Conclusion. Traces, Sites, and Sounds of Franco Repression in the Popular Imaginary
摘要
On a warm June evening in the city of Cádiz in 2023, an audienceGaleano, Eduardo gathered in the lively Pay-Pay Café-Theater in the heart of the historic Barrio Pópulo, a former settlement of the ancient Phoenicians. The spectators had come to see the musical theater performance starring the singer, songwriter, and Cádiz-based Carnaval lyricist Jesús BienvenidoBienvenido, Jesús as El Rámper, an extravagantly decked-out vaudeville-type clown, with oversized shoes and gaudy dress, who appeared with his red and white striped circus tent. A ceiling-high cupboard full of big drawers and little doors filled the space of the stage.