The so-called “bailes de negros” (Black dances) found in the repertoire of Spanish and Latin American music from the end of the fifteenth century through the nineteenth century are distinguished by their festive air, their frenetic movements, their lasciviousness, and their lack of inhibition. In the musical sources, the melodic mode which supports these dances is, with some exceptions, principally in a major key. The predominance of the major key in Spanish compositions of music for the bailes de negros raises the question of whether—and which—extra-musical factors might explain such a marked preference for the major key in these musics.

 About the Book: "This collection of essays poses a series of questions revolving around nonsense, cacophony, queerness, race, and the dancing body. How can flamenco, as a diasporic complex of performance and communities of practice frictionally and critically bound to the complexities of Spanish history, illuminate theories of race and identity in performance? How can we posit, and argue for, genealogical relationships within and between genres across the vast expanses of the African—and Roma—diaspora? Neither are the essays presented here limited to flamenco, nor, consequently, are the responses to these questions reduced to this topic. What all the contributions here do share is the wish to come together, across disciplines and subject areas, within the academy and without, in the whirling, raucous, and messy spaces where the body is free—to celebrate its questioning, as well as the depths of the wisdom and knowledge it holds and sometimes reveals" 

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