Drawing on five years of ethnography (2013–2018), I apply this framework to hybrid musical performances that occurred within the context of Andalusian heritage festivals and cultural tourism. In the following, I outline a theoretical framework for the study of music and Islam in Andalusia, southern Spain.
In the process, I engage with theoretical debates on hybridity in anthropology and ethnomusicology, orienting my own perspective along the axis of performativity, while in dialogue with Hispanic studies and Spanish cultural studies I think along the borders between hybridity and hauntology to recalibrate discussions of Spanish historical memory for a theoretical framework that ultimately coalesces into scenes of Moorishness: crowded, contested scenes in which musicians, festivalgoers, and festival organizers mutually interpellated each other under the rubric of Andalusia’s medieval Islamic past. I demonstrate the framework’s potential by applying it to collaborative musical performances among Muslim economic migrants, European converts to Islam, and non-Muslim Andalusians during a year-long heritage festival that celebrated the region’s medieval Islamic past, arguing that musical analysis opens fresh lines of inquiry into the expression and experience of Muslim subjectivity in Andalusia. ABSTRACT This article proposes a new theoretical framework for the study of music and Islam in Andalusia, southern Spain.
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