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Article: Flamenco from Andalusia - An introduction
Gypsies say “ it’s in the blood”, but Spain’s
famous poet and writer Fredrico Garcia Lorca, called flamenco
one of the most gigantic inventions of the Spanish people. The tragic
lyrics and tones of flamenco clearly reflect the sufferings of the
gypsy people. It is thought that the gypsies who ended up in Andalucía travelled
from India and Pakistan acquiring the name "gitano" from Egiptano,
the old Spanish word for Egyptian. Apart from the Indian and Jewish influences, the Arabs made an immense
contribution to the moulding of the form and content of the flamenco
song of today, which is not surprising since they ruled Spain for
seven centuries. Yet flamenco in its present form is only some
two hundred years old. The source of flamenco lies in its singing tradition, so the singer's
role is very important. The flamenco guitar was used originally as
an instrument of accompaniment. Today solo flamenco guitar has developed
as a separate art. Whilst some purists disapprove of the fashionable
attempts to blend flamenco with jazz, blues, rock and pop music, it
is no wonder that so many young people embrace it wholeheartedly. Apart from songs delivered from different regions such as fandangos
from Huelva, Alegrias from Cadiz, there are broadly speaking two main
styles in Flamenco: the "jondo" - profound and serious, the
cry of people oppressed for many centuries; and the "chico"
- happy, light and often humorous. The song "el cante" is most
important as it is considered to be the source which gives inspiration
to the guitar playing "el toque" and the dance "el baile". Flamenco dance is by nature oriental, so differs fundamentally from
other well established European dance forms. Complex rhythmic patterns
are created by a sophisticated footwork technique, so the flamenco
dancer wears special shoes or boots with dozens of nails driven to
the soles and heels. The ladies wear long costumes often with many frills and practice
for hours their elegant arm and hand movements. The upper body must
emphasis grace and posture. In much of the more serious flamenco, there is a release of pent
up hatred of persecution and often an evocation of death ( particularly
in "Seguiriyas"). The dancers job will be to project the mood
of the song within the strict time signature, but not interpret the
meaning of the song with specific gestures, as would the Indian Katak
dancer. Perhaps the best way to become familiar with the complexities of
flamenco singing and sentiment, is by going to a "tablao" (flamenco
show), a flamenco club (peña) or to one of the countless festivals
that are organised every summer. The Sacromonte gypsy caves
at Granada, though very tourist-orientated, provide an unforgettable
experience and there are many flamenco meetings and associations (peñas)
throughout the region. Together with Corpus Christi, Granada is said to hold the
oldest flamenco festival in Andalucía. In summer for example,
there are singing contests in many towns, such as in Estepona,
Fuengirola and Rincón de la Victoria, or Carchelejo,
Vilches and Linares, and the "Gazpacho Andaluz"
at Morón and the "Muestra de Cante"
at La Línea. Some of the most important festival events
are held in September, such as those of Adra, Villanueva del Arzobispo
and the Velá de la Fuensanta in Córdoba;
at the time of the famous Goyesca bullfights, Ronda holds a
"Festival de Cante Grande" for real connoisseurs. The "Fiesta de
la Buleria" at Jerez (Bulería is a type of
dance and song), the "Potaje" of Utrera and "La Caracolá"
at Lebrija are some of the important occasions of gypsy "cante".
Cádiz hosts "Los Jueves Flamencos"
(flamenco Thursdays) overlooking the bay throughout each summer. And
every other year, the most famous figures of flamenco are heard in
Sevilla at the "Bienal del Arte Flamenco". Córdoba
also hosts a prestigious national flamenco competition.
Reciba un cordial saludo, |
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