Sevilleâs Black African population was ethnically diverse, originating from Angola and the Congo Basin, the Cape Verde Islands, the Kingdom of Dahomey, the Senegambia and its Rivers of Guinea, as well as Mozambique and neighboring Portuguese outposts in East Africa and Goa. The overwhelming presence of Blacks and their descendants in Seville gave way to the cityâs alias as the tablero de ajedrez, or chessboard table.
Libro de los Juegos (Book of Games), Alfonso el Sabio, c. 1283
Seville, Spain at the height of the Renaissance bustled like a chocolate cityâto borrow from Marcus Anthony Hunter and Zandria F. Robinsonâs masterful work that defines âchocolate citiesâ as Black enclaves and neighborhoods. Seville embodied this definition extremely well. The cityâs cosmopolitan atmosphere, global economic glory, and, at other times, its rampant structural corruption, earned it the ignominious epithet of the âGreat Babylon.â For example, literary works such as Lope de Vegaâs play Servir a señor discreto (1610/1615) and Luis VĂ©lez de Guevaraâs prose work El Diablo cojuelo (1641) refer to Seville as the âGran Babilonia de España.â The short-skit interlude Los mirones (attributed to Cervantes, 1623), for instance, casts Seville as the ancient Assyrian âNĂnive,â another kind of Babylon, whose infinite Black populationâs African diasporic cultural presence and languages reverberated in the streets of the Santa MarĂa de la Blanca neighborhood.
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