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Mairena, Antonio, and Ricardo Molina. Mundo y formas del cante flamenco, Librería Al-Ándalus, third edition, 1979 (First Edition: Revista de Occidente, 1963) Flamenco puro" otherwise known as "flamenco por derecho" is considered the form of performance flamenco closest to its gitano influences. In this style, the dance is often performed solo, and is based on signals and calls of structural improvisation rather than choreographed. In the improvisational style, castanets are not often used. Antoñita Singla – a Catalonian flamenco dancer and actress known as "La Singla" who took Spain and Europe by storm in the period 1960–1988. It is believed that the flamenco genre emerged at the end of the 18th century in cities and agrarian towns of Baja Andalusia, highlighting Jerez de la Frontera as the first written vestige of this art, although there is practically no data related to those dates and the manifestations of this time are more typical of the bolero school than of flamenco. There are hypotheses that point to the influence on flamenco of types of dance from the Indian subcontinent – the place of origin of the Romani people. [1] The casticismo [ edit ] One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (Literally "a tap of the foot") and bulerías. This structure though, is not followed when alegrías are sung as a standalone song (with no dancing). In that case, the stanzas are combined freely, sometimes together with other types of cantiñas.
Manuel, Peter (1986). "Evolution and Structure in Flamenco Harmony". Current Musicology. Columbia University Press. 42: 46–57. doi: 10.7916/D88051HJ. S2CID 193937795. Koster, Dennis (1 June 2002). Guitar Atlas, Flamenco. Alfred Music Publishing. ISBN 978-0-7390-2478-2 . Retrieved 4 March 2013.It seems that the Spanish music scene is experiencing a change in its music and new rhythms are re-emerging together with new artists who are experimenting to cover a wider audience that wants to maintain the closeness that flamenco has transmitted for decades. Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency.
Compás is the Spanish word for metre or time signature (in classical music theory). It also refers to the rhythmic cycle, or layout, of a palo. There are many ways to categorize Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande), while lighter, frivolous forms are called Cante Chico. Forms that do not fit either category are classed as Cante Intermedio ( Pohren 2005, 68). These are the best known palos ( Anon. 2019; Anon. 2012):The stylization of romance and cord sheets gave rise to corrido. The extraction of the romances from quatrains or three significant verses gave rise to the primitive tonás, the caña and the polo, which share meter and melody, but differing in their execution. The guitar accompaniment gave them a beat that made them danceable. It is believed that their origin was in Ronda, a city in Alta Andalucía close to Baja Andalucía and closely related to it, and that from there they reached the Sevillian suburb of Triana, with a great tradition of corridos, where they became the soleá. From the festive performance of corridos and soleares, the jaleos arose in Triana, who traveled to Extremadura and in Jerez and Utrera led to the bulería, from where they spread throughout Baja Andalucía, generating local variations.
New flamenco – a derivative of traditional flamenco fusing flamenco guitar virtuosity with other musical stylesWe now know that there are 136 combinations of dance moves a flamingo can perform during courtship. This revelation came from scientists studying wild greater flamingos in the Camargue in the Mediterranean. Holguín, Sandie (2019). Flamenco Nation: The Construction of Spanish National Identity. Madison: University of Wisconsin Press. pp.25–57. doi: 10.2307/j.ctvgc62dd. ISBN 9780299321802. JSTOR j.ctvgc62dd. S2CID 197774320.
Silverio Franconetti – a singer and the leading figure of the period in flamenco history known as "The Golden Age" Manuel, Peter (1989). "Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex". Ethnomusicology. University of Illinois Press. 33 (1): 51–52. doi: 10.2307/852169. JSTOR 852169. Torres Cortés, Norberto. " El compromiso y la generosidad de manolo Sanlúcar ". El Olivo, no. 88 (February 2001, especial "Manolo Sanlúcar"). In the 20th century, flamenco danced informally at gitano (Roma) celebrations in Spain was considered the most "authentic" form of flamenco. There was less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same. The arms are noticeably different from classical flamenco, curving around the head and body rather than extending, often with a bent elbow. Flamenco became one of the symbols of Spanish national identity during the Franco regime, since the regime knew how to appropriate a folklore traditionally associated with Andalusia to promote national unity and attract tourism, constituting what was called national-flamenquismo. Hence, flamenco had long been seen as a reactionary or retrograde element. In the mid-60s and until the transition, cantaores who opposed the regime began to appear with the use of protest lyrics. These include: José Menese and lyricist Francisco Moreno Galván, Enrique Morente, Manuel Gerena, El Lebrijano, El Cabrero, Lole y Manuel, el Piki or Luis Marín, among many others.Rito y geografía del cante. Serie documental de los años 70 del siglo XX sobre los orígenes, estilos y pervivencia del cante flamenco, con José María Velázquez-Gaztelu. Flamenco shoes – commonly leather shoes constructed with small nails embedded in the toe and heel to enhance the sound of the dancer's percussive footwork In the 1970s, there were airs of social and political change in Spain, and Spanish society was already quite influenced by various musical styles from the rest of Europe and the United States. There were also numerous singers who had grown up listening to Antonio Mairena, Pepe Marchena and Manolo Caracol. The combination of both factors led to a revolutionary period called flamenco fusion. [11] Arredondo Pérez, Herminia, and Francisco J. García Gallardo: "Música flamenca. Nuevos artistas, antiguas tradiciones" In Andalucía en la música. Expresión de comunidad, construcción de identidad, edited by Francisco J. García y Herminia Arredondo. Sevilla: Centro de Estudios Andaluces, 2014, pp.225–242. ISBN 978-84-942332-0-3
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