Gender+and+Sexual+Expression+in+Spain

=Introduction = Carnival in Spain typically occurs the Saturday prior to Ash Wednesday. Its most infamously celebrated festival, better known as Los Carnavales, occurs in the city on Cádiz (within the community of Andalusia). Evening Carnival events and parades are so plentiful that most business activities are close early (since most Carnival activities occur in the evening going into the early morning). While much of the celebration includes parades, floats, and street dancing, a day is set aside where floats are not present. In contrast to other carnivals around the world that feature provocative costumes and elaborate masks, Los Carnavales specializes in comedic attire, witty singing, acting, and face painting as an alternative to masking wearing. Mintz (1997) describes this time in Andalusia as “a unique celebration of freedom of expression, verbal wit, and acerbic and poetic commentary.” == = History & Gender = As the carnival season has progressed over the years, sexuality has replaced political oppression and protests, which was an ever present theme during the carnival season. Within the theme of sexuality is the diverse representation of gender roles throughout the celebratory events (Gilmore, 1998). From the 1930’s to the 1970’s, carnival represented an air of rebellion. Male paraders typically masqueraded as transvestites and sang gossipy and sexually expressive songs with the musical bands. Carnival was considered a time of shamelessness, and it was evocative in terms of the dress and expressions. The sexual innuendos were meant to “molest, annoy, and provoke” those who would deem the behavior deviant (Gilmore, 1993). Women were permitted to parade, but were only limited to walking amongst the performers as they were not allowed to wear costumes, dress in drag, or sing and perform. == = Performances, Music, and Sexual Expression = Currently the region of Andalusia has progressed in term of its Carnival rituals. Most performances are satirical and poke fun at the political times in the earlier 20th century. Most of the principal performers are still male, while females tend to be the dancers and spectators. An example of the male performances involves two male performers acting as clowns who have decided to become street cleaners. The entire skit focuses on both clowns encountering many used condoms in the streets that they attempt to sweep and remove. While collecting the garbage, they spend most of their time complaining about the number of condoms they have to throw away and criticize the town’s sexual morals in relation to the many used condoms they have to clean up (Gilmore, 1993).

Many of the musicians within the parades are mostly male and perform in costumes that are usually garish and provocative. Many include cross-dressing and use costume embellishments as of means of expressing sexual innuendo within their stylistic and risqué songs (Mintz, 1997). The music of Carnival tended to have sexual undertones involving homosexuality. In particular, anal sex was included in the lyrics. This was moreso due to the questioning of what male gender identity was in Spanish culture. Since the implementation of Carnival, traditional male roles and characters superseded those who were not considered the norm (i.e. homosexuality). It is also important to note that due to the hate crimes and political unrest, there was also more violence displayed if homosexual characters and performers were displayed. Today, the tensions have lessened, but there is still an air of sexual anxiety when sexual expression through different orientations continues to be explored (Gilmore, 1998). Gilmore further stated that “as ancient rigidities break down, long-repressed fantasies surge surface ward.”

Despite attitudes regarding sexual expression, male transvestitism is dominant within Carnival. There is more variation in costumes and the inclusion of masks is completely optional (Gilmore, 1993). Male and female participants engage in face painting instead of masks to fit in with the theme of carnival. Wearing paint on one’s face indicates that one has “lost his shame, and was free from all restraint.” The object of carnival was to no longer hide from fear of being persecuted, but to be free to express oneself, regardless of gender.

Submitted by Shayla Benson

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=References =

Gilmore, D.D. (1998). Carnival and culture: Sex, symbol, and status in Spain. New Haven, CT: Yale University Press.

Gilmore, D.D. (1993). The democratization of ritual: Andalusian carnival after Franco. Anthropological Quarterly, 66(1), 37-47.

Mintz, J.R. (1997). Carnival song & society: Gossip, sexuality and creativity in Andalusia. New York, NY: Bloomsbury Academic.