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The juxtaposition of thirty black-and-white remastered Lindbergh images and thirty contemporary color images, provides a fascinating survey of the area over nearly a century allowing a unique view of the multi-layered, cultural landscape of the American S
This paper concerns the concept of el duende, a natural and essential part of the flamenco art form rarely written about. El duende is the spiritual or external force expressed and manifested through the body of flamenco dancers and musicians. There is full unity of body, mind and soul that takes the dancer beyond what is physical, transcending to another space where el duende takes over and expresses all that flamenco is about (deep sorrow and lament from an oppressed group). In my choreographic vision of Caminos the soloist dancer and musicians are taken through a journey of exploration with the concept of el duende. This paper and choreographic work is based from extensive research on the historical background of flamenco, Lorca's essays on el duende, perspectives from other scholars and interviews by flamenco artists. This research begins to identify what innovations can be brought to the flamenco art form and the flamenco artist when conveying what el duende is, and how somatics and aspects of contemporary dance can support what el duende is and how it can be embodied.
Of contents: The philosophy of flamenco -- The art of flamenco -- Encyclopedia of flamenco -- Appendices.
Traces the history and development of the art of flamenco, the stirring folk music and dance created by the gypsies of the Andalusian region of Spain.
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.
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.
The essence of flamenco There are numerous villages and towns of great magnitude in Andalusia and most are crammed with historic architecture, picturesque plazas and romantic allegories, and although at first they may appear similar, each of these places has a distinctive character that sets it apart from the others. The larger towns have become merged in the life of the modern world and have left behind the village orbit that allowed them to be self-sufficing, but Utrera, a small town in the province of Seville, has kept much of its idiosyncrasy. Tony Bryant has spent many years in this town and during this time he has become acquainted with some of flamencos most celebrated performers. He gained the trust and friendship of this family in such a way that he was invited to personal family celebrations like communions, birthdays, funerals, and fiestas of all kinds, and it was during these intimate fiestas that he witnessed a flamenco way of life that few will ever get the chance to experience. This book is full of these experiences and it focuses on every aspect of the Andalusian calendar: the fair, Easter, the bullfight, the festivals, and the traditions and customs that make the art of flamenco so fascinating. There is something about Utrera, and the way of life that exists there in, that makes a unique impression, and because the gypsies have lived there for more than five-centuries, it has a characteristic that is unlike any other.