Geography, History and Human Universal Culture:

[Montuno]

Viking attack on Seville (3) :​

attack occurred during the Umayyad Emirate of Córdoba in 844

Attack, capture and recaptureEdit​

Main article: Battle of Tablada
On September 25, the Vikings arrived near Seville after going up the Guadalquivir . [ 5 ] They established a base on Isla Menor, a defensible island in the marshes of the Guadalquivir . [ 5 ] On September 29, the local Muslim forces engage the Vikings but are defeated. [ 13 ] The Vikings took Seville on 1 or 3 October after a brief siege and significant combat. [ 13 ] [ 14 ] [ 5 ] [ 12 ]They sacked the city, and according to Muslim historians, inflicted on its inhabitants the "terrors of imprisonment or death" and spared "even pack animals". [ 2 ] [ 13 ] [ 14 ] Although the non-walled city of Seville was captured, its citadel was held by the Muslims. [ 12 ] The Vikings unsuccessfully tried to set fire to the great mosque that had just been built in the city. [ 15 ]


Musa ibn Musa al-Qasi , one of the Muslim commanders who fought against the Vikings.

.
When Abd ar-Rahman II learns of the fall of Seville, he mobilizes his troops under the leadership of the hajib , Isa ibn Shuhayd. [ 14 ] He Summons the governors of neighboring regions to incorporate his men into force to face the invasion. [ 14 ] They met in Córdoba, and then marched to Axarafe (present-day Aljarafe), a hill near Seville, where Isa ibn Shuhayd has his main headquarters. [ 14 ] A contingent led by Musa ibn Musa al-Qasi , leader of the semi-independent principality of Banu Qasilocated to the north, he joins these forces despite the political rivalry between Musa ibn Musa and Abd ar-Rahman, playing an important role in the campaign. [ 2 ] [ 16 ]

During the following days, both sides clashed numerous times, with mixed results. [ 4 ] [ 12 ] Finally the Muslims won a major victory on November 11 or 17 at Talyata . [ 12 ] [ 4 ] [ 17 ] According to Muslim sources between 500 to 1000 Vikings were killed and 30 Viking ships were destroyed. [ 4 ] [ 5 ] (Muslims used Greek fire, an incendiary liquid launched with catapults, to burn the ships of the invaders. [ 5 ] ) Muslim sources indicate that the Viking commanders were killed and at least 400 men were captured, many of whom were hanged from the palm trees of Talyata. [ 5 ] [ 4 ] The remaining Vikings retreated to their ships and sailed down the river while the inhabitants of the coastal areas harassed them by throwing stones at them. [ 3 ] Soon the Vikings offered to trade some of the loot and captured prisoners for clothing, food, and the ability to continue their course unmolested. [5 ] [ 3 ] Later, they rejoined the rest of the fleet on shore. The weakened fleet, pursued by Abd ar-Rahman's ships, left the Iberian peninsula after a brief attack on the Algarve . [ 5 ]

 

[Montuno]

Viking attack on Seville (4 & end) :​

attack occurred during the Umayyad Emirate of Córdoba in 844

Subsequent eventsEdit​

The city of Seville and its suburbs were left in ruins. [ 12 ] The destruction caused by the Viking attacks terrified the inhabitants of Al-Andalus. [ 12 ] Abd ar-Rahman ordered new measures to defend the city against possible attacks. [ 12 ] He created a new naval arsenal ( dar al-sina'a ) in Seville and built walls around the city and in other settlements. [ 2 ] Ships and weapons were built, and troops and sailors were recruited, and a network of couriers was established to distribute information in the event of further attacks. [ 12] [ 6 ] These measures were adequate to thwart subsequent Viking attacks in 859 and 966. [ 2 ]

Much of the Vikings sailed back to France , and their defeat by Andalusian troops may have discouraged them from attempting further attacks on the peninsula immediately. [ 5 ] The following year the Vikings sent an embassy to the court of Abd ar-Rahman, who in turn sent the poet Yahya ibn al-Hakam (nicknamed Al-Ghazal , "the gazelle") as ambassador to the Vikings. [ 5 ] [ 18 ] In addition, some of the attackers stayed in the region, converted to Islam , and became cheese merchants . [ 2 ]

Montuno's note : it is said that the expansion of the emiral fleet boosted the cultivation of cannabis.​

Historical recordsEdit​

Accounts of the Viking attack exist in the works of Muslim historians, including Ibn al-Qūṭiyya of Córdoba (d. 977), Ibn Idhari (wrote c.1299, copying 10th-century sources, and al-Nuwayri (1284–1332). [ 10 According to the Islamic calendar , the attack occurred in the hijri year 230. [ 19 ] In Muslim sources, the Vikings were referred to by the epithet the Majus ("worshippers of fire": a term initially used to refer to the Vikings . Zoroastrians in the East). [ 10 ] [5 ] Since the Viking fleet attacked the Christian kingdom of Asturias before attacking Seville, the Spanish chronicles also have records of the Viking expedition and attack. [ 10 ]

Ataque vikingo a Sevilla - Wikipedia, la enciclopedia libre

es.m.wikipedia.org

 

[Montuno]

Battle of Tablada:​

The battle of Tablada ( Aljarafe , province of Seville ), on November 11, 844 ( Safar 25 , 230) confronted the Emirate of Córdoba with the hosts of Vikings .

Battle of Tablada
fighters
Low
Part of Viking raids on the Iberian Peninsula
Date	November 11 , 844
Place	Near Aljarafe
Outcome	Decisive Emirate victory
Emirate of Cordoba vikings
unknown Around 2,000 dead (at the end of the campaign only 20 of the 54 ships returned) [ 1 ]
[ edit data at Wikidata ]

While some Viking groups looted the coastal towns, Medina Sidonia and Cádiz among others, the bulk of the fleet went up the Guadalquivir . After sacking Seville for a week, the Vikings continued to penetrate. It was then that the emir, Abd al-Rahmán II , organized an army to defend the city. According to Muslim chronicles, the Arab victory was overwhelming. It is said that 30 ships were burned and more than two thousand invaders perished.

Abd al-Rahmán II

After the battle, the escaped Norse survivors pillaged Niebla and headed for the northwestern coast of Africa . Others were taken prisoner and forced to serve in the emir's guard, settling near Seville where a century later their descendants were famous for their cheeses. [ 3 ] [ 4 ]

 

[Montuno]

@Montuno Thank you for the research. The figure on the left looks very similar in style. I bought all of my small collection in the 90s during the early wild days of the Internet when anything and everything was for sale. Unfortunately, without provenance, antiquities just become pretty objects that you cannot auction, export or even sell without risking confiscation. And I am sure that even if I did go to the effort to try to return them to their respective countries of origin, they would end up unseen in a box on a museum shelf or as decoration adorning some official’s office. So I will just enjoy them and let my kids figure out what to do with them.

Gracias por la investigación. La figura de la izquierda tiene un estilo muy similar. Compré toda mi pequeña colección en los años 90 durante los primeros días salvajes de Internet cuando todo estaba a la venta. Desafortunadamente, sin procedencia, las antigüedades se convierten en objetos bonitos que no se pueden subastar, exportar o incluso vender sin correr el riesgo de ser confiscados. Y estoy seguro de que aunque hiciera el esfuerzo de tratar de devolverlos a sus respectivos países de origen, terminarían sin ser vistos en una caja en la estantería de un museo o como decoración que adorna la oficina de algún funcionario. Así que simplemente los disfrutaré y dejaré que mis hijos descubran qué hacer con ellos.

A Mexican friend, much more educated and informed than this poor "gachupino güero" about Mesoamerica, expands a little on the possibilities of its origin, as well as some clue to detect its possible falsity or authenticity; let me know if you need a translation:

 

[Montuno]

By the way, my friend @tobedetermined , in my mounts no internet in the 90's...but to get pieces with more than 2000 years, nothing like plowing the olive grove....:

A farmer finds an Iberian lioness, excellently preserved, when he was plowing an olive grove in San Sebastián de los Ballesteros (Córdoba)​

by Guillermo Caso de los Cobos
29 Oct 2020


Gonzalo Crespo, together with the lioness of San Sebastián de los Ballesteros. / THE DAY

"I was doing a job among the olive trees and the tractor hit a stone" . It is the testimony of Gonzalo Crespo , a resident of the Cordoba town of San Sebastián de los Ballesteros (Córdoba) and a resident of La Victoria who has just unearthed an Iberian lioness in his olive grove in an excellent state of preservation and which the first dates place in the sixth century before Christ . The discovery was made around 08:30 last Wednesday. It was a routine day at the Cañablanquilla farm, located just 50 meters from the eballente town center.

Crespo, a pre-retired transport professional, was preparing his olive grove for the imminent olive harvest. "I passed and noticed that the tractor had hit an obstacle, but these modern machines are prepared not to break. I continued and when I turned around, I saw it," he recounts.



The archaeological piece lay half- buried , on its side, its jaws and legs numb for centuries under the fertile soil of the countryside. "I called a good friend who is a corporal in the Civil Guard and works at the Lucena courthouse and he guided me," he narrates.







The agents of the Nature Protection Service (Seprona) of the Civil Guard arrived a little later and the relevant recovery work was carried out with the assistance of technicians from the Andalusian Government's Delegation of Culture. It was not necessary to seal the area, since the specific point has not been revealed to avoid marauders. "The archaeologists are freaking out ," says Crespo.

The mayor, Francisco Javier Maestre , explained that, although there are documented vestiges of Roman times in the municipality, it is the first time that archaeological finds of this magnitude have been produced. The piece has been transferred to the Archaeological Museum of Córdoba to be subjected to a complete cleaning and study. Meanwhile, Gonzalo Crespo jokes: "I have a place prepared in the fireplace."

Previous finds already exist in the province, although it never ceases to amaze every time the earth spits out a piece of history. The closest to San Sebastián de los Ballesteros took place in Santaella, also in a farm, and is exhibited in the local Archaeological Museum. In Nueva Carteya, Baena, Bujalance and La Victoria , zoomorphic sculptures of Iberian origin have also been recovered.


Iberian lioness found in Nueva Carteya (Córdoba)


Iberian lioness (or she-wolf) from the archaeological site of Cerro de los Molinillos (Baena, Córdoba).

Source: eldiadecordoba.es | October 29, 2020

 

[Montuno]

2020

• 
  

  William Case of the Cobos​

  The Archaeological Museum of Córdoba studies the Iberian sculpture found next to an olive grove​

  
  The director of the Archaeological Museum, Dolores Baena (left), explains to the delegate of Culture, Cristina Casanueva, details of the Iberian sculpture.
  
  Technicians from the Archaeological Museum of Córdoba have begun the study of the highly valuable Iberian piece found by a farmer next to an olive grove in the town of La Rambla in Córdoba.
  
  The delegate of Culture and Historical Heritage in Córdoba, Cristina Casanueva , explained that the archaeological piece was found on October 28 and is of "undoubted interest" , since it could be more than 3,000 years old.
  
  It is a round bulk sculpture, carved in limestone, weighing 166 kilograms and measuring 106x50.5x34.5 centimeters, which represents a carnivorous animal —and if at first it was thought to be a lioness , now the option of being a she-wolf is considered— at the time of attacking another animal, possibly a ram.
  
  In addition, its invoice and generic stylistic features refer to the characteristics of "Iberian zoomorphic sculpture" , so that once it has been transferred to the Archaeological Museum of Córdoba, the land is already being cleared and studied.
  
  The delegate has pointed out that it is necessary to evaluate its state, apparently well preserved, in order to establish future restoration procedures and an in-depth study that allows its enhancement.
  
  
  Photo
  
  "After comparing the situation of the discovery with the Andalusian Real Estate Heritage database of the Andalusian Institute of Historical Heritage, we have verified that there is no registered archaeological site in the place of the discovery and its surroundings" , explained Casanueva.
  
  He has recognized the "civic sense, exemplary and of responsibility with the heritage" shown by the neighbor who discovered this piece during plowing and who from the first moment informed the Seprona of Baena of the finding.
  
  
  Photo
  
  "We are facing an important discovery that highlights, once again, the heritage value of the province of Córdoba, and it is time to study the piece in depth so that it can be valued as soon as possible" , concluded Casanueva. EFE.
  
  Sources: lavanguardia.com | elpais.com | October 30, 2020
  
  -------------------------------------------------- -------------------------------------------------- ----
  

  "It looks like the auction of an Iberian funerary monument of enormous relevance"​

  
  How to gauge the importance of the Iberian lioness found on La Rambla? Pending its study by the experts, and the information provided today by the Board's Culture delegate, Cristina Casanueva , the newspaper of CÓRDOBA has consulted the Professor of Archeology at the University of Córdoba, Desiderio Vaquerizo (left). Based solely on the photographs, and with all caution, he interprets that "from the photo it looks like a feline, possibly a lioness, from the Iberian period and culture, originally belonging to the top of a monument of the pillar stela type, presumably funerary» .
  
  As for the chronology, in his opinion it could be placed «between the 5th and 4th centuries BC. C., perhaps a little later if what it carries between its front legs is identified with another animal that it has captured and is going to devour, specifically a ram, as I think I see».
  
  Vaquerizo explains that “it is a type of sculpture that is very characteristic of the central-western area of the province, in the areas of Baena, La Rambla and Santaella, among other towns, carved in local stones by native workshops” . This typology, he adds, is "very well studied, particularly by authors such as Teresa Chapa , from the Complutense University of Madrid" .
  
  
  León de Santaella, which is exhibited in the local museum. / SANTAELLA ARCHAEOLOGICAL MUSEUM
  
  Despite the shared characteristics, Vaquerizo finds in the figure of La Rambla different details from those of the lioness of Santaella or the she-wolf of the Molinillos hill in Baena, which is semi-raised and has its prey between its legs. This lioness, when presented lying down and about to devour her prey (which can be expressed by a funerary symbol, the wounded animal would be the soul of the deceased), "seems quite original, from a model not known as such until now, of very good quality." art and of enormous relevance» .
  
  Source: Diariodecordoba.com | October 30, 2020
  
  ​

 

[Montuno]

• 31 Oct 2020
• 
  

  William Case of the Cobos​

  The lionesses, the seal of identity of the Iberian Córdoba (1)​

  
  
  Leona de Baena (National Archaeological Museum)
  
  The Cordovan countryside is full of archaeological treasures, some discovered and others that, without a doubt, remain to come to light. This area of the province, a fertile land for cultivation, served as a settlement for the Iberians, a culture that is still quite unknown to researchers today. In fact, it has not even been possible to decipher their language, which makes it difficult to approach their thoughts and customs. Several vestiges have remained of its passage through Córdoba but, without a doubt, the most important are the zoomorphic sculptures , which mostly represent lionesses.
  
  One of the hypotheses of the archaeologists is that the abundance of lionesses in Córdoba may be due to the fact that the Iberian political territory that existed in the Campiña area had the image of the lion as a sign of identity.
  
  "Perhaps it was used as a delimiting element of that territory, so that these sculptures would be exposed at specific points such as crossroads or places of wide visibility, marking the territory ," saysJosé Antonio Morena (left), Baena municipal archaeologist and director of the Historical Museum of the locality, the place of the province in which until now a greater number of these sculptures has been documented. It is true that there are lions in other places, especially Levante and Murcia, but not to the extent that they are found in Córdoba.
  
  "This is just a theory, because there is a lot of ignorance about the Iberian culture . The main function that these lionesses seemed to have is funerary, but it should not be ruled out that some of them are not tombs, since no necropolis of this type has been found in the province" , clarifies the expert.
  
  
  Leona de Bujalance , preserved in the Archaeological Museum of Córdoba.
  
  

  The Baena case​

  From what Morena has investigated, Baena would be the culmination of this type of emblems since it has cataloged fifteen lionesses . Six appeared in the Cerro del Minguillar and three in the Cerro de los Molinillos, to which we must add some heads and claws. There are two whole exhibits in the Archaeological Museum of Baena, a third is in the National Archaeological Museum and a lion was transferred to the Iberian Museum of Jaén.
  
  It is the most represented animal in Iberian zoomorphic sculpture, followed by bulls , although these are much less so. Deer, horses and wolves have also been documented.
  
  The archaeologist has prepared a study entitled Iberian zoomorphic sculpture in Baena (Córdoba). Monuments for memory and symbols of power , in which he analyzes this type of pieces and which will be published by the Town Council of the town of Campiña Este. This work contains a compilation of all the Iberian zoomorphic sculpture that has been found there, a total of 26 pieces.
  
  
  Piece of the head of a lioness found on La Rambla and guarded in the Archaeological Archaeological Site of Córdoba
  
  

  Treasures of the Countryside and the Upper Guadalquivir​

  Undoubtedly, the Campiña and the area near the Subbética is the area with the most discoveries. In addition to the 15 in Baena, there are lionesses in Castro del Río (one), Fernán Núñez (one), La Rambla (there is a lioness prior to the piece found on October 28 ), Cabra (two), Puente Genil (one ), Nueva Carteya (three) and Santaella (three).
  
  Some have also appeared in the Alto Guadalquivir, as proof that these peoples settled next to the river. Thus, lionesses have been found in Bujalance (one), in Montoro (one), in Cañete de las Torres (one), another near Córdoba capital and in Villafranca de Córdoba (one).
  
  According to Morena, of the entire province, the best preserved and most representative are the lioness of Nueva Carteya, which is in the Archaeological Museum of Córdoba; the one in Baena, which is in the National Archaeological Museum (although the two in the local museum are also in very good condition), the one in Bujalance, which is also in Córdoba; and a lion of smaller dimensions found in Santaella.
  
  
  Piece from a third lioness from Nueva Carteya, preserved in the Archaeological Museum of Córdoba.
  
  

  common traits​

  One of the common characteristics of these pieces is the way in which they are found, which is usually fortuitous during agricultural tasks. In turn, this is also an inconvenience because "the archaeological context is not known when studying them" , indicates José Antonio Morena.
  
  They are all carved from very soft white local limestone; in fact, even if it gets wet, it is easier to carve with a knife, as if it were wood, warns Morena.
  
  The experts believe that, either in the term of Baena or in that of Nueva Carteya, there was a workshop. There would probably be another one in the South Campiña, in the municipalities of La Rambla or Santaella .
  
  "You can clearly see the pieces that are from the eastern and western areas, there are different styles, although deep down the idea should be the same, to give it a supposed funerary function."
  
  
  Reconstruction of a pillar-stela with the Baena lioness

 

[Montuno]

William Case of the Cobos​

The lionesses, the seal of identity of the Iberian Córdoba (2 & end)​

A possible funerary function​

These sculptures are dated between the 7th century BC. C. and until the first century , already in Roman times. The director of the Historical Museum of Baena explains that there are formal differences between the oldest and the most modern, but, according to studies, they all had a funerary function since they decorated tombs. This is known because in places like the Spanish Levante they have been documented in necropolis areas.

Morena states that "the position in which they were placed is even known: crowning a pillar-stela (funerary monument of the Iberian culture) of an important character" . According to this, the tomb would be in the subsoil, where there would be an urn with the ashes of the deceased, on top of which a tumular or stepped stone paving was placed, then a pillar of about two meters on which the sculpture of these animals, usually lions, was placed. "Not only did they decorate, but they also had an apotropaic function" ; that is, protection of the soul of the deceased from evil spirits. That is why -points out the archaeologist- these animals usually have their jaws open and their claws in a threatening gesture to scare away.


Head of a lioness found in Nueva Carteya guarded in the Archaeological Museum of Córdoba.

Only the elite could afford such a tomb, since to build these funerary monuments (which could even include several sculptures and be something similar to a building) architects and sculptors who had to be paid were needed.

Morena points out that in some places they have appeared outside funerary contexts, such as in Huelma (Jaén), where an Iberian sanctuary with two lions and a warrior fighting a wolf was documented . "In the case of Cerrillo Blanco de Porcuna there are countless human statues, lions and even mythical animals in a structure that can be a funerary or civil monument dedicated to the memory of an important ancestor."


Leon de Castulo. Archaeological Museum of Linares (Jaén).

Where did you see lions?​

The representation of the lion in the Iberian culture is "controversial due to its rarity" since, as José Antonio Morena recalls, in the centuries in which these peoples inhabited the peninsula there were no lions here .

Experts suggest that there were small bronze or ivory objects (jugs, combs...) in which this animal was represented and that they arrived through trade , especially in the ancient Iberian era, surely brought by the Phoenicians first and later by the Greeks. That is why - the archaeologist stresses - it is suggested that local artisans were able to imitate these images in larger sculptures that were placed in the tombs.

However, Morena does not rule out -although there is no evidence of it- that someone could bring a lion from North Africa in a cage , just as the Romans did to use them in amphitheatres.

Source: eldiadecordoba.es | November 2, 2020
2 Nov 2020

 

[Montuno]

• 2020
• 
  

  William Case of the Cobos​

  The mystery of the Iberian sculpture found on La Rambla: lioness or she-wolf?​

  
  The Iberian sculpture found on La Rambla by a farmer while he was plowing an olive grove has been featured on the front pages of newspapers and on radio and television programs nationwide. Above all, its good state of conservation has attracted attention , which makes it a unique piece , an exceptional discovery. At first it was identified with a lioness because in the p... , although some have also appeared in the Alto Guadalquivir. However, when archaeologists have examined it - the most fortunate in person and the rest through the images that have circulated of it from all angles - doubts have begun to surface. Is she a lioness or a wolf?
  
  The only certainty so far is that it is a carnivorous animal, but experts are not sure that it could be a lion because it has features that can match both those of this great cat and those of a wolf. The municipal archaeologist of Baena and director of the local Historical Museum, José Antonio Morena , explains that the head could be a wolf, however, on the back there are remains of the tail, which seems too long, like that of the lions . In any case, at first glance there are quite a few differences with the Iberian lionesses of... .
  
  The exceptional value of this figure could be increased if it were a canid since in the province and, in general, in Andalusia there are few examples of this animal in Iberian art and above all in such a good state of conservation.
  
  Morena, who is an expert in Iberian zoomorphic sculptures, remembers that Córdoba had another piece that represented an Iberian she-wolf. It was found on the Molinillos hill in Baena , but the Board transferred it in February 2020 from the Museum of Fine Arts in Córdoba to the Iberian Museum in Jaén so that it would form part of its permanent collection.
  
  
  Iberian she-wolf found on the Molinillos hill in Baena. / HISTORICAL MUSEUM OF BAENA
  
  The Baena she-wolf, dated between the 5th and 2nd centuries BC, is a unique piece, as is the one found on La Rambla, both made of white limestone. One of their common characteristics is that they both hold a dead herbivore , although each one is in a different position - that of Baena sitting on its hind limbs and that of La Rambla lying on the prey-.
  
  The baenense she-wolf also has a calf under her belly in an attitude of suckling, which represents the power of giving life and death at the same time . "It is clearly seen that it is a she-wolf, this last one on La Rambla we do not know if it is a she-wolf, a wolf or a lioness ," says Morena.
  
  The archaeologist also refers to the so-called Cerrillo Blanco de Porcuna (Jaén), where one of the largest sculptural ensembles of the Iberian period was found and in which human figures (warriors), horses, beasts and mythological animals are represented. A wolf's head with a lamb-like herbivore in its mouth is preserved from that site. In other words, the pattern is repeated in several sculptures, so "perhaps this tells us about a myth or legend that we do not know because we know almost nothing about the Iberian world since its writing has not yet been translated."
  
  Another Iberian wolf, although only its head remains, is that of El Pajarillo, in Huelma (Jaén) , which has an aggressive and threatening attitude, with its ears tilted back, its snout wrinkled and its mouth slightly open. It is dated to the 4th century BC. c.
  
  
  Wolf of El Pajarillo, in Huelma (Jaén).
  
  José Antonio Morena indicates that the study of the area where the sculpture of La Rambla appeared and a subsequent excavation that would bring to light some trace "would help us a lot to know the functionality and the date" , which is another of the elements that is usually in the air in the case of these works. In the case of La Rambla it seems to be old, between the 4th and 5th century before Christ. "If some type of ceramic appeared, for example of the Greek type, it would help to give a more concrete chronology" , he points out.
  
  The piece found on La Rambla weighs 166 kilos, is a free-standing or round sculpture (it is carved on all sides) and could have been placed on a pillar-stele (funerary monument), although it cannot be ruled out that it was part of a sculptural ensemble . For that, it would be necessary to know its archaeological context, insists Morena. In this sense, the Board's Culture Delegation has announced that it is going to hold a... .
  
  In the event that nothing is elucidated in this survey, "we must deduce that the piece is not in its place and that it has been some time, perhaps centuries, that they found it in another place and moved it for whatever reason. If it is in its site, there must be something else, at least the base where it was placed because this was not placed on the ground" , concludes the archaeologist.
  
  Source: eldiadecordoba.es | November 7, 2020
  

 

[44:86N]

Wow.

Amazing thread.

Thank you for taking the time to do all this, thank you for your service.

This is a late post to this thread, but Werner Herzog's "Cave of Forgotten Dreams" is a beautiful documentary, well worth watching:

 

[Montuno]

Wow.

Amazing thread.

Thank you for taking the time to do all this, thank you for your service.

This is a late post to this thread, but Werner Herzog's "Cave of Forgotten Dreams" is a beautiful documentary, well worth watching:

The Spanish saying goes: "Nunca es tarde, si la dicha es buena" (It's never too late, if happiness is good); and even less for these delictesens... But "as long as we make the hare one run, let's hunt it": here is a complete movie.

The Chauvet Cave, in the Cantabrian French southwest, closely related to the caves of the Spanish Cantabrian coast, such as Altamira:



...And Altamira:

THE GUARDIAN OF THE CAVE :
Documentary about the caves of Altamira complete and free of charge.
28 May-2021.
Enjoy now our documentary THE GUARDIAN OF THE CAVE, an incredible journey inside the caves of Altamira, for free on our YouTube channel. SYNOPSIS Directed by three-time Goya Award winner Jose Luis Lopez Linares, THE GUARDIAN OF THE CAVE is a very special journey through one of the most inaccessible places of Spanish Heritage: the Altamira Cave. This tour through the impressive paintings and secret corners of the cave is guided by the greatest expert in Altamira, José Antonio Lasheras, who was its director for 10 years. During this visit, José Antonio will reveal to us with a wealth of anecdotes and emotions the greatest mysteries that Altamira keeps inside. This documentary was filmed almost 30 years after the last camera entered the cave, with Lasheras as a guide, the man who knew its secrets best, its caretaker and guardian who in 2016, while the filming was being completed, Lasheras died in an accident, which makes this film a tribute film. TITLE: El guardián de la cueva YEAR: 2018 LENGTH: 63 min. NATIONALITY: Documentary NATIONALITY: Spain PRODUCED BY: Lucrecia Botín and Alvaro Longoria DIRECTED BY: José Luis López Linares WRITTEN BY: José Luis López Linares:

Homo Sapiens art:​

(1)-Altamira, the first great work of art:​

« After Altamira, everything seems decadent »​

(Pablo Picasso)​

In the summer of 1879, Marcelino Sanz de Sautuola entered the Altamira cave, located next to Santillana del Mar, with his eight-year-old daughter, María Faustina Sanz Rivarola. Our student of Prehistory already knew of the existence of the cave, since he had news that one of his sharecroppers, Modesto Cubillas, had discovered it while hunting in 1868. But it was one of the many caves in the area and no one had given importance.


Among the bushes was the entrance to the cave. The house is the old guard.


Currently, access to the cave is inside the Altamira Museum, which offers the appearance of this modern building.

Sautuola himself visited the cave in 1878, he went through it completely, but he only saw some traces of schematic paintings that he did not attribute to the human hand. However, that day, some paintings on the ceiling of the second room, a very low ceiling at the time (today the floor has been lowered to make it easier to see) caught the girl's attention, who entered the second room and told her father with a “Look Dad! Painted oxen!”, as narrated the following year, 1880, by Don Marcelino in his work “ Brief notes on some prehistoric objects from the Province of Santander ”, in which he showed a reproduction of the vault that contains the largest number of paintings .

But Don Marcelino did not know what was coming with his publication. At that time, the clashes were constant among prominent members of the scientific community and the then greatest experts in rock art, such as Gabriel de Mortillet and Cartailhac, denied the possibility that such naturalistic paintings could have been made by Paleolithic men. And it was not surprising that a claim of this magnitude should be questioned, although perhaps not with the iniquity of questioning the honor of the discoverer by suggesting that he himself painted them in the year between his first and second visits. to the cave.


View attachment 18123402

Marcelino Sanz died shortly after and did not have the fortune to see how his detractors went back on his words and tried to restore his honor, which Cartailhac did, who published a "Mea culpa d'un sceptique" in 1902, acknowledging his mistake and showing his respect and admiration for Sautuola.

This debate about the authenticity of the paintings and their recognition as an artistic work carried out by Paleolithic men supposes a long process in which the studies on Prehistory will be defined and ends around 1902, after the discovery of other caves in France. that contain Parietal art and the exposure and influence of Henri Breuil's studies on this art, which substantially changed the opinion of researchers on the matter.

(Continúe...)

...

NOTE : there is no timeline in this thread : we Marijuans do not need tuned radioactive DeLorians, to go back or forward in time at our free will.

 

[Montuno]

April, commemorating the arrival of the 2nd Republic of Spain :

GRANDSTAND

The unforgivable abandonment of the Spanish Republic​

"A small intervention would have been enough for the Madrid government to stifle the outbreak of rebellion," said French Education Minister Jean Zay, a supporter of Popular Front support. What happened was exactly the opposite
Gilbert Grellet 07/17/2016

From left to right, the heads of government of the three democratic powers at the start of the Spanish Civil War: Stanley Baldwin (United Kingdom), Léon Blum (France) and Franklin D. Roosevelt (USA).

Unlike other media, at CTXT we keep all our articles open. Our commitment is to recover the spirit of the independent press: to be a public service. If you can afford to pay 4 euros a month, support CTXT. Subscribe!
In the days and weeks that followed the July 17 coup, the three great Western democracies -- France, Britain and the United States -- refused to support the democratically elected government in Madrid to put down the military uprising. . It was an unforgivable mistake, which would cost the Spanish people dearly, who had to endure almost forty years of Franco's dictatorship. It was also a huge geopolitical mistake, heralding Munich and paving the way for World War II.

Eighty years after this fatal episode, one is astonished to see that the French Government of the Front Populaire, led by the socialist Léon Blum, abandoned the Spanish Popular Front to its fate, despite the request for help made on July 19 by the Giral government. After an initial favorable response, Blum quickly changed his mind due to the violent attacks of the right-wing French press and the reluctance of the radicals -his political allies- in the Ministry of Foreign Affairs and, above all, due to pressure from the Government of London.

As of July 25, the French Council of Ministers decided not to comply with the official order made by Madrid to supply planes and weapons. That same fateful day, in which everything changed, Hitler agreed to urgently send planes to help the rebel army in Africa cross the Strait of Gibraltar, after a meeting held in Bayreuth (Germany) with emissaries sent by Francisco Franco. Two days later, Benito Mussolini also sent planes to the coup plotters.

"A small intervention would have been enough for the Madrid government to stifle the outbreak of rebellion," said the French Minister of Education, Jean Zay, a supporter of the Popular Front's support at the time. What happened was exactly the opposite: the insurgent army took a decisive advantage thanks to the immediate and determined help of German and Italian planes.

The rest of the story of this betrayal of Spanish democracy is well known. After confirming the support given to the rebels by Berlin and Rome, Blum promised to deliver some planes to Madrid in early August, before completely cutting off the supply of arms on August 8 - a true embargo -, a decision encompassed within the framework of an unusual policy of "non-intervention".
Conceived by the Quai d'Orsay [Ministry of Foreign Affairs] in Paris, approved by London and signed by all European countries, including Germany and Italy, the "non-intervention" agreement prohibited any form of assistance to the contenders in Spain. It was an incredible diplomatic masquerade, mocked by Hitler and Mussolini, who continued to openly support the rebels, while the democratic countries denied any support to the Republican side.
Under the pretext of not interfering in an "internal" conflict, the "non-intervention" equated a legal republican government with traitor military coup plotters, and in fact constituted an "intervention" against the Popular Front, as the Spanish ambassador in Paris pointed out , Álvaro de Albornoz, and the head of Spanish diplomacy, Julio Álvarez del Vayo, in his famous speech before the League of Nations (SDN) in Geneva on September 25.
In this process, the moral and political responsibility of the Blum Government is undeniable, but that of the English Executive is no less overwhelming. Blinded by anticommunism, eager to avoid further conflict in Europe and to "appease" Hitler, the conservative government of Stanley Baldwin barely concealed its preference for the Spanish putschists. London practiced a "malicious neutrality" with respect to the Popular Front, after convincing France, very committed to its alliance with Great Britain, not to do anything.
Even Winston Churchill, from outside the government, intervened directly in the negotiations with Blum -with whom he had good relations- to convince him that it was better for the military to win than to see the "communists" make the revolution and massacre "the The bourgeoisie"
For its part, the isolationist America of Franklin Roosevelt erroneously applied the strict principle of "neutrality" and let private companies supply fuel and transportation to the coup plotters. In addition, Roosevelt, in the midst of his re-election campaign in 1936, did not want to turn against the Catholic community in the United States, outraged by the news of religious massacres in Catalonia and Aragon.
However, the United States ambassador who was in Spain at that time, Claude Bowers, was a remarkable character who did not stop denouncing the "farce" of "non-intervention" and who decidedly supported the Republican government, unlike what made by his English counterpart, Henry Chilton, a fervent supporter of the coup plotters, who sent false reports to London about the situation in Spain.
Beyond this unforgivable political mistake -- not supporting a democratically elected government -- Paris, London and Washington made a major geostrategic mistake by not reacting to the aid provided by the German Nazis and the Italian fascists to the Spanish military rebels.
A fervent pacifist, Blum did not stop repeating that "non-intervention" was intended to avoid "a general conflagration" in Europe. In other words, let the conflict develop in Spain in order to avoid war on the continent. A wrong policy, approved by the English.
Even then, however, many politicians and supporters of helping Madrid pointed out the opposite: that failure to intervene in Spain would bring a new generalized war in Europe. "Now it's our turn, tomorrow it will be you who will have a war," said prophetic Dolores Ibarruri, the Pasionaria, at a large rally in Paris at the beginning of September 1936.
And, in fact, that is what happened as a result of the blindness and naivety of democracies in the face of totalitarian threats and lies. The scandalous abandonment of the Spanish Republic exposed the cowardice of these democracies, fueled the aggression of Hitler and Mussolini and allowed the formation and consolidation of the Rome-Berlin Axis… Munich and the 1939-45 War followed.
In that unforgivable summer of 1936, the destiny of the Spanish people was written, subsequently subjected to a ruthless dictatorship. But also that of a Europe that was dragged into war because it did not know how to defend democracy.
-------------------------------------------------- ----
Gilbert Grellet is a writer and journalist. Former director of the AFP office in Madrid (2005-2010), he has just published Un été impardonnable in France. 1936: la guerre d'Espagne et le scandale de la non-intervention . Albin Michel.
Translation to Spanish by Monica Andrade.
AUTHOR >

Gilbert Grellet​

 

[Montuno]

HISTORICAL HUMOR
(With its would be implications in real archeology : until which layer/epoch we excavated and destroyed, to surface another certain one ?):


North American living in a home where someone has died, or built on a Native American burial ground.

Spanish living in a home built on an Islamic cemetery on a Visigothic cemetery on a Roman cemetery on a Carthaginian cemetery on an Iberian cemetery on an Iberian cemetery on a Phoenician cemetery on a Tartessian cemetery on a Neolithic cemetery on a Neanderthal camp...

 

[Montuno]

A woman (right) and a man (left) buried in the town of La Almoloya (Pliego, Murcia). This is one of the richest burials found in a settlement in El Argar - ASOME-UAB

DNA reveals the origin of the first rich and poor of the Iberian Peninsula​

The genomic study of 136 individuals from 4,000 years ago in El Argar shows the ancestry of steppe and Mediterranean migrants​

judith de george
MADRID; Updated:11/18/2021 08:34 a.m.

About 4,000 years ago, still in prehistory, an unparalleled society arose in the southeast of the Iberian Peninsula, so sophisticated that it could not be compared with anything known until then in Western Europe. Known as El Argar, it spread through what is now Almería, Murcia and Alicante and came to occupy a territory equivalent to modern Belgium.

For the first time castes were formed and economic inequality appeared in all its harshness : the powerful exploited the servitude. The settlements were fortified in an amazing way and the bodies of the deceased no longer ended up in a mass grave, but in individual graves. Differentiation even in death. The wealthy, whether men or women, were buried surrounded by jewels and goods.

The dispossessed, with nothing, as they had lived.

"It was a society with such an important social hierarchization that we even consider it statewide," says Cristina Rihuete Herrada, from the Department of Prehistory at the Autonomous University of Barcelona. “The big question is how such a culture came to be formed in the Bronze Age on the Iberian Peninsula. Was it promoted in a totally autonomous way by local people or was it influenced by other state societies?”, the researcher asks. As archaeological vessels and objects can give clues but do not tell the whole story, the researchers from the Autonomous University and the Max Planck Institutes for the Science of Human History (Jena) and Evolutionary Anthropology (Leipzig) decided to turn to DNA. They sequenced the complete genome of 136 skeletons that lived between 3000 and 1500 BC. The results, Together with the genomic data already obtained from another two hundred Iberian individuals, they are published this week in the journal 'Sciences Advances'. And they are conclusive: the people of El Argar had ancestry from a double migration: the steppe and the Mediterranean.

descendants of the steppes​

"Thanks to DNA we can see the mobility that existed in prehistoric times, its speed and even the impact on local societies," explains Roberto Risch, also a professor of Prehistory in Barcelona. The ancestry of the Yamnayas, the ancient steppe lineage that rode horses and owned chariots, was already suspected. It is a typical component of populations that left Eastern Europe -currently Ukraine, Poland or Belarus- and slowly crossed the continent until they reached the north and center of the peninsula in 2400 BC , something that has been known for some years. Centuries later, these successors of the Yamnayas reached the peninsular southeast and mixed with the local people.

«An important point -qualifies Rihuete-Herrada- is that these steppe migrations have been considered as a conquest, an invasion, but our study shows that, although there is indeed an ancient ancestry, it is not a new generation, but rather it was hatching during several centuries. It's not about someone new who suddenly came in and did something different."

However, the migration from the central or eastern Mediterranean did come as a surprise. "It's a component we didn't know anything about. While there were populations moving through Europe from east to west, there were also others that transited the Mediterranean. And these two migratory flows coincided in the peninsular southeast with a very dynamic and developed local population but apparently with some crisis. The three form the origin of El Argar”, points out Risch.

What scientists are still unclear about is why such a large migratory movement occurred in the third millennium. The scientist explains that there are several hypotheses: «Climate change, an epidemic... In Europe, both in the center and in the East, we have evidence of the presence of a first wave of plague. It could be a combination of both. There could also have been a far-reaching economic crisis that led to the end of Chalcolithic, Copper Age societies."

Collective burial from the Copper Age of the Camino del Molino (Caravaca de la Cruz, Murcia), where 1,300 individuals were buried between 2900-2300 BC. C. - University of Murcia / Francisco Ramos

Diadems and halberds​

In effect, the culture of Los Millares in Almería or that of Vila Nova de São Pedro in Portugal disappeared. In large towns such as Valencina de la Concepción (Seville), collective necropolises are abandoned. However, El Argar emerges and the tombs are individual. «Some very distinguished elites appear. The men wear gold and silver ornaments and weapons, such as halberds, while the women also stand out for silver ornaments that are true political emblems”, describes the researcher. An example of this is the beautiful silver diademfound in the princely tomb of a woman at the site of La Almoloya (Pliego, Murcia). But these powerful “are a minority. While 10% of the graves belong to the elite, 40%, those of the exploited, do not contain any type of trousseau », he continues.

Fortified settlement of La Bastida (Totana, Murcia) - ASOME-UAB
Around 1900 BC El Argar can be considered the first state on European soil outside the Aegean. The first society with a ruling class, which introduced a tax system to centralize the resources of the economy in towns that were no longer on hills or plains, but perched on very well protected hills, such as La Bastida in Totana (Murcia). “It was the first city in Europe outside the Aegean, very similar to the fortifications of the Aegean and the eastern Mediterranean, so it is very possible that the migrations from there also contributed to the development of these defensive structures with walls that generated a new type of political organization," says Risch.

For researchers, the new techniques of experimental sciences, such as those that promote the study of DNA, represent a revolution that helps to answer questions of historical relevance.

Powerful and bejeweled women​

In the society of El Argar, the male population seems to reside in the settlements while there is greater variability in women. “This does not mean that women do not have power. On the contrary, perhaps this mobility between towns means that they had a very relevant social role”, indicates Roberto Risch. The importance of women is revealed in the princely tomb of the Almoloya, where a woman was buried with very remarkable silver ornaments, objects of "exceptional sophistication and technique, much richer than the trousseau of the man buried a short time before her." ». According to the researcher, "that family relationships are patrilocal does not mean that women have not played a very important role at the political and social level."

El ADN revela el origen de los primeros ricos y pobres de la Península Ibérica

El estudio genómico de 136 individuos de hace 4.000 años en El Argar muestra la ascendencia de migrantes esteparios y del Mediterráneo

www.abc.es

.

.

 

[Montuno]

Post in thread 'Geography, History and Human Universal Culture:' https://www.icmag.com/threads/geography-history-and-human-universal-culture.18122590/post-18125294

About 4,500 years ago, descendant groups of shepherds from the steppes of Eastern Europe arrived in the Iberian Peninsula after a long migration across the continent. The irruption of the successors of the Yamnayas, the ancient lineage that rode horses and owned chariots, led to the eradication of local males , so that their lineage (R1b-M269) almost completely replaced those of the Y chromosome present until then in late Neolithic.

Nothing seems to indicate that the invasion was necessarily violent. In fact, the process went on for 400 years. Somehow, these horsemen had a great contact with Iberian women. Perhaps they preferred them because of their strong social hierarchy and the establishment of hereditary elites.

This is one of the most striking conclusions of a large study co-led by the General Council for Scientific Research (CSIC) and Harvard University that draws the genetic map of Iberia for the last 8,000 years .

Published this Thursday in the journal "Science", it analyzes the genomes of 271 inhabitants of the Peninsula from different historical periods and contrasts them with the data of another 1,107 ancient individuals, including the famous blue-eyed man from La Braña in León , and 2,862 modern collected in previous reports. The chapter on the surprising steppe «embrace» is written in 20% of our genes and in the opinion of Carles Lalueza-Fox, from the Institute of Evolutionary Biology (a mixed center of the CSIC and Pompeu Fabra University), it is easily comparable «to the colonization of America by the Europeans.

The arrival in the Bronze Age of the Yamnayas, originally from the Pontic steppe (Ukraine and Russia) in what is now Portugal and Spain had important cultural contributions, such as the introduction of Indo-European languages, the origin of many modern languages. It also caused genetic changes such as the mutation of lactase , which allows digesting milk in adult life, or an increase in the height of the population. But what is most impressive is that the newcomers replaced 40% of the local population and almost 100% of the males.

What happened is something complex that cannot be explained by genetic data alone and that will undoubtedly require new archaeological studies. Far from a sudden crushing, Lalueza-Fox points out that the key may lie in the strong stratification of steppe societies , a social differentiation that did not exist until then and that becomes visible, for example, in tombs with decorations and signs of wealth in which they buried their leaders. Their power (and perhaps the punishment of the plague among local individuals) may have allowed them greater access to women and their descendants more opportunities to reach adulthood.

A love story​

An example of these couples of different origin is a tomb in the town of Castillejo del Bonete (Ciudad Real), where a man with steppe ancestry and a woman genetically similar to the Iberians before the late Neolithic appeared together. "We don't have to imagine a violent situation. It can be a situation of social stratification or a love story," says the researcher. It is possible that sites from the same period in other parts of Europe shed light on these hypotheses, since social inequalities related to grave goods and the structure of tombs could be visualized and related to the genetics of their occupants.

According to Lalueza-Fox, the genetic replacement in Iberia is very similar to that which occurred during the colonization of America, in which after 300 or 400 years the resulting populations were neither Amerindian nor European, but rather a mixture of both. Today, the Y chromosome of South Americans is almost always European.

An African in Madrid​

Another finding that surprised scientists was the presence at the Camino de las Yeseras site (Madrid) of an individual from North Africa who lived about 4,000 years ago, as well as a grandson of an African emigrant at a site in Cadiz from the same period, which suggests that the distribution of the genetic flow from Africa to the Peninsula is much older than previously believed. All in all, the researchers believe that the contacts were sporadic and left little genetic footprint in the Copper and Bronze populations. Of course, "as a personal career, it is impressive that someone from that time born in North Africa ended up in Madrid," says the researcher.

Nailed skull - Archeology Museum of Catalonia
The study also shows the genetic impact caused by population flows from the eastern Mediterranean. "By the time the Middle Ages began, at least a quarter of the Iberian ancestry had been replaced by Romans, Greeks and Phoenicians," explains Iñigo Olalde, a researcher at Harvard. An example of this phenomenon is the Greek colony of Ampurias, in Gerona, where a group of the 24 individuals analyzed has a clear Greek heritage, while the rest are indistinguishable from the Iberians of the nearby town of Ullastret. The tradition of the urn fields made it difficult to investigate this stage, since the bodies were cremated. For this reason, the researchers used the enclaved skulls of decapitated men displayed as a warning and the remains of young children,

The genetic map reaches the arrival of the Visigoths and the Muslims. Among the first, a mother and son were located in Pla de l'Horta (Girona) with a clear ancestry from Eastern Europe and mitrochondrial DNA typical of Asia. From the Islamic period, individuals from Valencia, Castellón, Granada and Vinaroz, buried on their sides and facing south, where they believed Mecca was, showing a North African component close to 50%, much higher than the residual 5% observed in the current Iberian population. This ancestrality was eliminated during the Reconquest and the subsequent expulsion of the Moriscos. In short, an intricate map that demonstrates the richness of our origins and how ancient DNA has become a powerful tool to reconstruct the distant past.

The Basques, the same since the Iron Age​

Basques today have hardly changed since the Iron Age, some 3,000 years ago. Contrary to some theories that placed this population as the descendants of Mesolithic hunters or the first farmers who lived in the Iberian Peninsula, the new study concludes that the genetic influence of the steppes also reached what is now the Basque country. In fact, they have one of the highest frequencies of the Y chromosome R1b. However, they were later genetically isolated. They hardly present influences from later migrations such as the Romans, the Greeks or the Muslims. The results also indicate a certain dissociation between language and ancestry, since despite the mixing of the Basques with Eastern Europeans, surprisingly, they preserved their language.

Los invasores que erradicaron a los hombres de la península Ibérica hace 4.000 años

Los descendientes de los yamnayas tuvieron un gran contacto con las mujeres locales, según un amplio estudio sobre nuestra historia genómica

www.abc.es

 

[Montuno]

Alhambra is truly one of man's great architectural achievements. If you ever get to Spain, it should be number one on your (long) list of must sees. Seriously.

To understand Alhambra though, you have to start with this documentary by Bettany Hughes: When the Moors Ruled in Europe

Photographic trip to the Alhambra, and musical trip with one of the top stars of Hispano-Arabic or Andalusian music (not the same as Andalusian), which is played as a "Hispanic variant" of classical Arab music, mainly in Spain, Western Sahara, Morocco, Algeria, Tunisia and Libia.

Andalusi classical music - Wikipedia

en.m.wikipedia.org

EL LEBRIJANO Y LA ORQUESTA ANDALUSÍ DE TANGER, singing to The Alhambra:

El Lebrijano;
"Living a Fairy Tale" : ​

Living a fairy tale...,
...shaking hands...
You took me to the Alhambra...,
...a thousand years ago...
We both went for a dream...,
...an enchanted dream...:
You were a princess in the Alhambra...
...I was your more accurate/devote lover...

...You walked...,
you walked...,
and I with the silence...
...I fell in love...
And I was your owner...,
and I was your owner...
And you,
my dove,
flew in a dream...

Do not leave the dream,
...never wake up !!
Sit here with me...,
next to a fountain...
Next to a fountain,
....next to a fountain...

(Arabic chorus)

Live a fairy tale...
...white horse !
At the gate of the Alhambra,
web both arrive galloping together,
they go wild...
Oh, may dawn never come, we are afraid to wake up...

Don't leave the dream,
...never wake up !!
Sit here with me...,
by this fountain...
By this fountain,
by this fountain...

(Arabic chorus)

 

[Montuno]

Come on, another one... This time less classical, because the influence of Afro-Hispanic-Caribbean rumba only reached Andalusian (or Hispano-Arabic) music after the Conquest of America, via flamenco.

RADIO TARIFA :
"Argelian rumba"

If you want to win the lottery,
marry the lottery man even for a day...

That as the river carries it away,
that as the water carries it away,
the cane
and the cork I used to fish with...
...Cork with cork, cane with cane...
You are the queen of my entrails

Once I loved you because of your hair...
...and now that you're bald I don't love you anymore...

That as the river carries her away,
that as the water carries her away,
the little cane...
...and the cork I used to fish with...
Cork with cork, cane with cane...
You are the queen of my entrails.

Gypsy girl, if you loved me...
Gypsy girl if you loved me...
...I would buy you in Granada
the best cave that there was...

Babe, Moorish girl: when I go to my house
I tell my mother
to take out
the clothes here in the street...
And what do you like, Morish girl?
are the little glasses of rum...

A, o, ma, etc...

Girl, when I go to my house
I tell my grandmother,
to put
the food in the casserole...
And what you like, Morish girl,
are the rum shots...
A, o, ma, etc...

 

[Montuno]

The last one:

Radio Tarifa y La Niña Pastori:
"Tú me camelas..."

You tease me
You're the one who tease me
I've been told by your acais
I've been told, cousin, by your acais
You'll chase me
You're gonna make love to me
You're gonna make love to me
You'll make me love you...

If you go away and leave me sad
If you go away oh what loneliness!
If you're not there
The sky won't be full of stars
If you're not there
Oh, who to wake up for...

You're the one who tease me
You're the one who camelas me
Your acais told me so
I've been told, cousin, by your acais
You will camel me
You're gonna make love to me
You're gonna make love to me
You'll make me...

My little girl wears a suit
With her ruffles, with her ruffles
Black hair in the air
Jet black, jet black
And kiss me...
...Like the waves kiss the shore...
...Kiss me...
...Oh, how hunger kisses bread...

You tease me
You make love to me
Your acais told me so
I've been told, cousin, by your acais
You'll chameleon me
You're gonna make love to me
You're gonna make love to me
You'll make love to me...

With the distant look
With the painted smile
My little girl is going for it!
Soup of stars and coral light
My little girl becomes a giant !!
And plays the moon with the city...

You camelas me
You're the one who camelas me
Your acais told me so
I've been told so, cousin, by your acais
You'll camel me
You're gonna make love to me
You'll make love to me
I've been told so by your acais
I've been told, cousin, by your acais
You'll make love to me...

 

[Montuno]

Is the anthem of Spain an Andalusí 'nuba'?

POSTED BY Old Music
MONDAY, OCTOBER 28, 2019

Is the anthem of Spain an Andalusí 'nuba'?


.


What does it sound like?

No, it is not "a version" of the Spanish anthem....


It is a nuba of the current al-Andalus and Morocco repertoire, the introduction (tawshiya) of al-Ishtihlal.

Chance? Or not?

This week a video of La Platform has circulated on social networks in which this Andalusian nuba is directly linked to the Spanish anthem.

On paper, and considering the structural similarities such as melody, rhythm and tone, it seems that there is no doubt and that we would be facing the same piece.

But how is that possible?



More than a decade ago, a cultural blog in the city called La Calleja de las Flores already covered an amazing subject, which has already been accredited by various musicologists such as Chapi Pineda .

But how is it possible?

The anthem of Spain is based on a march composed in 1761 for the Grenadiers regiment.

It was done by the musician Manuel Espinosa de los Monteros , who was part of the court of the enlightened king Carlos III.

The cloud that so closely resembles it is much older.

It was composed in the twelfth century by the philosopher and musician Ibn Bayya (Avempace), who was a classmate of Averroes.

The Tetouan musician Amin Chaachoo in his book La Música Andalusí (Almuzara) points out that a book is preserved, The Pleasure of Listening , by the 13th-century Algerian writer al-Tifashi , in which he indicates so.

But how does a musical composition from the 12th century reach the 18th century?

How Espinosa de los Monteros was able to listen to that Andalusian nuba, which reflects that the footprint of Al Andalus reaches even the anthem of Spain itself?

There are many keys, which sink directly into the musical history of Al Andalus and how its notes have been passed from generation to generation, even surpassing the great social changes that the Iberian Peninsula experienced.

Andalusian-Hispanic-Arab or Arabic-Andalusian music was concretized in the 12th century in that structure called nuba, which has the form of a suite.

The nuba consists of several movements based on the same mode on which the variations follow one another, thus anticipating the European instrumental formations by several centuries, which would only achieve it from the 16th century.

Over time, other nubas were added that would make up the musical corpus of Al Andalus.

Al-Tifashi provides a fundamental key to the history of the composition that would have given rise to the anthem of Spain.

According to this Algerian writer, Ibn Bayya fused in the nuba al-Istihlal "the song of the Christians and the music of the Mashreq (Middle East) and created a style that only exists in Al Andalus".

This is how Andalusian music is understood to be based on a western musical structure that structurally joins with the Christian court music of the Renaissance, as Eduardo Paniagua highlighted at the time, alternating pieces from the two traditions on his records.

The miracle of Andalusian music is the miracle of Al Andalus itself , that conjunction between East and West that produced a civilization that continues to amaze scholars.

The nubas were cultured music that was played mainly in the courts of the Taifa kingdoms, but some pieces ended up becoming popular music.

With the conquest of Seville, Cordoba and finally Granada, the main corpus fell apart and moved, very fragmented, to North Africa, where it would give rise to the different forms of Libya, Tunisia, Algeria and, above all, Morocco, where in the eighteenth century would be reorganized by Sheikh Hayek and is still perfectly preserved today.

But the fragmented pieces remained in the Peninsula as popular music of the Moors and, due to the very friction of coexistence, of the old Christian people.

The hypotheses, therefore, lead to the conclusion that these popular themes inspired by Andalusian music practically lasted until the 19th century.

Sometimes it was music adapted to Castilian folklore and others in the memory of many Moriscos who did manage to survive the expulsion and massacre, living in camouflage on the Peninsula, as Professor Enrique Soria has shown in a recent study.

For this reason, it is quite probable that Manuel Espinosa de los Monteros heard a version of that original nuba, and that it inspired him to create what would later become the anthem of Spain.

Espinosa de los Monteros was looking for a martial hymn for the Grenadier Regiment.

I would have achieved that adaptation without any problem, since these clouds are basically Western-style music.

This theory, quite probable, is one of the main arguments that call for harmony and, above all, that they want to embrace the history of Spain with that of Al Andalus.

The Islamic Board itself puts it this way, recalling the Muslim and Christian roots in which the very history of Spain melts and sinks, as it would show that the country's anthem itself comes, in the background, from an Andalusian nuba.

Posted by Alfonso Alba | cordopolis

Related Posts:
Dutch anthem: "I have honored the King of Spain"
La Nuba: Poetic-musical splendor of Al-Andalus
"Els Segadors", a beautiful hymn from the 17th century
The anthem of Catalonia could be the copy of a Jewish prayer

¿Es el himno de España una ‘nuba’ andalusí? - MusicaAntigua.com

Denle al play. ¿A qué les suena? No, no es una versión del himno de España. Se trata de una nuba del repertorio andalusí actual marroquí, la introducción (tawshiya) de al-Ishtihlal. ¿Casualidad? ¿O no? Esta semana ha circulado por las redes sociales un vídeo de La Plataforma en el que...

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Compare with the more classical, orchestral version (and with a touch of "Russian magic") by Balakirev:

Mili Balakirev was a famous Russian Romantic composer of the 19th century who, among other things, collected musical themes from other ethnic groups and nations.

His first work on a purely orchestral level is a fantasy entitled "Overture on the Theme of a Spanish March", which is about variations on the Royal Spanish March, the Spanish national anthem.
The work begins with an introduction in slow time, and immediately after, two and a half minutes later, a percussive accompaniment appears reminiscent of Nicolai Rimsky-Korsakov's "Capricho Español", although the Capricho Español did not really exist, nor did Rimsky-Korsakov, the remotest possibility of composing it had even been considered.

After the percussive accompaniment enters the theme of the Royal March, which is followed by some splendid variations, admirably conceived and marvelously well written.

The work aims to refer to the drama that describes the confrontation/meet between East and West, which throughout Europe had a special impact on Spanish soil. Balakirev's work, composed at 20 years of age, is amazing...

 

[Montuno]

The anthem of Spain is Andalusí's
Nuba

7 SEPTEMBER 2018

First time I wrote about the Andalusi origin of the Spanish anthem in 2006, publishing a column in El Día de Córdoba. In 2010, I included a chapter in «The Moorish Footprint. The Al Ándalus that we carry inside”, edited by Almuzara. Later, I published this post in 2015 and I just edited it to add some keys to help understand the truth written in the air.

Ovid said that “love of country is more evident than reason itself”. I don't deny it when the homeland is your shoes, your house or your family. But if we talk about this invertebrate Spain, what is evident is usually an irrational hatred, a stupid inferiority complex or indifference. Spain is a notion, an entelechy that some accept as a wife and others as a lover. And for many, the two do not fit in the same bed. Perhaps because they confuse the concept of Spain with the one that prays on the facades of the Civil Guard barracks. I don't blame them. The ignorance imposed for centuries on our historical signs of identity has been, is and will be an endemic evil that will continue to generate in Spaniards the "feeling of resistance to being so" that Américo Castro spoke of. Serve as an example that strange revulsion towards the symbols of the State,

It is normal that many Spaniards do not feel reflected in a flag that was the winner of a naval contest, or in a hymn without lyrics allegedly plagiarized from a Prussian march. Unless it's all an official lie. The anthem of Spain is a carbon copy of the instrumental introduction of an Andalusian nawba (hereinafter, nuba) compiled in the 11th century by the great thinker, doctor, musician and poet Ibn Bayya, also known as Avempace. In a technical sense it is not the cloud itself. Watch out. These sung pieces of the Andalusian cultured tradition usually begin with an instrumental exordium that we could transcribe as «tawashyya». In this case, an "al dary" movement that coincides in the mode and in the centons or musical cells that make up the essential melody. That's why the Spanish anthem has no lyrics: because it never had. Mistakenly, the origin of the hymn is often attributed to a specific Nuba in the "al-istihlal" mode. I wish it were so because then I would have a beautiful love letter with verses like this: "Contemplating your beauty enlivens my heart." A musical phrase from this nuba coincides with another from Cantiga 42 by Alfonso X “El Sabio” from the 13th century. Although most of the Alfonsine pieces are dedicated to the Virgin Mary, in Cantiga 42 the goddess Venus and a young ballplayer in love appear.

Thus, the anthem of Spain would not come from a foreign military march from the 18th century, patented in the name of a clever Spaniard who collected copyrights every time it was performed until the 1990s, thanks to a complaint on television by the journalist Miguel Angel Aguilar. Its true origin would be found in a very popular piece that was embedded as a musical prologue in the cultured clouds of Andalusian love that Muslims, Jews, Christians and pagans alike sang before the 11th century. Nor is it a work attributable to the invention of the enormous Avempace, but it is to him that we owe the integration, like waters in the same container, of the musical traditions of the Baetic-Byzantine substratum with the Arabic and Persian. To Ibn Bayya we owe the mother modes al-istihlal and al-àmal,

I will tell how I came to this conclusion. Shortly after sharing the discovery of the nuba played by Eduardo Paniagua, I traveled to Tangier with the UNESCO Club of Córdoba. An Andalusi orchestra from Tetuán received us with identical notes. But the rest of the cloud did not match. The following year, the Orquesta Arabesque de Tetuán performed masterfully at the Ateneo Popular de Almodóvar del Río, in an act supporting flamenco and Andalusian music as candidates to be declared "Intangible Heritage of Humanity" by UNESCO. It was magical. And a luxury to have Samira Khadiri and Vicente Amigo. To round it off, I asked bailaora Eva González to improvise on the nuba's melody. And she did. And my pulse still trembles when I remember that perfect symbiosis between the blood of two lands and two eras that are the same. The Orchestra knew the melody very well and Samira Khadiri performed the Nuba without rehearsing. Which shows the extraordinary popularity of her in North Africa. But immediately after the beginning with the same notes as the Spanish Anthem, the Andalusian song changed again. At the premiere of the showRihla at the Gran Teatro de Córdoba, the same thing happened… Why did only the beginning of the clouds coincide?

I asked the Andalusian musicologist Amin Chachoo for help and it was he who confirmed my intuition that it was an instrumental piece that precedes the sung verses. He also told me that the first person to reveal the obvious resemblance between this "tawashiyya" and the anthem of Spain was the Tetouan musicologist Ahmed Daylan, one of the professors of the master Cheqara, in a conference given in Salamanca in the 1950s under the title "a hymn without an author". Of course, the twin similarity in moods and melodies is not due to chance. It would not even be surprising that Espinosa de los Monteros, who is credited with the compilation of military marches where the main melody of the anthem is found, called it the «grenadier march» or «of the grenadiers» and that its extraordinary popularity was due to something as simple to accept as that it already was, that people had already known it since time immemorial, and that perhaps its encrypted name was that of the "march of the Granadans". Time is responsible for doing poetic justice and even today this beautiful introduction with the key notes of the current hymn of Spain is interpreted by the Andalusian descendants who migrated to North Africa as a sign of hospitality for the newcomer. The same with which we should welcome those who today cross the street of water in the opposite direction. Solved the enigma: the anthem of Spain has no lyrics because it never had. It comes from an Andalusian instrumental stanza, not sung, which Avempace almost certainly compiled because it was already popular at the time,

Thus, the true origin of the Spanish Anthem does not represent the rancid and fascist patriotism of national Catholicism, but rather a secular, multicultural, humanist, pacifist and poetic concept of Spain, with which we should all identify ourselves in the 21st century. Spain is a notion. It is time to choose which of the two notions to adhere to.


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El himno de España es andalusí | Antonio Manuel

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