Miguel Angel Martínez Pozo – Jaen University
I will discuss the phenomenon of Moors and Christians in the Spanish society.
I. Historical approach
The Moors and Christians, in its various forms within the geographical scope and under the social peculiarities, religious, educational, cultural and historical of the different centuries have survived to this day thanks to annotations by travelers, scholars or writers who helps implement, from their experiences, what happened and seen with his eyes in specific places and specific. Without forgetting the various municipal archives and church of Spanish towns or individual files full of treasures discovered and undiscovered.
The Moors and Christians, as expressed anthropologist Demetrios are Brisset “with bullfights and flamenco, the most international of the characteristic celebrations of Spain.” (Brisset, 1988) They are held in numerous locations around the globe with its birth in our Iberian Peninsula. The province of Granada and its Kingdom is, along with Valencia, where they are held or have been held more parties of Moors and Christians, with a great antiquity and tradition among the inhabitants of their populations. Some of them have representations dating from the sixteenth and seventeenth centuries and reflect the importance that this territory (re)conquest of the Kingdom of Granada and the revolt of the Moriscos, these facts being reflected in the content and context of many.
The Moors and Christians make their own concrete world and spanning both history and geography of Spain the more social forms, political and economic.
Different research on the Moors and Christians find some similarities of these with other parties such as naumaquia romana1, sibka árabe2, medievales3 tournaments, mascaradas4, representations teatrales5, dance aragonés6, cortesanos7 celebrations, guerrillas8 skirmishes and corpus christi9.
Party in the Middle Ages, as it expected in difficult times within states, not only function was to amuse populations, but acted, at the same time, as doctrinaire influence and help shape the collective mentality of citizens. As expressed González Hernández, M.A.: “From the first moments of the Christian reconquest in the middle of the thirteenth century, is widespread in Spain this type of celebrations (…) With the dominance of the Iberian Peninsula by the Christians (in the broad sense, Castellanos, Catalan, Aragonese, etc.), the confrontation between two sides is common in many festivals: one, moro, and the other, cristiano” (González Hernández, 1999: 141).
In the fifteenth century noble stand, Don Alvaro de Luna, Master of the Order of Santiago, "It was very inventive and given to finding inventions, and hors d'oeuvres at parties take, or just, or war ", on the other hand, Constable Miguel Lucas de Iranzo, and the party game of reeds held in Jaen 1463 with the participation of this and two hundred knights, Moors and Christians divided.
With the union of Castile and Aragon, along with the incorporation of the Kingdom of Navarra and Nazari a model of government that will be an example for future European monarchies established. This unit must mention the religious uniformismo agreed with the papacy. The Catholic Monarchs welcome enthusiastically the interests of the Church, they assimilated to the State. Reorganized the Inquisition (1478) it becomes a national institution used to their advantage.
The Church saw its jurisdiction extended to a new territory and a new population whose needs of worship, Formation and, especially Control, They should be addressed. Mosques became parishes in the eyes of the old Christians who imposed their power and Muslims who assumed his defeat.
With erections parish church was definitively established structure in the Kingdom of Granada, thus beginning the process of acculturation and submission of the Moorish population to the ecclesiastical bureaucracy. And if we talk about acculturation and subjugation and not of evangelism it is because, despite the efforts deployed, greatly he weighed the fact that conversions were not voluntary, but forced, and that before the Moriscos it applied the "taqiyya" or disguise of respect in the form of rules but inside keep the Islamic faith (Garrido, 2005: 28-29).
Two interventions are noted as to the parties: King Philip II, in addition to like a lot of these representations is joined by the creation of militias or soldadescas in towns and cities due to raids by Barbary pirates (Martínez Pozo, 2013: 58-59). This regia guideline may be related to the proliferation since the late sixteenth century of military exercises or holidays soldadescas, where the peasants were trained in the use of weapons of fuego10; and the Society of Jesus who transformed “Theaters in pulpits and sermons disguised comedies” (Brisset and Parrondo, 1989: 95-101).
Philip III is institutionalized permanent militia from falling among men 18 Y 50 years. This military establishment experienced a favorable response in the geographical area of the ancient kingdom of Granada due to the Barbary raids.
The decline of the Spanish state linked to the expulsion of Moriscos (in 1610 some 2.000 Moorish Kingdom of Granada and the other 30.000 in the rest of Andalusia) He created the spirit of crusade against Islam Spanish crowning their last summit. Church and State, through the Holy Inquisition, It ensured the conversion of Jews and Muslims threatening them with torture and merciless. Political and ideological instrument created to achieve uniformity.
The historical background that just mentioned form the context of exploits and traumas collected by the victors in the dramas of Moors and Christians. All these events were taken by dramatists to stage his works among which I will highlight to Ginés Pérez de Hita, Lope de Vega, Calderon de la Barca, among others.
During this period, representations of Moors and Christians begin to have its peak solemnize introduced the custom of the feast of the patron saint of the town or city, with mock Moorish and cristianos.11
fair, the jousting, tournaments, among others they were disappearing throughout the eighteenth century megring, some aspects, in the celebrations of Moors and Christians of localities. It is in this century when they arrive "at full maturity, but must pass random moments in the reign of Carlos III, when laws were enacted prohibiting the representation of the mystery plays (Royal Decree of 11 June 1765), dissolving the brotherhoods (25 June 1783) and they prevented all dances and performances in processions and atriums of churches " (Jaramillo, 2005) regulating, Royal Decree from the festivities that were allowed to perform for the celebrations of actual events. Two years later, a playful strict control by an archdiocesan edict made a series of prohibitions socially affected the fiesta.12 The company arcabuceros independence militias in the XVIII century beginning to be called by the name of soldadescas.
historical changes, economic, social, cultural and political rights in Europe and in Spain brought innovations and renovations that influenced the Moors and Christians. Disappear in cities, They are consolidated in locations that become something identificativo, Guilds disappear 1813 more real parties and, Thus, drills Moors and Christians around them but strengthen those who revolve around the festivities. From the second half of the nineteenth century begins to be a recovery of the Moors and Christians in many localities, O well, the emergence of these from the adaptation of texts from neighboring villages or creating their own(Martínez Pozo, 2015: 168). In the Valencia area that would give the groups a new air to the party taking boom and beginning to edit programs in the early emerge 1880 where they begin to expand the number of comparsas13, festivos14 days of music becomes part of the fiesta.15
II.- THEATER DISPLAYS
During the XVI-XVII century representations of Moors and Christians they began to have its peak as, no city or town, not the festejase (Martínez Pozo, 2015:129). They took as many playwrights stage their works the different struggles between factions. to highlight:
– Ginés Pérez de Hita, who writes historical novel titled History of the sides of the Zegries and abencerrajes, Moorish knights of Granada and the civil wars that took place in it, whose second part recounts the Moorish rebellion of the Alpujarra. This work had forty editions in Spanish between the 16th and 17th centuries, later being translated into French., english and german.(Martínez Pozo, 2015: 134)
– Lope de Vega, for his works “The facts of Garcilaso de la Vega and Moro Tarfe” Y “The siege of Santa Fe and the illustrious feat of Garcilaso de la Vega” printed on 1604 and being one of the most represented theatrical works. This last comedy is recast in the work of the anonymous author, self-styled “A wit of the Court”, subsequently published and titled “The triumph of the Ave Maria”.(Martínez Pozo, 2015:135)
– Diego de Ornedillo, for his work “Colloquium on the Holy Birth of Our Lord Jesus Christ between a Moor and a Christian”, being edited during the 18th century. It could be the play most times staged in Spain and that has served as an inspiration in so many towns.(Martínez Pozo, 2015: 135).
We will also mention “the conversion of Villena”, which is an old comedy of Moors and Christians from the 16th century, conversions or “remains” Bathtub, Bocairent, Beneixama and Fontanars, as well as the call “Trial of the Treacherous Moor” of Xixon (To me, 2012: 328) but, It is of standing out, anonymous author, the sacramental car “Captivity and Rescue of Our. Mrs. the Virgin of the Head” popularly known as “The papers” and considered as the Moors and Christians festivals with the greatest literary content of all those celebrated in Spain. (Martínez Pozo, 2008: 112-119).
II.1.- “CAPTIVITY AND RESCUE OF NTRA. MS. THE VIRGIN OF THE HEAD”
Although we do not know the exact date of its realization and nor its author, yes we can base ourselves on the data that appear in some of his verses.
It is so in the verses 390 and following of the first afternoon, when the Moorish captain sees a portrait of the Virgin in a corner of the map of the region and expresses his fear, his servant Celin argues:
…when the map was formed
I had one thousand seven hundred
and more years…
that “and more years” can mean “Some more” which places us in the first quarter of the 18th century.
If we add that in the verses 30 And next, the Christian captain interprets the watchtower warnings, not as danger of Moors if my heart does not deceive me it is the army of England and I think that with Spain it is at peace and not at war, and we check that 1701 a 1713 both nations are at war (the War of the Succession) of 1718 a 1721 There is no peace, for the conquest of Sicily and 1725 a 1728 There is war again because Spain wants to reconquer Gibraltar, it is more than possible that the work was written between the years 13 al 18 oh 21 al 15; more likely the first, for while Spain was preparing to regain Sicily, the English navy did not stop guarding the Spanish coasts (Carmona, 2005).
As for the author is anonymous, although there are influences from the Calderón de la Barca theater, due to the presence of Calderonian verses, as for example in the Moorish king:
In that green ambush,
sweet goldfinch mansion,
theater of its beauty
and amenity of its echoes,
we have to hide all
delivered to silence.
and imitation of topics and Lope de Vega, as for example in the christian king:
And which the calved tiger
whose children steal
I will take satisfaction
of your evil greed.
We find Americanisms, new French words introduced in the time of Philip V, warlike and warrior phrases, own of this type of stories where the confrontation between Moors and Christians takes place, military sentences. They talk about free will and the pact with the devil (actions typical of the baroque), the belief of astrology and fatalism (mainly in the role of the Moorish king), philosophical themes are enunciated, theological, praises to the Virgin, and even behaviors and behaviors typical of Islam and the Christian believer.
On the other hand, its versification is loose and polymetric, highlighting the romance in a 84%, although he also uses sextinas, royal octaves, rounds, limericks, silvas and tenths.
The construction of the work presents a perfect symmetry of a classic painting: Luzbel and Angel in the supernatural plane, King Christian and King Moro on the chivalric plane, Minardo and Celín in the picaresque plane.
The author demonstrates that he knows the theatrical works of the Golden Age of Spanish literature and does not suffer from trial and error in the development of the plot., seeing in him a professional playwright.
According to the historian Zujareño Arredondo Arredondo, F.(2007) “the data they provide, indirectly endorse the thesis of the preparation and implementation of the play in the period that goes from 1714 until 1725.”
But, taking into account that both Benamaurel and Zújar had previous works, we can conclude that these papers were written by a literary professional in the second half of the 18th century. And it is more, possibly the manuscript that is currently preserved in Zújar is the original due to various reasons: to the date written on them (1799) which indicates that in that year they were already taking place and the historical events produced during that period of time that notably influenced the implantation of this auto sacramental, the cousins of both localities falling into disuse..
One way or another it is clear that, as Carmen Muñoz Renedo tells us in a work published by the Department of Dialectology and Popular Traditions of the Higher Council for Scientific Research, within a great sobriety in the number of participants and in the costumes and external apparatus, is “the festival of Moors and Christians with the greatest literary content of all those celebrated in Spain” (Muñoz, 1972).
III. TYPOLOGIES.
The Moors and Christians, with its complexity of symbolism, characters that surround them, reasons, clothing, representations, make them a ritual difficult to classify. An arduous task that different anthropologists and historians have carried out, among which I highlight Robert Ricard16, María Soledad Carrasco Urgoiti17 or Guillermo Guastavino.18
Due to the cultural diversity of the party, We find ourselves with different obstacles because although there may be similarities, we also find the coexistence of different models in the same geographical area.. This is where, Demetrio Brisset, after your investigation, create a similar ranking system, applicable to cultural phenomena subject to multiple influences and that may possess elements from distant models in space and time (Brisset, 1993) establishing interlocking criteria:
I. Sources of specific historical inspiration.19
II. Inspirational holiday patterns. 20
III. Characteristics of the theatrical representation.21
IV. According to their narrative morphology.22
V. According to geographical distribution.
Entering the 21st century, José Domene Fernando Verdú (2015: 298-299) classifies them into two types and several subtypes, according to morphological criteria for the most general, and geographic, for the most particular:
– Dances of Moors and Christians. They consist of the addition of the festival of Moors and Christians (outdoor theater performance) to other older festivities that consist of traditional dances or dances, that have a pre-Christian ritual or religious origin. This is classified into:
– Dances of Moors and Christians of Catalonia.
– Dance Aragonese.
– Dance of the Moors and Christians of America.
– Moors and Christians festivities. They consist of the addition of the festival of Moors and Christians (popular theatrical performance of historical type in the open air) to the patronal feast with the participation of the militia or soldiers. This classifies it in:
– General or less evolved type.
– Valencian type.
III. SEARCH FOR CONTEMPORARY VALUES
In the XXI century, The Moors and Christians festivals are part of a town that, during the three hundred and sixty-five days of the year, they work for and for them with an illusion based on the hope of being able to, not just see, but enjoy and live them intensely. “The party is what is expected.” (Barthes, 1981: 124) and this happens in all the towns throughout the Iberian Peninsula.
The Moors and Christians, If they have something in particular, it is that, since ever, have had a PEDAGOGICAL SENSE and, for that reason, we can make sense of the present where the complexity of the different facts or events, elements, objects and actors that form it are joined by very opposed elements to each other(assimilation of nationalism, localisms and regionalisms or the eternal Hispanic struggle between good and evil) making normal everything that comes close to it, which gives it a power that few parties have.(Martínez, 2015) further, these holidays, they have the wealth that:
– THEY ARE EXPECTED. They are synonymous with freedom, spontaneity, appropriation of public spaces. The Moors and Christians festivities are a clear example of this collective effervescence where the population, at different festive moments, puts on the table his need to break with the everyday with the need to get out of that world that absorbs him for a whole year jumping, yelling, dancing and singing without being able to make sense of said agitation (Durkheim, 1985: 389-390) as if it were a collective schizophrenia. It could be said that the party is the pursuit of pleasure in every way.23
– MEMBERS OF A COMPANY HAVE A FEELING OF BELONGING THAT MAKES THEM IDENTIFY THEMSELVES (A way of living, understand and understand life around a community: their community).
– THEY OFFER DIFFERENT MODES OF PARTICIPATION (dresses, captaincy, paperists, spectators, musicians, boys / girls, arquebusiers, Security forces, cleaning and lighting staff, fairgrounds, suit manufacturing companies, designers and composers as well as selfless inhabitants) AND OF PERSONALITIES OR ACTIVE PEOPLE:
*_ THE FESTER, who works every day of the year to have everything ready for the holidays. Festero be and have "festive mood" requires not only wear a suit of either side during holidays. You have to notice where there is a festero, serving to tradition, complementing the story and involving their joy and enthusiasm to those around him.
*_ THE EL LABERO, whose grandiosity of the parties could not be otherwise not to go with their contribution whose commitment is only fun: dress either side, parading and enjoy the party. Today, chilabero festero and begin to link or merge in many populations since, over the years, usually they represent or have a recent charge that makes them commit and live the party from an internal point of view closer to this feeling.
*_ Purists. They committed to what they experienced in their past, He refused any change either considered the true shapers of the holidays, by economic and / or personal interests or not to accept the vision of new generations. They have always been present since, at the time, they innovated or were promoters of it but not subsequently assume changes which young people have a new concept, a new vision and a new way of seeing the party in line with the time in which they live. They are usually the biggest critics of the current party having a more destructive than constructive vision, damaging the future and evolution of the party.(Martínez Pozo, 2013: 112-114).
THE FEELING OF THE COMMON, around a local id (ours as a people) or collective (our parties) blur existing rivalries.
– THEY ARE A CYCLICAL AND REPETITIVE CELEBRATION, situated opposite to everyday life and ordinary time establishing a dialectic.
– THEY HAVE THE VIRTUE OF BREAKING WITH THE EVERYDAY ORDER and possessing their own time, your own rhythm that, depending on the moment, of the space you are in, may imply an acceleration of the experiences or, Conversely, a slowdown.
– THEY ARE A MEANS OF INTEGRATION helping to create bonds of friendship. By integrating you can adopt different attitudes: playful, intellectual, emotional, spiritual or simply as a means of continuing their local tradition and previous generations.
– CONSIDERED A MEN'S PARTY FOR ITS KNIGHT IN CHARACTER linked to the world of hunting and military service, since the 19th century, this used to participate immobile in floats in local festivals whose role was synthesized in knowing how to be, be them and passive. His participation in the Moors and Christians festivities began with the figure of “canteens” being an imitation of the military bartenders who accompanied the army. During the twentieth century, the woman began to take on a certain importance within the party, especially from the years 60-70 rather in villages than in cities where more work cost incorporation and acceptance causing different views. Today women, in most populations, It is part of the party on equal terms with men.(Martínez Pozo, 2015b: 79-87)
– They are a social event, a place multi and intercultural, coexistence and twinning (between different generations, cultures and religions from immigration).
– ARE SOME chameleonic parties that have adapted to different historical moments and lived, in a certain way and, despite finding a historicity, input postmodernity, It has opened the way to a fantasy game and multicolored where visual and performing arts have become very important. The influence of historical cinema, epic and, especially fantastic as well as contemporary theater has created mythological figures that are part of the pageantry, ballets, captaincies and, therefore, of the parades being lacking in historical rigor and, rather, forming part of a new aesthetics and culture subtly immersed in society through television and new technologies without leaving aside that received by artists and writers.24 To speak of Moorish and Christian festivals is not to speak of a specific historical moment. Like the skin of a chameleon, this party has adapted and, instead of subtracting, has been adding.25
STAGE SPACES BREAK WITH EVERYDAY:
– The parades become aesthetic-formal whims.
– ESTABLISHING A DRAMATIC PLAY imposed by the community creates what he sees as part of the elements, sacralised, you identify.
– IT IS CREATED, AROUND THEM, ENDLESS EXPRESSIONS, emotions, dramatizations and arbitrary actions dl individual or group, a place and time (artistic performance).
– PUBLIC SPACE BECOMES AN ART SUPPORT where creativity unfolds and, inside him, the body of players and spectators are formed as the main support of the performance.
THE FESTIVAL OF MOORS AND CHRISTIANS ARE TODAY A meeting and dialogue between cultures and religions, MEMORIES OF DIFFERENT HISTORICAL EPISODES, REFLECTED IN “THE MORO” AND IN “THE CHRISTIAN” NOS REACHED THE PRESENT. At present no one wins and no one is defeated because, definitely, we are all the same. A town, Spanish with its different regions or communities, that within its diversity and linguistic richness, cultural, patrimonial, etc. is based on multicultural and multiethnic roots since time immemorial (Martínez Pozo, 2015: 329).
And it is, for all these reasons, for which the party has values that are contemporary adapting to the present, that is to say, they are a dialogue with the values of their time.
We have to understand the party as a means to educate in values and as a social fact that contributes to signifying time (calendar) and to demarcate the space generating a dialectic of change and continuity in the party since the tradition is maintained in its structure and elements, but changes in their ways, due to external influences.
FOOTNOTES PAGE:
1 Roman naumaquia involved the participation of ships, located in the sea or a river, They formed sides and fought. It is documented this type of representation in Valencia in different years from which I feature 1373, 1586 Y 1759, among others.
2 Dance or dance of Arab origin who was under accompaniment of drums and timbales.
3 Combat, generally horse, where two sides fight each other. A variant of this event are the jousting and fair.
4 What we know today as Carnival. In these masquerades, for several centuries, was often dress in the costume of Muslims and Moriscos settled in the Iberian Peninsula.
5 Through small interludes where dialogues between the two sides were representing part of the story.
6 Dance Alto Aragón where dance between two sides.
7 “On the occasion of royal visits, coronations, wedding, christenings, victories and palace banquets, shows or inventions with costumes and simple actions were organized in palatial halls and public squares. The oldest document that contains the staging of a battle between Moors and Christians dates back to 1150, and dance in the streets of Lleida, to honor the wedding of Count Barcelona and Queen Petronila of Aragon. From this kingdom would spread throughout Europe the Morisca dance, Individual variations in their, couple or group.” in BRISSET,D.: Moors and Christians in Granada. Provincial Council of Granada. Granada, 1988. p. 10
8 The skirmishes was a confrontation between both sides. They used to be called “guerrilla skirmishes” The “castle skirmishes”.
9 Feast of great roots throughout the Iberian Peninsula where the Church and the State were identified in which pagan elements such as “the tarasca”, “the cucafera”, the dragon and other elements. It is noteworthy that the procession was accompanied by children dressed as Moors who danced and in which the use of gunpowder, through arquebusiers and rockets, It was common.
10 There is evidence of the purchase of gunpowder and arquebuses in 1543 in Sax for the alardo. The arquebus is also cited in 1603, 1607, 1699, 1752, 1802 Y 1810 cit. in VAZQUEZ HERNÁNDEZ, V.: "Religious devotion, militias and Moors and Christians in Sax ", one DOMAIN, J.F., GONZÁLEZ M.A. and VAZQUEZ, H. (Coord): The Moors and Christians in the Vinalopó. The collection'Algoleja, 8. Local Studies Center Vinalopó. Alicante, 2006 P. 191-192. Also in Villena's participation in hosting arcabuceros Felipe II passing through the Port of Almansa 1586 also citing in 1619, 1628 and participation in the pilgrimage in 1638 cit. in SOLER GARCIA, J.M.; "The feast of the Virgin. Soldiery, processions and toros ", Day four annual magazine out, 1997. pp. 196-208 in Petrer, a "company of weapons" is named in 1617, 1638 Y 1674 cit. Poveda,LÓPEZ, J.: Looking for logic in history. Moors and Christians in Petrer, Credit box Petrer, M. I. Municipality of Petrer. National Union of Organizations Festeras Moors and Christians, Petrel 1999. p. 349.
11 This is the case of Alcoy(Alicante) in 1511, Elche(Alicante) in 1521, Villena(Alicante) in 1551, Xàbia (Alicante) in 1561, Orihuela(Alicante) in 1579-1580, Vera(Almería) in 1580, Almansa(Albacete) in 1586, Caudete (Albacete) in 1588, bayarque in 1627, Lúcar(Almería) in 1652, Alcoy (Alicante) in 1688 or in Caravaca de la Cruz 1682 where the cross accompanied by the Guardia de la Vera Cruz (armed), and "Flaunt" or Soldadesca, whose mission was essentially that of lucimiento, entertainment and celebration.
12 Women men and women men dress up; all public dances night shall cease touch of prayers; secret and public dances […] And command that Celen and hinder such enormous and detestable abuses our vicars, beneficiaries and ecclesiastical; and call, and pray the Lord to all mayors and justices, veil that, hinder and prevent such disorders, punishing offenders according to the laws and cédulas of S.M. in Edict of the Archbishop of Granada Don Antonio Jorge y Galbán, poster printed in Granada on 20 of January of 1778.
13 According to some authors, The rise of the Moors and Christians festivities at the end of the 19th century in the Valencian area had to do with the expansion of the cultivation of the vine and the wine industry in Spain, where the northwest of the province of Alicante was of great importance.. As Martínez Puche argues us: “in the second half of the 19th century, The vine was one of the crops that experienced the greatest development in the Valencian Country; its expansion is carried out from 1878, when phylloxera ruined much of French grapevines.” The Madrid-Alicante railway line, inaugurated by Isabel II in 1858, favored the marketing and export of wine: “also, in Villena during the wine boom (1882-1892) benefited from its neuralgic situation in relation to the M.Z.A railway line. inaugurated in 1858 and through the road network, through which merchants from Murcian populations came to converge, Valencian and La Mancha.(…)Villena thus became the most important wine expeditionary center in the interior regions of the province of Alicante.” in MARTÍNEZ PUCHE,A.: Villena: industrialization and social change. University of Alicante. Alicante, 1999, p. 72. As an example, Biar due to his increase in Comparsa had to remodel his festive acts adjusting them to his new situation as expressed by BELDA DÍEZ, R.: “Genesis of the Moors and Christians festivities in Biar” one DOMAIN, J.F., GONZÁLEZ, M.A. and VAZQUEZ, V.(Coord.): The Moors and Christians festival in Vinalopó… on. cit. p. 129-130.
14 As an example, Sax happened to celebrate them one day, two in 1870 and four in 1890 attending to VÁZQUEZ,V.: “Religious devotion, Militias and Moors and Christians of Sax”, one DOMAIN, J.F., GONZÁLEZ, M.A. and VAZQUEZ, V.(Coord.): The Moors and Christians festival in Vinalopó… on. cit. p. 198-199.
15 In general terms, by the 19th century, The Moors and Christians festivities began a new phase inspired by the romantic movement existing in Spain as a consequence of the beginning of the Liberal Regime., the return of political exiles, the existence of a “maurofilia” among the scholars of the country taking great interest in the Moorish and the different political events, historical and cultural where “The war in Africa” It was an episode that encouraged many localities to add a representation of Moors and Christians to their festivities.. Mostly, the texts would be written by local scholars or ecclesiastical until then although there are beginning to be adapted representations of the primitive ones or of other peoples and / or written by poets and playwrights of the time that would replace the previous ones or they would recall the collapsed celebration in many localities by the prohibitions of Carlos III at the end of the S. XVIII. In Andalucia, at the end of the S. XIX son, mostly, named in the press or reflected by writers such as Washington Irving, Martinez de la Rosa, Pedro Antonio de Alarcón or Francisco de Paula Mellado and names of teachers begin to appear (non-ecclesiastical) that would significantly influence the emergence of representations of Moors and Christians in different populations.
16 Who, in 1958 uses history as a reference, classifying it in:
– Crusade or reconquest: Christians attack a castle defended by the Moors.
– Moors on the coast: Christians defend themselves, preventing a Moorish landing. In this case there is no castle.
17 Who, in 1963, takes into account different themes and characteristics distinguishing three areas: Levant Embassies, Andalusian comedies, Dance of Aragon. Adding isolated foci in Galicia and Castilla”.
18 In 1969, differentiate several areas: Levantine area, Alpujarra area, Aragonese area or Basque area. At the same time, establishes another division according to the historical or traditional reasons that justify the celebration: Reconquest of the population, landing or moors on the coast, attacks from a neighboring kingdom or border moors, rebellion of the Moors or general and indefinite attack.
19 a) Crusades the medieval reconquest, b) Moorish rebellion, c) Wars against the Turkish Empire, d) Coastal looting by Barbary corsairs, e) Moroccan War.
20 Profane solstice masquerades, equestrian competitions and rod games, monarchical and noble splendor, shot of castles in the public square, hors d'oeuvres in the Corpus Christi processions, romance-inspired comedies, missionary allegories, memorial rituals, amusements of the soldiers or employer functions.
21 Struggles in parliaments, spoken dances, colloquia with skirmishes, stage dramas, bragging or parades with embassies.
22 Take of the castle, theft of the saint, collection of tribute, invasion of territory, impose one's religion, rescue the captive lady. All of them with or without heavenly help.
23 It represents such a paroxysm of life and that it breaks so violently with the small concerns of daily existence, appears to the individual as another world, where he feels sustained and transformed by forces that surpass him in DUVIGNAUD, J.: The useless sacrifice. FCE. Mexico DF, 1979. p. 129.
24 As I have pointed out previously, as an example we could cite the following: 19th century illustrations already influenced, such as the filà Contrabandistas de Alcoy in 1830 who were inspired by drawings from the French, tape recorder, sculptor and illustrator Gustavo Dorée. In the early nineties, In Alcoy a type of suit appears inspired by the Conan the Barbarian movie. Music has also drawn on the influence of cinema with adaptations such as Titanic, Exodus, Game of Thrones, among other.
25 The festivities are a kind of sacred habitation in the bosom of time, the equivalent of the temple or monument in the spatial dimension, a shelter -or a turbulence- in which the human being dramatizes the ultimate meaning of his existence as a social being, the conditions that make it possible - even if, how will we see, while in a way they deny it- So what, in addition to being exhibited as models of and for collective life, are saved from the wear and tear caused by the passage of time and the action of humans. That implies a manipulation of time that cancels it, in the sense that it makes it reversible it hollows it, pierces it, suspends it in DELGADO, M: “Time and identity. The festive representation of the community and its rhythms”… on. cit. p. 78.
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