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Tag Archives: Flamenco history & culture

Flamenco Joven

Flamenco Joven is for me characterized by a move away from a music that is rooted in folklore. By rooted in folklore, I mean rooted in a particular folk dogma, fossilized and frozen in a time and context that is not the here and now.
Flamenco Joven appears to have changed all that,

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Bienial de Sevilla

The first Bienial was celebrated  in 1980, twenty years ago. It is the most prestigious and largest flamenco festival in the world.
In 1994, it lasted 18 days and consisted of over 30 performances, costing over 100.000.000 (£500.000) according to El Pais (10/09/94).

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Los Concursos

I attended many flamenco competitions during time accompanying Gabriel Cabrera on his work schedule as flamenco guitarist.
Initially, my first impression was that a whole series of influences tend to water down the authenticity of competitions, such as small non-representative turn-outs, local favoritism, private business interests, possible inadequacy of judges and the very idea of flamenco [...]

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Flamencology

In 1955 Flamencologia was published by the Argentine Anselmo Gonzalez Climent. Before this there is hardly any book on the subject in existence. With the exception of XIX century travellers such as Richard Ford and George Borrows, the only books published before 1955 were: Colección de cantes flamencos by Demofilo (1881) and Arte y artistas [...]

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Peñas Flamencas

Literally translated, the peñas flamencas are flamenco clubs. However, they are much more than that. Their aim is to promote flamenco and to educate those who are interested in learning more.

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Los Tablaos

Similar to the older Cafe Cantantes, the tablaos are establishments which first flourished in the 1950s. All offer drinks and many now double up as restaurants.
The first ever was La Zambra and even twenty years after its closure, La Zambra remains famous for having offered the most “pure” and authentic flamenco.

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Antiflamenquismo – the anti-flamenco movement

“Flamenquismo” is defined by the Real Academia Española as a love for flamenco customs. This term covers both flamenco and a love of bullfighting or other activity considered “typically Spanish”.  These traditions were sharply criticized by the group of writers and intellectuals known as the Generación del 98. Exceptions to the general criticism of the [...]

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Café Cantantes

The cafés cantantes were places where the spectators could drink whilst they enjoyed the flamenco shows. These places were most popular between approximately the middle of the 19th century to the second decade of the twentieth.

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1954: The First Anthology of Flamenco

This first anthology was a collection of recordings of the basic flamenco forms of flamenco. This intention was more difficult than might appear at first sight due to the popularity of Opera Flamenco, and its most important representative: Pepe Marchena. A previous attempt had been made to preserve the old traditional otherwise known as the [...]

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Part 3d: Camarón

The inclusion of Camarón immediately after the sections on duende and voice types in flamenco is because of the revolutionary impact that he had on the flamenco world. Stuffy, secretive and aloof might be words used to describe some of the driest and most earnest flamencos before Camarón. Camarón unwittingly gave flamenco a universal appeal [...]

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Part 3c Duende

Duende
The flamenco singer, Manuel Torre (1909-1933), a man who was completely illiterate was eulogized by Federico Garcia Lorca as having a greater and more important culture in the blood. Torre had his own theory on what is known as “duende”. He is reported to have said to a singer: “tu tienes vos, tu sabes los [...]

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Part 3b Voice type in flamenco

The quality of voice is of supreme importance in flamenco as it can imbue flamenco with one of its most important elements: “el quejio”. “El quejio” is perhaps best translated as a “cry of desperation” and often said to be one of the basic elements of the ”cante jondo”, that is, those palos which are [...]

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Part 3a Characteristics of Cante Flamenco

There are perhaps two things which immediately seem to come to people’s minds on the first hearing of flamenco: unusual melodic lines and the timbre of the singer’s voice. The crystalline tone developed and favoured in the conservatory or in many types of popular music is not usually the type of voice favoured in flamenco.
Due [...]

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Part 3: El cante – an introduction

The only person to proclaim himself a flamenco singer (“cantaor”) in the census initiated by king Carlos III in 1783 was the gypsy Tio Luis el de la Juliana. This allows us to surmise that the “cante” did not begin to really develop until the end of the XVIII century; despite constant searching on [...]

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Part 2: A social history of Andalucia through El Cante

How was Andalusia at the very beginnings of Flamenco?
Andalusia has always been a melting pot of cultures; Aegean, Asian, Greek, Roman, Byzantine and Islamic colonizations have all played a part in its development and cultural richness. From the re-discovery of the New World in 1492, Andalusia experienced economic growth. These economic changes were not however [...]

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Part 1b: The gypsies and flamenco

The Gypsies first arrived in Spain during the XV century and were known by various names: Greeks, Egyptians, Zingaros and Hungaros. Their origin has been demonstrated by linguists to have been north east India.Their arrival in Spain provoked interest among the populace. The king Alfonso V in 1425 granted the gypsies “salvoconductos”, that is, safe [...]

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Part 1a: The social background to flamenco

For the cultured classes of Spain, until recently flamenco was nothing more than a “thing of the lower classes”; of taverns, violence, riotousness, drunkenness, and in the past, of beggars, thieves, bandits and gypsies. It was not until 1922 that a group of intellectuals (which included the composer Manuel de Falla and the young [...]

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  • Photos

    2011 Guernika
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