Jácara

The Jácara (probably derived from jácaro "thug, bully ") is one of the genres of satire that was performed during the breaks between acts of comedies of the Spanish Golden Age ( Siglo de Oro ). Subsequently, she gave her name to various popular compositions of a similar type throughout the Spanish-speaking area.

Between acts it was normal to perform smaller compositions, which could be dances , loas , entremeses , etc. The Jácara is one of these genres. The jacara (s) can also be found as a guitar piece for the baroque guitar in the 17th century by Antonio de Santa Cruz and in 1694 by Francisco Guerau (1649–1722). as well as in 1732 at Santiago de Murcia .

The people used to be delinquents , rascals , pimps , handsome people or people of the demimonde. She emphasized the sharp humor and the range of jargon of the underworld ( Germanía , Catalan for Spanish hermandad = German: brotherhood) or Jerigonza ( game language ), which evoked cheerfulness through social criticism . A special tone of voice when singing, called “de jácara” or “de jacarilla”, was also characteristic of this composition.

Pedro Calderón de la Barca , Francisco de Quevedo (whose Jácaras stand out from the others) and many others cultivated this genus.

Before his appearance, the Jácara already existed as a poetic composition in the bankruptcy song, with the same tone and themes as mentioned above.

Example:

Ya está metido en la trena

Tu querido Escarramán ...

Quevedo.

swell

• José Domínguez Caparrós, Diccionario de métrica española (German: Dictionary of Spanish Metrics). Madrid: Alianza Editorial, 2004.

Individual evidence

1. ^ Frank Koonce: The Baroque Guitar in Spain and the New World. Mel Bay Publications, Pacific, Mon. 2006, ISBN 978-078-667-525-8 , p. 49.
2. ↑ RB Stevenson: Jácaras ( Memento of the original from January 10, 2018 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . 
3. ↑ Jerry Willard (Ed.): The complete works of Gaspar Sanz. 2 volumes, Amsco Publications, New York 2006 (translation of the original manuscript by Marko Miletich), ISBN 978-082561-695-2 , Volume 1, pp. 34 f., 58–60 and 118 f.
4. ^ Frank Koonce: The Baroque Guitar in Spain and the New World. Mel Bay Publications, Pacific, Mon. 2006, ISBN 978-078-667-525-8 , pp. 49-53.
5. ↑ Francisco Guerau: Poema Harmónico [...]. Madrid 1694
6. ↑ James Tyler: A Guide to Playing the Baroque Guitar. Indiana University Press, Bloomington and Indianapolis 2011, ISBN 978-0-253-22289-3 , pp. 109-117.
7. ^ Frank Koonce: The Baroque Guitar in Spain and the New World. Mel Bay Publications, Pacific, Mon. 2006, ISBN 978-078-667-525-8 , pp. 83 f. and 92-94.