Judeo-Spanish Sephardic ("Ladino") songs have been sung, remembered, composed, and adapted around the Mediterranean, from the late-fifteenth-century expulsions from Iberian lands to festivals of new Ladino songs. This reflective survey explores mythologies around this multi-site, interactive tradition, of which diaspora and re-invention have been defining elements since its inception. Following a brief background, it evokes a lost ethnographic utopia, then moves on to the fledgling recording industry and early forays into systematic fieldwork. It surveys developments in the mid-to-late twentieth and the early twenty-first centuries, when solid scholarship and documentary recordings appeared alongside exoticization and myths. As the repertoire moved into the World Music scene, its older genres and performance styles virtually disappeared, giving way to a re-invented canon and performance practice
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