Carnival and Other Christian Festivals: Folk Theology and Folk Performance

Notes

Notes W  . Demons and Dragons . For Torras’s own account of Manresa’s festa major and correfoc, see Torras i Serra, Manresa, pp. –, –; for a historical overview of Manresa ’s various festivals, see Torras i Serra, ‘‘Festes.’’ . Sarret i Arbós, Historia, pp. –; Sarret i Arbós, Historia religiosa, p. . . Gasol, Manresa, pp. –, ; see also Torras i Serra, Manresa, p. . . For Zaragoza in , see Milá y Fontanals, Obras, :; and, in , Shergold, History, pp. –; Aubrun, ‘‘Débuts,’’ pp. –. For Barcelona in , see Milá y Fontanals, Obras, :–; Very, Spanish, pp. – . For Manresa, see Torras i Serra, ‘‘Festes,’’ p. . . Torras i Serra, ‘‘Festes,’’ pp. –; Torras i Serra, Manresa, pp. –. . Amades, Costumari, :–; Milá y Fontanals, Obras, :, . . Torras i Serra, ‘‘Festes,’’ pp. –; Torras i Serra, Manresa, pp. , , ; Sarret i Arbós, Historia religiosa, pp. –. . For a description of the crypt, see Sarret i Arbós, Historia religiosa, pp. –. . For the general turmoil of these years in Spain, see Thomas, Spanish. For Manresa in particular, see Sardans i Farràs, ‘‘República.’’ For the anarchist takeover of Manresa’s town hall, see Bookchin, Spanish, p. . For the attacks on churches in Manresa, see Sardans i Farràs, ‘‘República,’’ p. ; Junyent i Maydeu, Manresa, p. ; Gasol, Manresa, p. . Such attacks were widespread in Republican-controlled Spain after Franco and other generals launched the Nationalist rebellion in July . . Caro Baroja, Carnaval, p. . . Lovelace, Salt, pp. –. . Burke, Popular, p. . . Montes Camacho, Proceso, p. . For Oruro’s Carnival, see below, chap. . . Ibañez, personal communication,  October . A description of the ceremony at Montserrat can be found in Amades, Costumari, :–. . Burke, Popular, p. .  +    – . Ibid., p. . . Ibid., pp. –. . Scott, Domination, p. ; Harris, Aztecs, pp. –. Both Scott and I intend ‘‘public’’ and ‘‘hidden transcripts’’ in a figurative sense, including a much wider range of speech and nonspeech acts than can be reduced to mere writing. . Harris, Aztecs, pp. –, –; Harris, Dialogical, pp. –. . Harris, Aztecs, p. . . Milá y Fontanals, Obras, : . . Bové, Penedès, p. ; Milá y Fontanals, ‘‘Algunas,’’ p. . . These dates are given in Balls de la festa major. . Amades, Costumari, :–; Milá y Fontanals, Obras, :–; Bové, Penedès, pp. –; Bertran, Ball. . Fribourg, Fêtes, p. , reports that stick dancers in Aragon use old cart wheel spokes because they are a good source of dry holm oak, which makes a particularly good sound when struck and is otherwise hard to find. . ‘‘The name derives from the expression ‘fer figa,’ which means to make faces (fer ganyotes), and refers to the constant exchange of jibes between the dancers. (Marta Ibañez, personal communication,  April ). . For the ball pla and other dances mentioned in this paragraph, see the relevant entries in Pujol and Amades, Diccionari. . Balls; Bové, Penedès, pp. –. . Farmer, Oxford, pp. –. . See Forrest, History, for a summary of the various theories (including those of Cecil Sharp) of the rural, pre-Christian origins of morris dancing and for careful documentation of the historical origins of the morris in various forms of aristocratic and courtly dance gradually diffused into rural England. . Noyes, ‘‘Mule,’’ pp. –. . Steinberg, Sexuality, p. . . Ibid., p. .  . Flowers for Saint Tony . Fahissa, Falla, pp. –. For the traditional Aragonese jota, see Arco y Garay, Notas, pp. –. . Fribourg, who worked in Sariñena between  and , includes the serenading tour of the joteros among ‘‘those ancient ritual elements that have disappeared’’ (Fêtes, pp. , ). It has since been reintroduced. . Fribourg, Fêtes, pp. –, , reports that the majorettes and mairalesas arrived in Sariñena from urban festivals in the s. Mairalesa is the feminine form of mayoral (community representative) and is considered more Aragonese than reina de la fiesta. . For a detailed discussion of the danzantes’ costumes, see Fribourg, Fêtes, pp. –. . Beltrán Martínez, Dance, p. ; see also Fribourg, Fêtes, p. .    – +  . The Aragonese bagpipe differs from those used in other parts of Spain. Fribourg, Fêtes, p. , reports that ‘‘Sariñena takes pride in having been the last [village] in Aragon to preserve the true Aragonese bagpipe (until ) and the first to revive its use (in ), at which time there were only three surviving examples, two of which were in Sariñena.’’ . Fribourg, Fêtes, pp. , . . Epton, Spanish, p. , writes that basil is ‘‘supposed to be an antidote against the powers of evil.’’ See also Alford, Singing, p. . In Sariñena, I was told that it was a symbol of nature (la naturaleza). Fribourg, Fêtes, pp. –, regards it as a visible sign of ‘‘integration’’ into the fiesta. . Fribourg, Fêtes, pp...