The Día de la toma [Conquest Day], held every 2nd January, celebrates the Catholic 'reconquest' of the Nasrid Kingdom of Granada (1492), which resulted in the collapse of Muslim Spain. The festival has become politicised by ultra-nationalist, anti-immigration groups, as well as Andalusian regionalist movements that want the event to become a 'festival of tolerance'. I examine the 'soundtrack' of the festival in dialogue with work on music and politics, sound studies, cultural memory and affect. From fascist anthems, to chants and flamenco fusions, music and sound serve conflicting readings of Granada's cultural memory. I argue that musical and sonic protest delineates conflicting political and territorial positions in a city that is polarised along regionalist vs nationalist and multiculturalist vs nativist lines. Moreover, I contend that the festival highlights an ambivalence towards the city's Muslim community, and so I consider how this community is sounded and silenced at the event.

The Día de la toma [Conquest Day], held every 2nd January, celebrates the Catholic 'reconquest' of the Nasrid Kingdom of Granada (1492), which resulted in the collapse of Muslim Spain. The festival has become politicised by ultra-nationalist, anti-immigration groups, as well as Andalusian regionalist movements that want the event to become a 'festival of tolerance'. I examine the 'soundtrack' of the festival in dialogue with work on music and politics, sound studies, cultural memory and affect. From fascist anthems, to chants and flamenco fusions, music and sound serve conflicting readings of Granada's cultural memory. I argue that musical and sonic protest delineates conflicting political and territorial positions in a city that is polarised along regionalist vs nationalist and multiculturalist vs nativist lines. Moreover, I contend that the festival highlights an ambivalence towards the city's Muslim community, and so I consider how this community is sounded and silenced at the event.

The Día de la toma [Conquest Day], held every 2nd January, celebrates the Catholic 'reconquest' of the Nasrid Kingdom of Granada (1492), which resulted in the collapse of Muslim Spain. The festival has become politicised by ultra-nationalist, anti-immigration groups, as well as Andalusian regionalist movements that want the event to become a 'festival of tolerance'. I examine the 'soundtrack' of the festival in dialogue with work on music and politics, sound studies, cultural memory and affect. From fascist anthems, to chants and flamenco fusions, music and sound serve conflicting readings of Granada's cultural memory. I argue that musical and sonic protest delineates conflicting political and territorial positions in a city that is polarised along regionalist vs nationalist and multiculturalist vs nativist lines. Moreover, I contend that the festival highlights an ambivalence towards the city's Muslim community, and so I consider how this community is sounded and silenced at the event.