortalized in paintings by Murillo y Goya Fandango Fandango is a lively partner dance originating in Portugal and Spain, usually in triple meter , traditionally accompanied by guitars, castanets, tambourine or hand-clapping. Fandango can both be sung and danced. Sung fandango is usually bipartite: it has an instrumental introduction followed by "variaciones". Sung fandango usually follows

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336-515: Is so that it is not so; I am the ground that everyone walks on, but I don't know how to make bread pudding.) Nineteenth-century descriptions of women wearing the china paint them as simultaneously attractive and too risque for the times. Men saw these women as beautiful for their brown complexion, their "plump" but not "fat" body and face, and, most significantly, their differences from women of higher social strata in their lack of artifices to enhance their beauty. Author José María Rivera notes that if

364-656: The Principality of Asturias , the Basque Country and Castile and León have preserved a more relaxed performance. Fandango is one of the main folk dances in Portugal . The choreography is quite simple: on its more frequent setting two male dancers face each other, dancing and tap-dancing one at a time, showing which has the most lightness and repertoire of feet changes in the tap-dancing. The dancers can be boy and girl, boy and boy (most frequent) or, rarely, two girls. While one of

392-556: The canario and gitano ; to the jota aragonesa. There is a curious piece of history said to be connected with this dance. Soon after its first introduction, in the 17th century, it was condemned by the ecclesiastical authorities in Spain as a "godless dance". Just as the Consistory were about to prohibit it, one of the judges remarked that it was not fair to condemn anyone unheard. Two celebrated dancers were accordingly introduced to perform

420-558: The china poblana dress is attributed to Catarina de San Juan , although it certainly incorporates elements from the diverse cultures that were mixed in New Spain during three centuries of Spanish rule. According to descriptions written in the 19th century, the era in which the dress was very popular in various cities in the middle and southeast of Mexico, china outfit is made up of the following garments: Eso sí que no; yo soy la tierra que todos pisan, pero no sé hacer capirotadas. (It

448-528: The 3-4 tempo, and the characteristic Spanish rhythm. The earliest fandango melody is found in the anonymous "Libro de diferentes cifras de guitarra" from 1705, and the earliest description of the dance itself is found in a 1712 letter by Martín Martí, a Spanish priest. The fandango's first sighting in a theatrical work was in Francisco de Leefadeal 's entremés "El novio de la aldeana" staged in Seville, ca. 1720. By

476-650: The Philippines to Baroque paintings in Italy in a time of Plague (disease) , especially Anthony van Dyck and the cult of Saint Rosalia . Bailey maintains an active international lecture schedule and has made over 100 presentations at academic institutions and museums on six continents, including Harvard University , Yale University , the New York University Institute of Fine Arts , the Center for Advanced Studies in

504-831: The Untold Story of the Potsdam of the Rainforest ( Deutscher Kunstverlag , 2017) and Architecture & Urbanism in the French Atlantic Empire: State, Church and Identity, 1604–1830 (McGill-Queen’s University Press, 2018). A tenth book entitled The Architecture of Empire: France in the Indian Ocean and Southeast Asia, 1664–1962 will be published by Mcgill-Queen's University Press in 2022. He has also co-authored or co-edited seven other books and over 80 articles and book chapters on topics ranging from Renaissance ivories carved in

532-772: The Visual Arts at the National Gallery of Art , the Getty Research Institute , the University of Cambridge , the Courtauld Institute of Art (London), the University of London , the University of St. Andrews , the University of Edinburgh , the Institut de France , Sorbonne University , Sapienza University of Rome , the Bibliotheca Hertziana , Rome, University of Heidelberg , University of Innsbruck and

560-445: The corset; if she saw it, right off she would think that it such a device was one of the instruments that served to martyr Saint Ursula and her eleven thousand handmaidens...And she is so much in the dark in matters of facial masks (literally, husks ), rouge, and radical vinegars , that if she encountered such trinkets among her clean combs and adorned hairbrushes , without a doubt she would believe they were for painting pots from

588-449: The dancers dances, the other just "goes along". Afterwards, they "both drag their feet for a while" until the other one takes his turn. They stay there, disputing, seeing which one of them makes the feet transitions more eye-catching. The "fandango do Ribatejo" refers specifically to the form of fandango practiced in Ribatejo , Portugal. The dance is usually performed by two Campinos . As

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616-564: The fandango before the Consistory. This they did with such effect, that, according to the old chronicler, "every one joined in, and the hall of the consistorium was turned into a dancing saloon". No more was heard of the condemnation of the fandango. The form of fandango has been used by many European composers, and often included in stage and instrumental works. Notable examples include J. P. Rameau 's "Les trois mains" (in "Nouvelles suites de pièces de clavecin", ca. 1729–30); Fandango forms #19 in

644-418: The first half of the nineteenth century call attention to the way in which the fashion of peasant women showed off their feminine forms, or were an appropriate feature of all the graces that were attributed to these women. A verbal portrait was made of them as excellent dancers of jarabe music popular in that era—like El Atole , El Agualulco , El Palomo and others that form part of the folkloric jarabes of

672-502: The late 18th century it had become fashionable among the aristocracy and was often included in tonadillas , zarzuelas , ballets and operas , not only in Spain, but also elsewhere in Europe. Widely varying claims have been made about the origin of fandango: its relation to the jabera, the soleá , and the petenera ; to the Andalusian malagueña , granadina , murciana and rondeña ; to

700-412: The part 2 of Gluck 's ballet Don Juan (1761); in the third-act finale of Mozart 's opera The Marriage of Figaro (1786); in the finale of Luigi Boccherini 's String Quartet Op. 40 No. 2 (1798) and Guitar Quintet G.448; Antonio Soler 's Fandango for harpsichord; and the finale of Rimsky-Korsakov 's Capriccio Espagnol . Luis de Freitas Branco 's third movement of his "Suite Alentejana No. 1"

728-401: The potterymaker, since, as someone else has said, the boyfriend of the china woman has no need to wash his girlfriend beforehand, like Indian women, to see if her colors run, a test that some "proper" beautiful women should have to go through. In that sense, the wardrobe of the china woman was considered too provocative. Contemporary Mexican journalists and foreigners who knew these women in

756-409: The structure of "cante" that consist of four or five octosyllabic verses (coplas) or musical phrases (tercios). Occasionally, the first copla is repeated. The meter of fandango is similar to that of the bolero and seguidilla . It was originally notated in 8 time, of slow tempo, mostly in the minor, with a trio in the major; sometimes, however, the whole was in a major key. Later it took

784-467: The twentieth century—also as models of cleanliness and order; of fidelity to "their man" although also seen as very liberal sexually. As mentioned in the introduction of this article, the Pueblan origin of the china poblana outfit has been put in doubt on occasion. The correlation between the china —as a popular figure—and the outfit worn by the historic China Poblana—the alluded-to Catarina de San Juan —is

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