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Of contents: The philosophy of flamenco -- The art of flamenco -- Encyclopedia of flamenco -- Appendices.
Provides a history of flamenco by examining its myths, vocabulary, and traditions, and introduces dancers, guitarists, and singers association with this dance
FLAMENCO-it's dancing, it's singing, it's guitar playing! It's a way of expressing oneself that has evolved from many influences over hundreds of years. Today flamenco is practiced throughout the world and all across the United States. In Santa Fe, New Mexico, we meet Janira Cordova, the youngest member of a company studying to perform flamenco. Here the students learn the tools of their art-how to move their hands, arms, bodies, and feet to the traditional rhythms of the music and songs. Each aspect of flamenco is explored in detail. The origins of the art form are also explained, which draw upon the musical traditions of Indian, Arab, and North African cultures, among others. Janira's flamenco has progressed well, and at Santa Fe's annual Spanish Market in July, she finally has a chance to join the older dancers and perform in the town plaza. With colorful, action-packed photographs and accessible text, readers are sure to feel Janira's excitement and catch flamenco fever. �Ol�!
Written by a group of dedicated flamenco enthusiasts, this book traces the history and development of the art of flamenco, that proud, soulful, stirring folk music and dance created by the gypsies of the Andalusian region of Spain in the 19th century. The essays examine the musical, artistic, and spiritual aspects of flamenco as well as its social context and history. The great performers both past and present are identified and discussed.
Flamenco Music and National Identity in Spain explores the efforts of the current government in southern Spain to establish flamenco music as a significant patrimonial symbol and marker of cultural identity. Further, it aims to demonstrate that these Andalusian efforts form part of the ambitious project of rethinking the nation-state of Spain, and of reconsidering the nature of national identity. A salient theme in this book is that the development of notions of style and identity are mediated by social institutions. Specifically, the book documents the development of flamenco's musical style by tracing the genre's development, between 1880 and 1980, and demonstrating the manner in which the now conventional characterization of the flamenco style was mediated by krausist, modernist, and journalist institutions. Just as importantly, it identifies two recent institutional forces, that of audio recording and cinema, that promote a concept of musical style that sharply contrasts with the conventional notion. By emphasizing the importance of forward-looking notions of style and identity, Flamenco Music and National Identity in Spain makes a strong case for advancing the Spanish experiment in nation-building, but also for re-thinking nationalism and cultural identity on a global scale.
How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, in the span between 1492 and 1933, the vanquished Moor became Black, and how this figure, enacted in terms of a minstrelized Gitano, paradoxically came to represent Spain itself. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Christian and non-Christian, White and Black worlds. This figure's subversive teetering undermines Spain's symbolic linkage of religion with race, a prime weapon of conquest. Flamenco's Sonidos Negros live in this precarious balance, amid the purposeful confusion and ruckus cloaking embodied resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization.
This analytical history traces representations of flamenco dance in Spain and abroad from the twentieth century to the present, using histories, film, accounts of live performances, and practitioner interviews. Beginning with an analysis of flamenco historiography, the text examines images of the female dancer in films by Luis Bunuel, Carlos Saura, and Antonio Gades; stereotypes of flamenco bodies and Andalusian culture in Prosper Merimee's Carmen; and the ways in which contemporary flamenco dancers like Belen Maya and Rocio Molina negotiate the stereotype of Carmen and an idealized Spanish feminine that pervades "traditional" flamenco. Instructors considering this book for use in a course may request an examination copy here.
the people who have been influntial in flamenco, histories,and characters
How did flamenco—a song and dance form associated with both a despised ethnic minority in Spain and a region frequently derided by Spaniards—become so inexorably tied to the country’s culture? Sandie Holguín focuses on the history of the form and how reactions to the performances transformed from disgust to reverance over the course of two centuries. Holguín brings forth an important interplay between regional nationalists and image makers actively involved in building a tourist industry. Soon they realized flamenco performances could be turned into a folkloric attraction that could stimulate the economy. Tourists and Spaniards alike began to cultivate flamenco as a representation of the country's national identity. This study reveals not only how Spain designed and promoted its own symbol but also how this cultural form took on a life of its own.