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 Posted: Wed Jul 30, 2008 5:00 pm
1 History of flamenco
2 Palos
3 Instruments
4 Dancing props
5 Principal artists
6 links
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Posted: Wed Jul 30, 2008 5:01 pm
Flamenco History------------------------------------------------+
Flamenco is a passionate and seductive art form, a mysterious and misunderstood culture that has been burning in Spain for hundreds of years.
When trying to find the true origins of flamenco most studies totally disregard the history of the Southern Iberian Peninsula previous to the 18th century, it is nevertheless fair to think that the cultural mix that occurred in the history of Andalusia had something to do with the development of Flamenco, an artistic expression truly born to the people.
Telethusa
Going back to a passage from Marcial (40-104 bc), in his work entitled "Puella Gaditanae" (girl from Cadiz) and dedicated to Telethusa; this is described by the author as 'master in the arts of adopting sensuous positions following the rhythm of the castanets from Betica and swaying with the Cadiz rhythms. This is an early proof of the inhabitants’ taste for rhythmic dances and music of this roman province.
Classic Style
The genotype Flamenco also contains information of its Greek and Roman influences, hidden away until the birth of the liturgical Byzantine canticles in the Middle Age.
Composer Manuel de Falla particularly found the connection in features such as the melody and the descending minor scale. The popular assimilation of the Gregorian canticles as part of liturgical ceremonies left its melodic print as well as a touch of the orient.
The Black Bird
Hindu reminiscences cannot be denied neither by theoreticians nor by artists themselves. To better explain them Abulhasam Alí
Ben Nafí (Ziryab), a court musician from Baghdad employed during the caliphate in Cordoba of Abderraman II (822-852 ac), is often mentioned. It also possesses Syrian and Persian influences. The Black Bird was a subject of study for investigators and an inspiration for artists. In fact, Paco de Lucia dedicated his album “Ziryab” (1990) to the Black Bird.
Arabic Sediments
The Arabic domination over Al-Andalus (711-1492) implanted in the region many political, social and economic changes as well as innovations in science and art and generally new ways of living. After more than seven centuries of cohabitation, its influence on the music could not be a coincidence. A clear example of this can be found in the parallel between the modulations and the melismas of flamenco such as tonas and seguiriyas and the Muslim praying calls as well as the rhythm from both banks.
The Moment of Castellanization
A gradual political dismembering of the arabic-andalusian territories opens its doors to the Christian kingdoms of the north of the Peninsula, offering its rich cultural crucible. Starting the castilianization process in 1236, the year in which Cordoba is conquered and ended the Reconquest in 1492 with the taking of Granada. Although it is a general belief that "Castilla became more Andalusian than Andalusia did Castilian", from the 15th century onwards other cultural ways had free access adding more shades to the musical repertoire of a dying Al-Andalus. The metrics from many coplas, taken from Castilian romances, and seguidillas keep the legacy and even the rhythmic pattern found in the different styles of flamenco.
The mozarabic messanger
The interconnection between both sides of the border was nothing new; in fact, Christianity had always been present in Al-Andalus. Testimonials of this coexistence are the zejel and the mozarabic jarcha, defined by the dictionary of the Real Academia Española de la Lengua, as "traditional song, often a ballad, with which from Andalusia, Arabs or Hebrew poets ended their moaxajas (poetic compositions)".
And the Egyptians arribed...
A major development in the gestation of what is currently known as flamenco would take place at the same time: the arrival into Spain of the European gypsies. The oldest document stating this migrating wave, signed by Alfonso The Magnanimous, dates back to 1425. The possibility that they penetrated before, via Africa, is not ruled out, this would support the theory that they came from Egypt and would also explain the etymological origin of the word. According to the most accepted theories, gypsies come from Punjab, a region in northwest India, from where they started a long exodus (between the 7th and 14th century) due to unknown reasons. This migration resulted in the scattering of groups of these nomads all over the Old Continent.
...and with them the re-interpretation
The gypsies that establish themselves in the south of the Iberian Peninsula were faced with the rich folklore from Andalusia that they, apparently, assimilated to then interpret it according to their own cultural characteristics, also of an oriental background. Investigators such as Pierre Lefranc allude to a supposed symbiosis between the gypsies and the Moslem, these being Muslims that although converted to Christianity to prevent expulsion managed to maintain the musical tradition of Al-Andalus. There is an idea that although generally accepted is nevertheless subject to some questioning and states that the gypsies' contribution to flamenco relies more on the face of mímesis and interpretation and less on that of the actual creation itself.
On the dawns of life and back
The trace of flamenco dilutes in the three centuries that followed, during which Seville became the uproaring epicenter of European business, having been the entry point of America, , later passing on this duty to Cadiz. The close communications between both sides of the Atlantic not only enable the overseas commerce but also served as a channel for cultural exchange. This initiates an onwards trip taken by cantes and dancing expressions from Andalusia that, after going through a native and half-caste (thus African) sieve, would then bring back guajiras, milongas, colombianas, rumbas, vidalitas.... All of which were then made popular at the beginning of the 20th century by outstanding flamenco singers of the time.
Documentary Emptyness
The little written evidence found in folklore from Andalusia during this dilated period lies scattered around the Spanish literature of the 16th and 18th centuries. "La Gitanilla", one of the stories in the "Novelas Ejemplares " (1613) by Miguel de Cervantes, portrays "Preciosa", who although having a minstrel's touch, could nevertheless be defined as the prototype of the flamenco's bailaora and cantaora.
The "Cartas Marruecas" from José Cadalso brings, in the second half of the 18th century, something many scholars consider as the first written testimony about flamenco.
Although ignored by theoreticians, it is also worth reviewing the work of Juan Antonio de Iza Zamacola from Biscay, servant of José I, and published in 1788 entitled "Colección de las mejores coplas de Seguidillas, Tiranas y Polos que se han compuesto para cantar en la guitarra". The consanguineous relationship between flamenco and Spanish folklore is then sealed.
With a proper name
The precise moment flamenco becomes a profession gets lost in this undocumented abyss. The first registered proper name is that of Tío Luis el de la Juliana, cantaor whose existence cannot be proven. We would have to wait until well into the 18th century to even find a trace of the first flamenco professionals. From El Planeta, a cantaor from Cadiz who developed his career through tonás and seguiriyas in the borough of Triana in Seville, the history somehow becomes clearer. Always from the same triangle Seville-Jerez-Cadiz, emerges names such as El Fillo (pupil of El Planeta), Juan de Dios, Paco la Luz, La Andonda, Loco Mateo, Curro Durse, singing (al cante); La Candelaria, La Campanera, La Perla, El Xerezano, Miracielos, dancing (al baile); Colirón, as a guitarist (a la guitarra).
And light was
The appearance of proper documentation clarifies the history of flamenco from the 19th century onwards; this date is, just to simplify matters, considered by many as it’s beginning. Newspapers of the time together with the observant eye of the romantic travelers are responsible from finally banishing all guesswork. "El Porvenir", "La Andalucía", "El Cronista", "El Español", "El Noticiero Sevillano", Charles Davillier, Teófilo Gautier, Richard Ford, Alejandro Dumas and George Brown.
The Romantic Eye
Responding to the exotic call imposed by the romanticism, many European travelers dived into the entrails of Andalusia in a century that begins historically with the Guerra de la Independencia (the Spanish Independence War) and the approval in 1812, of the first Spanish Constitution in the Courts of Cadiz and ends with some unsuccessful attempts of industrialization and the loud '98 crisis. People meanwhile alleviated their sorrows with their own cantes and their own dances. In 1831, Serafín Estébanez Calderón, romantic author from Malaga, in his passage entitled "Un baile en Triana", taken from his work "Escenas Andaluzas" that narrates his assistance to a party in which he saw El Planeta performing. El Planeta is one of the first known professional flamenco singers. George Borrow publishes in England in 1841 "Zincali, gypsies of Spain", one of the titles of his bibliography that derived from his adventures in Andalusia. "Viaje por España" from Charles Davillier draws already, in 1862, the dances performed by the village people (la gente del pueblo) celebrated at the light of an oil lamp, in courtyards or pubs. The list of testimonials, most of them foreign, is vast .
The Emerographic Trail
The daily nineteenth-century occurrence remained molded in the press of the period, from which scholars of flamenco have extracted chronicles of parties and shows, dancing academies' programs, advertisements. One of these first cuttings is the one that José Luis Ortiz Nuevo recovers from "El Porvenir" (14th July 1850) that reads: "The academy of Don Miguel Barrera, situated on Tarifa Street, is one of the most famous choreographic establishments".
From the oil lamp to the hall...
Now we are talking. With documents in our hands, a premature flamenco was gestated in the evenings of the neighboring courtyards (patios de vecinos), in botillerías (a kind of off-license) and in ventorros. With the light of an oil lamp, flamenco would be hand on hand with other folklore dancing, not only from Andalusia, but also Spanish, through the school of "bolera". Triana appears already described as the epicenter of this danced pre-flamenco with localized points such the "botillería del Tío Miñarro". Polo and toná were sung while the zorongo, the rondeña, the zapateao, and the jaleos were danced. These different types of dance were taught in academies that doubled as early exhibition halls focused mainly on Tourism. Manuel de la Barrera and Luis Botella managed two of the most prestigious halls existing at the time in Seville.
...going through the singing café
Soon, another space was beginning to compete with the hall; the singing cafe. The first one known is that of Los Lombardos, that opens in Seville in 1847. According to Ángel Álvarez Caballero in the "El baile flamenco" these places gave a definite push to the jondo, because the show was used as an attraction around which all the business wasgenerated. Furthermore, due to the competition, there was pressure to offer a better show than the competitors to attract the most number of customers. Although it is a fact that flamenco’s Golden Age was forged within these premises, the idyllic image of the singing cafe has become clearer through investigation. Along with Flamenco developed prostitution, violence and a squalid side to it as well that clouded its curriculum.
With a golden shine
El Café del Burrero, el Café de Novedades, el Café del Arenal, el Café Filarmónico, Kursaal Central Café... and this was only in Seville. The list of singing cafes offering flamenco in the main Spanish cities between the end of the 19th century and the beginning of the 20th century is vast. Besides Silverio Franconetti, manager of one the most popular cafes, many others like Antonio Chacón, Manuel Torre, La Serneta, Concha la Carbonera, El Canario, Juan Breva, Niño de Escacena, Malena, a young Niña de los Peines were also successful in these nineteenth-century stages (tablaos). The cinema and the increasing taste for cuplé drive the arte jondo away from these sites in the 20s and 30s, thus flamenco looked for other ways of reaching the public such as theatrical flamenco or flamenco opera.
An italian in the forging
Although insulted by some as the person that prostituted the dark legacy, inside the family bosom of the people of Andalusia, the history of flamenco could not be written without Silverio Franconetti. As a child he fell in love with flamenco listening to El Fillo in Morón de la Frontera, resulting in him abandoning his job as a tailor and devoting his life to the promotion of flamenco. After a strange eight-year gap in South America, he then traveled through the Spanish stages showing what he had learned in the fraguas (taverns) until finally he became the programmer from his own cafe in Seville. This was one more site for the development of singing contests involving Siverio Franconetti, Tomás el Nitri and Juan Breva.
The first key
Tomás el Nitri, El Fillo's nephew, was the first flamenco singer to receive the "Llave de oro del cante" award. There are many versions of the award ceremony. The most accepted is that a group of flamenco enthusiasts awarded it in 1868 in Malaga's Cafe Sin Techo, although the theory that it was awarded in a party of cabales in Jerez de la Frontera (Cadiz) circulates as well. The only sure proof of this event is a photograph of the artist holding the precious object. Along its history, the key has been a bone of contention and its award ceremony has always been surrounded by rather extravagant circumstances; beginning in 1926 when it was given to Manuel Vallejo, in 1962 when Antonio Mairena received it or in the year 2000 when it was posthumously conceded to Camarón.
The phonograph
At the end of the 14th century, everything becomes clearer. The invention by Thomas Edison of the phonograph has a great impact on flamenco. With the intention of internationally promoting the machine, native music from many parts of the world is then recorded, amongst which, flamenco is included. The first recordings were made in Cadiz and Seville, both in quality and quantity. The daily "El Noticiero Sevillano" tells about the first recording dated the 22nd of November 1895. Juan Breva was amongst the first singers (cantaores) to leave a testimony of his cante in wax cylinders. Antonio Chacón, Cagancho, Niño de Cabra, Paca Aguilera, Revuelta, Paco el de Montilla or El Mochuelo also recorded this way.
Slate discs
Shortly, a competing invention started to become available; the gramophone by Emile Berliner. Already, in the first years of the 20th century, slate discs begin to be recorded. The first international discography companies hurried to take a place in the Spanish market. The International Zonophone Company from the United States, the French Du Gramophone (La Voz de su Amo) and Pathé (responsible for the recording with a sapphire needle), the German Dacapo, Homoko, Homophon, Talking Machine GMBH (Odeon), with flamenco discs distributed by the Casa Fadas from Madrid. El Mochuelo, El Pena, Niño de Cabra, El Garrido y Paca Aguilera, amongst others, were the first ones to record these one-sided little discs.
From Despeñaperros upward
Flamenco, already as a profession, took little time to trespass the borders of Andalusia. There are records of some flamenco parties in Madrid, dated around the middle of the 19th century, involving recognized personalities such as Juan de Dios, Luis Alonso, some bailaoras beginning to excel and the very own Silverio. The epicenters would be two: first, the botillerías situated on the way to Toledo, from the Plaza Mayor; and the area around the Plaza de Santa Ana, with grocer's shops and singing cafes still standing like Los Gabrieles or Villa Rosa, both opened at the beginning for the 20th century.
By the end of the century the Court's taste for flamenco develops to the extent that part of the intellectuals of 1898 begins a campaign against flamenco that even arouses an interest in the neighboring France.
The poets of 1927 and their muse
As a reaction to the attitude of the poets of the end of the 19th century, the next generation took flamenco as a muse, since their principles strongly dictated the recovery of the artistic popular heritage. Rafael Alberti, Gerardo Diego, Vicente Alexandre, Jorge Guillén, Pedro Salinasand Ferderico García Lorca. Especially Lorca, the author of the "Romancero Gitano" and the piano recording of the popular Spanish songs repertoire with the help of the artist La Argentinita were popular. The work of this poet, who was executed shortly after Franco's coup d'etat, remains to date a source of regular inspiration to flamenco's cante and baile.
The contest
It was precisely Federico García Lorca together with the composer Manuel de Falla (who was at the time experimenting a process in his music parallel tothe poets) and other artists from various disciplines who gathered in the Centro Artístico y Literario of Granada to organize the 1st Cante Jondo contest. The event had as its major objective to revalue the cante jondo, which was already considered as being contaminated and in decline. It took place in the evenings of the 13th and 14th of June 1922 in Granada's Albaicín, sponsored by the Council and with Antonio Chacón as the president of the jury. Contestants competed for a prize of 8,500 pesetas. The winners were Diego Bermúdez (El Tenazas) and Manolo Caracol; obtaining secondary prizes Carmen Salinas, José Soler, Frasquito Yerbagüena and others of less value were given to La Gazpacha, Conchita Sierra y La Goyita. Winning guitar players were José Cuéllar and Niño de Huelva.
Flamenco Opera
None of the cities from the Spanish territory escaped the new phenomenon. Flamenco relegated from cafes by the cuplé and the cinema re-launches itself occupying theatres and plazas de toros (bullfighting sites). This phase, starting from the second half of the 20th century, was known as flamenco opera, a name given to hide the business tricks used to evade paying taxes. Furthermore, flamenco adapts to these stages full orchestras, mixed styles impregnated by cuplé and American folklore, storylines,. In this way, flamenco artists became real mass attractions, such is the case of La Niña de los Peines, Pepe Pinto, Manuel Torre, Manolo Caracol, El Niño Gloria, Angelillo, Manuel Vallejo, José Cepero, La Niña de la Puebla, Juanito Valderrama.
and the touch emancipates
The process of adaptation required by the new theatrical format also means that guitar emancipates as a soloist instrument instead of being submitted to the needs of the cante and the baile. The phenomenon is leaded by Ramón Montoya, Manolo de Huelva, Javier Molina, Miguel Borrull, Niño Ricardo, Sabicas.
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Posted: Wed Jul 30, 2008 5:02 pm
Palos------------------------------------------------------------------------------------------------+ A palo is the name traditionally given in the flamenco environment for the different musical forms that constitute the traditional musical heritage of flamenco. Each palo is characterized by a variety of musical features such as its rhythmic pattern, its mode, its characteristic motifs, or the type of stanza used for the lyrics, and comprises a series of traditional melodies or songs, generally called estilos (styles) in the flamenco jargon. The meaning of estilo here has nothing to do with the general meaning of "style" as a series of characteristics that define a musical period, a trend, a genre, or the particular manner of an artist: it refers to a particular composition or song which was created in the past, either anonymously or attributed to a particular singer, and was developed by generations of singers. Any newly composed, non-traditional songs or compositions following the general form of the palo are also usually called by the name that palo. The word palo, in Spanish, has several meanings, the main one being "stick", "bar", "pole" or "rod", but in this case it has the sense of "suit of cards". Therefore, it has a metaphorical use meaning category or classification. +-----------------------------------------------------------------------------------------------------FandangosFandangoA style which has its roots deep in Spanish folkloric tradition, and which thus precedes cante flamenco as we know it. According to some writers, this is the true source. Arabian, American, even Portuguese... there has been much speculation surrounding its origins. It has a 12-count marking compás, and is in straight 3/4 time. Spanish fandangos gradually acquired a more and more flamenco edge, drawing on different cantaores' individual contributions. This group covers all the variants to be found in Spain: verdiales and rondeñas malagueños (from Malaga); the fandango de Huelva; the granaína and media granaína; and the taranto, taranta and cartagenera from Almería (the so-called cantes de las minas). The fandango de Huelva, principally, gave rise to fandangos naturales, with a true 'jondo' flamenco flavor, and bearing the hallmarks of each individual cantaor. They've been hugely popular since the mid-19th century. The best-known varieties are those by Niño Gloria, Manuel Torre, José Cepero and Manolo Caracol, the first two using fandangos de Huelva, and the last two using the granaína and the malagueña respectively. Cantaores such as Manuel Vallejo, Pepe Marchena, Pepe Pinto, Fernanda de Utrera and Chocolate have made the fandango their trademark. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Verdiales / AbandolaosVerdiales are cantes from Málaga folklore, considered the most primitive form of fandango from this area in eastern Andalusia. The name comes from a variety of olive from the olive-growing region of Málaga which remains green even when it ripens. Like the fandango, it has basic ternary time. Like folk cante, it is conserved in the groups called “pandas” (gangs), in which there are vocals, guitars, violins, mandolins and tambourines, to the sound of a vibrant, monotonous beat. As cante flamenco, for a solo cantaor, more unhurried and just accompanied by guitar, the form still survives which was laid down by Juan Breva. It is usually used as a finish for malagueñas. El Cojo de Málaga, Manuel Vallejo, Fosforito, Perico el del Lunar, Camarón, and more recently, Guadiana (curiously, doing a version of ‘El extranjero’ by Georges Moustaki) have recorded this style. You don’t often see it danced in flamenco, but Rafaela Carrasco thus finishes off her famous malagueña. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 RondeñaMalagueñaA flamenco style with its roots in the local fandango of Malaga. This style, one of the most outstanding Levantine forms (the term given to those from eastern Andalucía), is characterized by the absence of a compás structure, affording the cantaor freedom to introduce intricate vocal work and extend each line of the lyric at will. Distanced now from its folkloric origins, this cante was popularized from the late 19th century by cantaores both from Malaga (Juan Breva, El Canario and La Trini, for example), and from elsewhere (such as Antonio Chacón and Enrique el Mellizo). Out of the above names, Antonio Chacón deserves a special mention for ‘revolutionizing’ the style, leaving behind five different variants; as does Enrique el Mellizo, whose malagueña it is said was inspired by church songs, and currently boasts great popularity especially in Jerez and Cadiz. Among contemporary cantaores associated with this style, Diego Clavel is outstanding for his ‘La malagueña a través de los tiempos’ which brings together almost fifty different variants, as does José Mercé, heavily influenced by El Mellizo, but bringing his approach up-to-date. And let's not forget Enrique Morente, who leans more toward Antonio Chacón, then Fernando Terremoto Jr... And to see dance performed to this form, a fine example is the current work of bailaora Rafaela Carrasco. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Grananía / Media GranaínaA flamenco style which originates in eastern Andalucía, belonging to the fandangos group, and with their origins in the Granada variant. One distinguishing feature of the granaína is that it is performed without a rhythmical framework, so its hallmarks lie in the melodical work and the guitar chords. The roots of this style owe much to Frasquito Yerbabuena, although its flamenco form was actually laid down by Antonio Chacón and Ramón Montoya who accompanied him on guitar, after a study of the cantes from Granada at the close of the 19th century. It also draws influences from the malagueña - in fact, José Cepero sang what he termed a “granaína malagueña”. It differs from the media granaína in the melody (which is almost invariable in both cases) and in the mood: the granaína is more restrained and the media granaína (with no cries of "ay" in the introduction) is bolder, more baroque. Manuel Vallejo, Juan Mojama, Manuel Centeno and Pepe Marchena, among others, are outstanding performers of both types of cante. As for dancing to this style, a superb example is to be found in the latest choreographic work by Eva Yerbabuena. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Taranta / TarantoSoleáCañaThe caña is a flamenco style played to the compás structure of a soleá, of which it is said to be the predecessor. It is also said that the caña is a pre-flamenco traditional Andalusian style, as well as a popular Spanish folk dance which can be traced back to the 18th century. It differs from the soleá in one defining feature: its introduction of repeated cries of "ay", following a fixed structure and mimicked by the guitar, playing along in harmony. As for the polo, it differs in the introduction itself, and has a somewhat less dynamic air. Travel writers of bygone days associate the caña and the polo with vocalists belonging to the school of 'cantaores primitivos', such as Tío Luis el de la Juliana, El Planeta and El Fillo. In the 20th century, Pepe el de la Matrona did much to enrich this highly structured form, using the 'Polo de Tobalo' as a starting point. The modern-day caña flamenca is associated with dance, specifically with the work of Antonio de Juana Porrote and Carmen Amaya. This style is often sung by cantaores like Enrique Morente, and some even try to give it a makeover once in a while. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 / 1 2 3 4 5 6 7 8 9 10 11 12PoloThe caña is a flamenco style played to the compás structure of a soleá, of which it is said to be the predecessor. It is also said that the caña is a pre-flamenco traditional Andalusian style, as well as a popular Spanish folk dance which can be traced back to the 18th century. It differs from the soleá in one defining feature: its introduction of repeated cries of "ay", following a fixed structure and mimicked by the guitar, playing along in harmony. As for the polo, it differs in the introduction itself, and has a somewhat less dynamic air. Travel writers of bygone days associate the caña and the polo with vocalists belonging to the school of 'cantaores primitivos', such as Tío Luis el de la Juliana, El Planeta and El Fillo. In the 20th century, Pepe el de la Matrona did much to enrich this highly structured form, using the 'Polo de Tobalo' as a starting point. The modern-day caña flamenca is associated with dance, specifically with the work of Antonio de Juana Porrote and Carmen Amaya. This style is often sung by cantaores like Enrique Morente, and some even try to give it a makeover once in a while. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 / 1 2 3 4 5 6 7 8 9 10 11 12JaleoSoleáA flamenco form considered the mother of all flamenco. Its structure, with a 12-count compás, follows a blend of 6/8 and 3/4 time signatures, using an Andalusian cadence - the Phrygian mode unique to flamenco. Fruit of this basic model include bulerías, bulerías por soleá, alegrías, all of the cantiñas, jaleos, the caña, the polo... hence its well-deserved status as an essential style of flamenco cante. Academics highlight the abundant richness of the lyrics, its diversity, its fertility, over and above all other flamenco styles. As for its origins, Machado Álvarez argues that it evolved from the music used to accompany a dance style called jaleo, which it broke away from in the mid-19th century. As for its name, musicologist García Matos postulates that it may have been taken from one of the early lyrics of these songs, referring to 'la soledad' (loneliness). There are several variations of true soleares, including those from Alcalá de Guadaira, Lebrija, Utrera, Triana, Cadiz, Los Puertos and Jerez. Legendary figures whose names are associated with the soleá include nineteenth century cantaora La Andonda, from Triana, and in the 20th century cantaora La Serneta from Utrera, of whom Fernanda and Bernarda de Utrera are both devout followers; cantaor Frijones, from Jerez, El Mellizo from Cadiz, Juaniqui from Lebrija, Joaquín el de la Paula from Alcalá de Guadaira... each with their own approach, and each leaving a band of disciples in their wake. As for dance, the soleá is also an indispensable style. Initially reserved for female bailaoras, La Cuenca and La Mejorana were known as originators in this form. This genre is largely unchanged today, with greater or lesser emphasis on the footwork of the 'zapateado' depending on the performer. El Güito, Manuela Carrasco and, recently, Eva Yerbabuena are some of the bailaoras who have made this type of dance their trademark. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 / 1 2 3 4 5 6 7 8 9 10 11 12Bulería por SoleáAlegría / CantiñaAlegrías is the best-known flamenco style from the cantiñas group. This cante originates from Cadiz, its rhythmical structure matching that of the soleá, with verses divided into four lines of eight syllables each. In fact, it is a hybrid of soleá and a traditional dance from Aragón called the jota. This process of ‘fusion’ took place during the resistance to the Napoleonic invasion of 1808, in the Peninsular War for Spanish independence. Actually this style was originally also known as jotas gaditanas, or jotillas gaditanas - the Cadiz jota - and lyrics often make allusions to times of freedom and struggles. Among those who earned a reputation for nurturing this style are Enrique Butrón, Rosario la del Colorao, Ignacio Espeleta (who introduced the common repeated opening sequence of "tiri-ti-tran"), Aurelio Sellés, Chaquetón, Chano Lobato... the list goes on. More melodic and somewhat more sedate in nature are Alegrías de Córdoba, credited to cantaor Onofre. Dance techniques associated with alegrías are among the most rich and vivacious to be seen. Traditionally this is considered a female dance piece, based on undulating movements of the body and of graceful arm movements (above all during the 'silencio', the sequence performed in a minor key) as well as on the intricate footwork during the so-called 'escobilla'. It is also characterized by bright, extroverted clothing such as the traditional long 'bata de cola' dress, or the manila silk shawl, the manipulation of which requires a course all on its own. Alegrías, and in fact the whole cantiñas group, were heavily influenced by the style Pastora Imperio laid down, leaving her mark on all that followed her in the Seville school of dance, such as Matilde Coral, Milagros Menjíbar, Pepa Montes... and even on more recent figures like Belén Maya and Rafael Campallo. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12BuleríaBulerías is a flamenco style which stems from the soleá. It shares the same rhythmical structure, the difference being, in general terms, a more up-tempo performance. It broke away from the soleá (for which it provided something of a finale) at the end of the 19th century, and in the hands of cantaores like El Gloria and El Loco Mateo, it began to acquire a form of its own. Somewhere in between the two styles comes bulería por soleá, or soleá por bulerías, a style of cante from Jerez where the bulería is played to a soleá time signature. The bulería has many variations in terms of both melody and meter and is normally accompanied by palmas or handclaps on the off beats and a turn by the bailaor. Jerez de la Frontera is the true home of the bulería, although there are also notable contributions from Seville from the likes of La Niña de los Peines and Manuel Vallejo. And let’s not forget the forms that evolved in Cadiz or in Utrera/Lebrija, or the cuplés por bulerías (lyrics drawn from Spanish traditional or folk songs adapted to a bulerías rhythm, and performed in a minor key). As for the dance, the bulería has made the break away from private family gatherings to make a name for itself on the stage - as a coda to the soleá, as a climatic closing number, or frequently as an encore. This is a palo where the whole company joins in, gathering round to form a 'corrillo' as they egg on not only the bailaores, but also the tentative footwork (or tomfoolery) of the musicians - guitarist Parrilla de Jerez, for example, is well-known for his turn 'por bulerías'. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12SeguiriyasMartineteA style of cante performed with no musical accompaniment, part of the toná family. It has a historical relation with the work in the forge and, in fact, the compás structure is often beaten out with a hammer on an anvil. Hence its name, a type of hammer. The gypsy forges in the Seville-Jerez-Cadiz triangle were hotbeds of these time-honored cantes. In a blacksmith's shop in Morón de la Frontera Silverio Franconetti learnt his trade as a boy and was initiated into flamenco. Performing this style requires forcefulness, composure and extreme sobriety. The compás is the same as that of the seguiriya, an amalgam of 3/4 and 6/8 time. It is not a style of cante widely found in the discography of flamenco, although there are active ‘martineteros’ like Agujetas, who in his youth worked at the family forge in Jerez. None of his albums would have been complete without this style of cante: ‘En la soleá’, ‘24 quilates’, ‘Agujetas cantaor’... Other cantaores too, like Chocolate, often sing and record martinetes, just as cantaor Santiago Donday from Cadiz did on his only studio recording ‘Morrongo’, as well as artists like Juan Talega years before him. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 DeblaSeguiriyaA flamenco form with a mixed compás - combining 3/4 and 6/8 time (a feature that drives music experts to despair). The seguiriya (also written sigueriya, siguiriya or seguirilla) takes its name from the Castilian 'seguidilla', a musical style to which it is related, literarily at least. It is considered the quintessential style of 'cante jondo', for its solemnity, the minimalism of the lyric, and the wailing 'quejío' associated with vocal performances. Seville and Cadiz are the homelands of this palo; Triana, Jerez and Los Puertos are also seguiriya landmarks. And Manuel Molina, Paco la Luz, El Loco Mateo, El Fillo, Curro Durce, El Marrurro, Enrique el Mellizo, Silverio Franconetti and Antonio Chacón are some of the most famous performers associated with this form. Closely related to the seguiriya we find the cabal, a more light-hearted tune which rounds off a series of seguiriyas and is sung with a different harmony (shifted to a major key). From the same family and with an identical compás structure, we find the martinete (a style which originated in the forges sung by the smiths), the debla (based on the framework laid down by Tomás Pavón), tonás (with their roots in romances, and each christened with a theme drawn from the lyrics: ‘del cerrojo’ - the bolt on the door, ‘del cristo’ - of Christ...). Lastly there are the carceleras (jail songs), the difference here being that they are sung ‘a capella’, with no musical accompaniment. Also related to the seguiriya we have the liviana and the serrana, originally with a pastoral theme. These cantes were folk songs which gradually acquired a flamenco flavor, and which have a fixed melody, the lyrics sung in long drawn-out lines. Dancing to seguiriyas, as with singing, is an intimate, low-key, solemn, austere matter, and this constitutes one of the essential styles in the repertoire of professional bailaores. In its origins, the gypsy seguidilla was danceable, according to Machado Álvarez, although Vicente Escudero is often credited with taking the seguiriya into the realms of dance. Whilst some artists, such as Manuela Carrasco and María del Mar Moreno, treat this ‘palo’ in a strictly traditional manner, others like Antonio Canales use its structure as a springboard for innovation, speeding up the compás to extremes to introduce striking, vigorous percussion sections. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 CabalTangosTientoTientos are slowed-down tangos, with a more solemn feel to them, which appeared between the end of the 19th century and the beginning of the 20th. Normally the cantaor kicks off with tientos, a style that gives him an opportunity to demonstrate his vocal prowess, and winds up 'por tangos', providing a striking contrast. Great performers of tientos included Enrique el Mellizo, Antonio Chacón, Pepe de la Matrona, Bernardo el de los Lobitos and La Niña de los Peines. Currently cantaores such as José Menese and Esperanza Fernández are associated with this form. Compás pattern: 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4TangoA flamenco style in 2/4 and 4/4 time - the time signature that underlies the majority of musical styles around the world. As for flamenco tangos, some academics affirm that they originate from Cuba, thus (to paraphrase Enrique Morente) closing the ‘Africa-Cuba-Cadiz’ triangle. This would imply, then, that the flamenco style originated in Cadiz - thanks to those cross-cultural 'ida y vuelta' exchanges with the Caribbean isle, the music made the round trip, along with other styles like rumbas, guajiras and colombianas. And back home Enrique el Mellizo was the one who set the ball rolling. In addition, Triana and Granada (with the Malaga variant championed by El Piyayo) are also on the tangos map, and Andalucía's neighbor Extremadura also made fine contributions. Other legendary names who made the tango their own include Frijones from Jerez, Titi de Triana and, of course, cantaora La Niña de los Peines from Seville, who took her stage name from a tangos lyric. Together with the bulería, this is the upbeat ‘festero’ style par excellence. And thanks to its flexibility, it's become a centerpiece of so-called 'nuevo flamenco'. The dance style is said to originate at the same time, and nineteenth century texts speak of “baile de negros” as a synonym. Tangos are, then, a sensual dance style, with popular origins, made great by flamenco figures from the Seville school. On many occasions, vocalist and dancer are one and the same. It's not unusual to see cantaoras like Remedios Amaya, Esperanza Fernández, Aurora Vargas and La Macanita embellishing their own vocal performances of tangos with a few steps between verses. Compás pattern: 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4TanguilloTanguillos are a flamenco style originally from Cádiz, coming from carnival music. For that reason, some theoreticians situate them in the group of cantes originally from Andalusian folklore, like sevillanas and peteneras. According to theoreticians, the time of the tanguillos is the result of the combination of 6x8 time and 2x4 time. But it is also accepted to be 3x4 time. And there are those who propose that it is simply 4x4 time, just like tangos and tientos, but faster. The lyrics always allude to satirical, ironic and festive subjects. The genuine maestro of cante por tanguillos is Chano Lobato, who keeps all the essence alive of old-time tanguillos taken to flamenco by his predecessors such as that of Los Anticuarios, which dates back to 1905. Once passed through the molds and arrangements of today’s flamenco, it joins bulerías, tangos, rumbas and alegrías in the group of festive flamenco, with plenty of forms and styles. Cantaores such as Potito and Duquende have cultivated it on their latest albums. Of course, tanguillos are danceable. Bailaores such as Sara Baras and Isabel Bayón choreograph and dance them in their shows. And on guitar, there are famous scores like ‘Casilda’ by Paco de Lucía, ‘Aroma de libertad’ by Cañizares and ‘Vapor de Cai’ by Juan Diego. The more heterodox forms are proposed by musicians such as Diego Amador on piano, Jorge Pardo on sax and Ojos de Brujo in hip-hop mode. Compás pattern: 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4De Ida y VueltaColombianaGuajiraOne of the styles denominated 'ida y vuelta' that made the round trip to the Caribbean and back, blending Cuban folk music with flamenco. It takes its name and musical texture from the farm laborers' songs on the Caribbean isle. These songs were fruit of the migratory flows to the then Spanish colony in the 19th Century, and indeed many of the rural workers had Andalusian roots. In fact, it shares its rhythmical and melodic qualities with the Cuban punto. The rhythmical structure is that of a soleá, but with the accentuated notes distributed differently, an amalgam of 6/8 and 3/4 time signatures similar to the petenera. They became a popular part of flamenco in the twenties and thirties, with Manuel Escacena's formula, although there are indications that Silverio Franconetti, Juan Breva and El Mochuelo sang them earlier. And they reached their moment of glory, like other light-hearted 'acancionado' styles, in the golden age of flamenco operetta. Pepe Marchena was one of the cantaores who gave greatest melodic breadth to this palo that spanned an ocean. As Merche Esmeralda demonstrates with skill in the Carlos Saura film ‘Flamenco’, guajiras are also highly danceable. In a more experimental vein was Israel Galván's choreography and dance to guajiras in his show ‘Galvánicas’ (2002), with a composition by guitarist Gerardo Núñez. As for vocalists, this is one of the staple forms used by Chano Lobato, who conserves its classical form. Compás pattern: 1 2 3 4 5 6 7 8 9 10 11 12 MilongaVidalitaCantes de LevanteTarantaTarantoA variant of the free form of fandango known as taranta, which is different in that the rhythmical structure of the compás is drawn from the zambra. According to José Manuel Gamboa, it was Fosforito who first coined the term in his 1957 recording of ‘masculino’. Previously, Manuel Torres had named them ‘rondeñas’, as had bailaora Carmen Amaya, one of the big names behind this Levantine style. The rhythm of a taranto smacks of slowed-down, dense tango... and, in fact, it's not unusual for a dancer to round up a taranto with an upbeat 'remate por tangos'. One of the best-loved tarantos in the history of flamenco is the title track from Camarón de la Isla and Paco de Lucía's 1973 album: ‘Caminito de Totana’. Compás pattern: 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4 CartageneraMineraMurcianaLevantica
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Posted: Wed Jul 30, 2008 5:04 pm
Instruments------------------------------------------------------------------------------------------+
Percussionhas been one of the main elements in the revolution that flamenco music has undergone over the last few decades. This has been the case particularly since the introduction of the cajón (box-drum), an instrument that comes from Peru and has quickly become an indispensable element in any flamenco musical group. It was joined by other percussion instruments such as the tinaja (a percussion instrument, essentially an earthenware jug) and udu, the bongos, the congas and the darbuka which, due to fusion and attempts to seek out new sounds, have been carving out an important space for themselves on the flamenco scene.
The taconeo (rhythmic combination of sounds made by striking the stage with the shoe or just the heel), palmas (rhythmic hand-clapping), castanets and blows on the body of the guitar or against a table, are the traditional elements that have been used to mark the rhythm and meter in flamenco music. To these, Paco de Lucía added the cajón. Sensing its potential, the maestro gave the percussionist Rubem Dantas a Peruvian cajón as a present. As time passed, and after a few added details and improvements, this instrument has ended up turning into the colleague of flamenco guitar playing and singing, going so far as to earn its own name, that of flamenco cajón.
The percusion is the heart beat of flamenco, since the body itself its considered as a tool and intrument to musicalize the dance.
The cajón is a percussion instrument that has been recently introduced into flamenco music. Its origins are Peruvian, Afro-Peruvian to be precise, as they were invented by African slaves who were transferred to the viceroyalty of Peru, who used the boxes that they used to carry merchandise as musical instruments.
The cajón only made its appearance in flamenco music in the seventies. Since then, the Peruvian cajón has been progressively adapting to the needs of flamenco, in terms of both sound and rhythm, as it requires more high-pitch sounds than were produced by the original Peruvian design.
Over a short period, the cajón has become firmly established in flamenco. It contributes to creating the rhythm that each flamenco palo (form) possesses. The way in which it works is very simple: by and large, it is a wooden box with one of the side boards missing, in its oldest and most basic version, or which has a hole in one of its sides.
The Udu is an instrument that comes from Nigeria, where members of the Ibo and Hausa tribes discovered the extraordinary sound of this peculiar instrument, that was originally used to carry water.
The Udu is a clay vessel with two openings: one of them usually has a "neck" or protruding element that may vary in size, and the other is a hole in the "belly" of the vessel. By covering and uncovering this hole with the palm of one’s hand, it is possible to obtain a sound that is reminiscent of the sound that is made by a liquid substance in a container if we rock it. The other hand tends to be used to widen the range of sounds, by drumming directly on the ceramic body of the Udu.
The combination of these different tones turns it into an instrument that is becoming extremely popular among percussionists. As a result of fusion and the blending of different sounds, there has been an increasing number of flamenco artists using it in their quest to find new rhythms.
The bongo is an instrument that comes from South America and the Caribbean. It consists of a pair of small drums that have different sizes, with a difference in height between them that is usually of between a quarter or a fifth of the total height. The smaller one is known as the "male" or lesser drum, while the larger one is called the "female", or main, drum.
The bongo is considered the smaller brother of the congas, and its body is generally made of wood, even though there are also some that are made of fibre. The patches, which are either made of animal hide or synthetic fibre, are fitted with rings and stretched by a system that uses turnkeys (they were originally stretched using the heat from the fire or by using strings and straps). The drums are joined at the side by a piece of wood, even though this was originally done by using a leather strap or a rope.
The bongos are cone-shaped and are played by striking them with the palms of one's hands or with sticks. The smaller drum, the "male", is placed on the left side; the greater one, or "female" is on the right side. It is generally placed between the knees of the player, who is sitting down, even though it is also often played on a stand.
As is the case for congas, bongos are used for all sorts of musical genres, although Latin and Afro-Cuban music are those in which they reach their maximum expression. It is precisely the fusion of flamenco with Latin rhythms that has served as the path for this instrument to carve out an important niche for itself in flamenco music with a cross-breed flavour.
The darbuka is a percussion instrument whose origins lie in North Africa and the Middle East. It is a cup-shaped drum that can be built using several materials, ranging from mother-of-pearl to aluminium, copper, wood, ceramics or plastic, all of which also have a patch made of synthetic or animal leather.
It is played with the fingers of both hands, either sitting down or standing, while it is held between one's legs. Its distinctive feature is its shrill but firm sound.
Especially in English-speaking countries, the Darbuka is often called dumbek, a name that comes from the two main sounds that form the basis of its technique: a grave sound (dum) and another which is acute (bek).
The darbuka has a very limited range of tones, but in countries like Egypt or Tunisia, very high standards of virtuosism have been reached.
The common roots that are shared by Arabic and flamenco music allow this instrument to adapt perfectly to the sound of flamenco, to which it contributes a spirit that is reminiscent of the sounds of Andalusí courtyards.
Instruments in modern flamenco
In modern flamenco some more instruments are used: fairly common is bass guitar and "caja" or "cajon", basically a box with a lose front panel, that is played while sitting on it. A variety of percussive sounds can be produced with this instrument.
In addition, sax, flute and other percussion instruments can be used. Occasionally you can hear strings, a complete orchestra or a sitar. Extremes in this respect are metal-string and electric guitar, synthesizer and drums. One of the most modern and inventive flamenco bands now a days is Flametal which is, yes you guessed, flamenco + metal.
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Posted: Wed Jul 30, 2008 5:05 pm
Dancing Props----------------------------------------------------------------------+
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Posted: Wed Jul 30, 2008 5:06 pm
Principal Artists----------------------------------------------------------------------+
Paco de Lucía. Francisco Sánchez Gómez. Algeciras (Cádiz), 1947. Guitarist
Perhaps the most universal of flamenco performers. His father was a modest player who never went beyond amateur meetings, although he established the firm purpose of making his sons major flamenco performers so they would never suffer the financial hardships he had to suffer. He achieved this, making them study hard from an early age. Ramón de Algeciras is a prestigious guitarist; Pepe de Lucía has made his career as a singer; María Luisa and Antonio have not become professional performers due to circumstances, although she sings and he was on the way to becoming a good guitarist; and Paco is the genius. He says he could not have been anything else in life: "One is what one was in childhood, and I spent the whole of my childhood surrounded by flamenco performers". He was a thirteen year old boy when he began to work in the dance company of José Greco, at what everyone starts with: accompanying cante and dance; and he did this in an impeccable way, in spite of his extreme inexperience. He met Camarón shortly after and, as Paco has said, fell in love with him for ever. He remembers that stage as the most beautiful in his life. They frequently toured together and the singer and him "played and sung round the clock, whole nights inventing things". And they made records which are now listened to more than ever. Paco de Lucía always admired El de la Isla more, perhaps more than anyone else, because he represented the ideal of what he would have liked to be. "I never wished to be a concert guitarist, because what I had liked from my childhood was to sing. But I was very shy, very fat; I felt very ridiculous and I hid behind the guitar. I am a frustrated singer". At the end of the sixties, the beginning of the seventies, the art of Paco de Lucía was known the world over. His style was already perfectly defined, after the first stage in which Niño Ricardo was his fundamental model, and in a second in which he discovered Sabicas, Mario Escudero and others, to then establish his personal way of playing. In 1975 he gave a concert that made history at the Royal Theater in Madrid, which brought his definitive consecration.
His permanent concern for innovation has earned him the reproach of the guardians of absolute orthodoxy. There was certainly a time in which his constant contributions made him the most revolutionary in flamenco music. He has confessed that he became afraid when he realized that he changed his way of playing relatively frequently, until one day when he realized that "whatever I do, my sound will always be flamenco, because I am who I am". Since then, he has played in a more spontaneous way, allowing himself liberties that he would never have dreamed of before. His attempts at approaching other musics is are noticeable, not only because they enriched his art, but because they had a decisive effect on later flamenco. However, he has assumed that he will never loose his flamenco identity, and precisely that is where his strength lies. He does not know music and has learned everything by intuition. He recognizes he lacks musical technique, although on the other hand, he has resources he has invented himself. "What gives strength and motivates my way of playing is precisely it being flamenco; if it were not flamenco, it would not be me". He has acted in several films.
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Posted: Wed Jul 30, 2008 5:07 pm
Links----------------------------------------------------------------------------------------------+Flamenco Glossary
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Posted: Sun Aug 17, 2008 10:07 am
Support--------------------------------------------------------------------------------------------+
if you have something interesting that could enrich this article please PM me about it ^^
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Posted: Thu Aug 21, 2008 12:11 am
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Posted: Thu Aug 21, 2008 12:12 am
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Posted: Thu Aug 21, 2008 12:13 am
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Posted: Thu Aug 21, 2008 12:15 am
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Reply
