History of Flamenco Part2

8/15/2019 History of Flamenco Part2

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5/6,+708#-%• Andalucista Position:

• Flamenco is an Andalusian art form. It is distinctfrom other types of Gypsy music, therefore, itsorigins must be with the Andalusian people. WhileGitanos do excel in flamenco, they are not thecreators of flamenco.

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9"$,/8#-%• While Gitanos may have created flamenco from a

pre-existing Andalusian folk music, flamenco didnot really take shape until Gitanos put their stampon it. Thus, we find that the earliest interpreters offlamenco are almost exclusively Gitanos.

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5 :%-;&%-"#.• Flamenco, as it emerged in the latter half of the19th century, represents two distinct traditions:Cante Gitano and Cante Andaluz . The formerrepresents a Gitano adaptation of an earlierAndalusian music.

• The latter represents a flamencoized adaptation ofAndalusian folk music. The mutual influencebetween the two traditions began whencommercial flamenco emerged during themid-19th century.

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:,)< :,/$,/$.#• Cante Gitano and Cante Andaluz emerge incommercial settings - mutual influence

• Increased repertoire of flamenco forms• The term flamenco applied to the music for the first

time• Guitar accompaniment becomes more

widespread .

• Flamenco dance in commercial settings• Flamenco dance schools become popular

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=>. 9%+6./ 5?.• Development of flamenco Malagueñas , based on

a variety of Fandangos from Málaga; developmentof libre fandangos

• Development of Bulerías , based on Soleares andflamencoized popular songs

• Latin American influence through Cantes de Ida yVuelta

• Age of giants such as Mellizo, Breva, Chacón,

Torre, Pastora and Tomás Pavón• Beginnings of solo flamenco guitar• Basic dance forms established

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De aquella campana tristeEsta dando la unaHasta las dos estoy pensandoEn el querer que me disteY me dan las tres llorando

That sad bellIs striking oneUntil two I thoughtOf your loveBy three I was crying

(~ 1909)

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Yo tengo a una morenitaque causa envidia a las floresporque la ven tan bonitay con tan vivos coloresque nunca se le marchita

I have a dark-skinned womanThat makes the flowers jealousBecause she looks so pretty

And with such vivid colorThat will never wilt

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E7+.&8,#• Developed in the late 19 th century• Some may have developed from alegrías

• Others from Soleares – from a remate sung by LocoMateo• Some styles developed by El Niño Gloria, from Jerez

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Dormía un jardinero a piernasueltaDormía y se dejaba,vaya que sí,

La puerta abiertaHasta que un díaLe robaron la rosaQue más quería

A gardener slept soundlyHe slept and leftyes he did,And left he door openUntil one dayThey stole the roseHe loved the most

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F"?7"&"',# 1 @,/7.+ =%&&.Siempre por los rinconesTe veo llorandoQue yo no tengalibertad en mi vidaSi te doy mal pago

(~1922)

Always I see youCrying in the cornersThat I bewithout freedomIf I abuse you

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2.$./.&,# 1 2,#$%&, 2,GB/Quisiera yo renegarDe este mundo por enteroVolver de nuevo a habitarMadre de mi corazónVolver de nuevo a habitarPor ver si en un mundo nuevoEncontraba más verdad

I’d like to denounceThis entire worldAnd return to live,Mother of my heart,Return to liveAnd see if in a new worldI would find more truth

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• Generation of ‘98 anti-Spanish, anti-flamencowritings

• Commercial flamenco threatening cante gitano• Federico García Lorca, Manuel de Falla, Andrés

Segovia, and others organized a cante contest inGranada to promote pure, non-commercialflamenco.

• Only amateurs could complete - professionalsperformed and sat as judges

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Magino entra a míA nadie en el mundo quieroCuando me acuerdo de tí

(1922 – De Falla collection)

I get a fancyThat I love no oneWhen I remember you

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• 1920s – 1950s

• Popularization of rather ‘light-weight’ flamenco – e.g.,fandangos and Ida y Vuelta (milongas, guajíras,colombianas)

• Anti-Gitanismo at its height

• Flamenco performed in variety shows, bullrings, etc.

• Movie-Idol -style cantaores

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Me gusta estar en la sierraCuando llega el nuevo diaY me acuerdo de tus amoresY de la mala partidaMe consuelo con las floresQue es mi única alegria

(1932)

I like to be in the mountainsWhen the dawn arrivesI remember your loveAnd our painful partingI take solace in the flowersWhich are my only joy

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*,/6,/?7"++% N 5/?.+"++%La boca me huele a ranchoY el pescuezo a corbatínLas espaldas a mochilaLas manos a fusilQué dia más fin tranquilo

My mouth smells like rationsAnd my neck like a scarfMy back like a knapsackAnd my hands like a rifleWhat a quiet day

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• Manolo Caracol member of illustrious Ortegafamily; famous for pure cante gitano as well aspopular zambras

• Lola Flores Jerez-born singer dancer; appeared inmany movies, singing and dancing zambra -likenumbers

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• Flamenco as a tourist attraction – tablaos (LaZambra opened in 1954)

• First Anthology ( Antología del Cante Flamenco )recorded for Hispavox in Paris – 1955)

• The Art of Flamenco – Donn Pohren (1962)• Mundo y formas del cante flamenco – Antonio

Mairena and Ricardo Molina (1963)• The age of Mairenismo• Festivales and Concursos

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=>. @%&B/ 2>./%-./%/• Donn Pohren, working at a US airbase, discovered

the flamenco scene in Morón de la Frontera,dominated by guitarist Diego del Gastor and hisextended family and friends.

• Diego had a unique, compelling style of playing –full of wit and taste; not overly technical, but verysophisticated in an understate way.

• Soon other Americans, and other foreignaficionados followed, including David Jones (Serva)

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@%&B/ 10%/’$• Morón became a symbol of pure pueblo flamenco

for a generation of American aficionados, to whomthe flamenco way of life was appealing.

• Pohren operated a flamenco dude ranch inMorón in the 1970s, which made Morón flamencoaccessible to the outside world.

• Diego died in 1973. The scene continued with hisnephews, but the ambiente of the 1960s and 1970swas lost.

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En un prado verdetendrí mi peñuelosalieron tres rosas

como tres luceros

Alevanta y no duermas másque por la mañanitatendrás lugar

In a green meadowI hung out my handkerchiefOut came three roses

Like three morning stars

Get up and don’t sleep anymoreBecause this morningYou’ll be placed

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!"#$%&' %) K,/0.• Café Cantante period – alegrías (women); alegrías

and zapateado (men)• Repertoire expanded, introducing farruca, bulerías,

soleares, and tanguillos.• Emphasis on arms, rudimentary footwork.• With the demise of café cantantes (around 1900),

dance continued in variety shows•

In the 1930s, the first theatrical dance companiesemerged.

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C,&+' K,/0.&# N @./• Miracielos (mid-1800s)• Antonio el de Bilbao (turn of the century) – noted

for revolutionizing footwork• Estampio (early 1900s) – famous for zapateado

arrangement• Frasquillo (early 1900s) – famous for zapateado and

alergrías; married to La Quica

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C,&+' K,/0.&# N U%-./• La Mejorana (late 19 th century) – credited with the

innovation of baile por soleá; mother of PastoraImperio

• La Macarrona (turn of the cenrury) – perhaps thegreatest of her generation

• La Malena (turn of the century)•

Pastora Imperio (throughout 20th

century)

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• Emphasized regional and neo-classical (e.g.escuela bolero ) numbers.

• Flamenco integrated slowly in a rather stylizedmanner

• Responsible for an expanded repertoire• Much of the work and innovation took place

outside of Spain (France, S. America, N. America)

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• Born in Argentina, parents Spanish flamenco artists• Much of her career in Paris – US tour (Carnegie Hall

1928)• Pioneered much of the neo-classical repertoire• Famous for castanets• Died at outbreak of Spanish Civil War

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• Danced primarily to piano, slowly integrating guitarand flamenco

• First to dance La Caña• First US tour in 1928• Most popular Spanish dancer in US in 20s and 30s.• First flamenco theater production In 1933 “Calles de

Cádiz”; included La Macarrona, La Mejorana, aswell as top flamenco singers.

• Died in 1945

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• Innovative, somewhat idiosyncratic approach to

dance• Associated with Paris bohemian scene of 1930s• Often danced without compás• First to dance por siguiriyas•

Danced with major companies: Pastora Imperioand La Argentina (together they developed AmorBrujo)

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• Probably most famous Spanish dancer of this

century• Began touring with Rosario as teenagers – LosChavalillos de España .

• Created the baile por martinete .

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• Argentinita ’s younger sister

• Toured with Argentinita s company

• Founded her own company in 1946

• Partnered Jose Greco, the Roberto Ximénez

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• Married to Frasquillo; toured with his company• Partnered Antonio Triana (who later worked with

Carmen Amaya – settled in LA)• Noted for elegant style – trained most major

dancers of the 1960s and 1970s (e.g. La Tati, Ciro)•

Daughter Mercedes León taught in Madrid formany years

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:,&-./ 5-,',• Began dancing as a child in the bars of Barcelona

(teens)•

Toured Spain and France in 20s and 30s• Became successful in S. America, then N. America

in 30s and 40s – Sol Hurok brought her to New York in1940

•

Revolutionized women ’s dance

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J%#< 9&.0%• Born in Italy; moved to Brooklyn in 1928• Learned Argentinita choreographies from Antonio

Triana.• Joined her company in late 1930s• Also worked in Pilar López ’s company• Active well into the 1980s – two dancer children.

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CG, R, Z.&Q,Q7./,• Born in Frankfurt, of Spanish parents – moved to

Granada at 15, where she studied with Mariquillaand Mario Maya

• One of the top bailaoras of the 1990s to present

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• Grandsons of El Farruco – one of the top dancers ofthe 1960s (made a come back in the 1980s)

• Farruquito, Farruco, Barrullo

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• Born in Jerez in 1969• One of the top bailaores of the 1990s to present• Noted for intricate footwork

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• Primarily used to accompany cante• Guitar solos introduced for variety in café

cantantes (Paco el Barbero, Paco de Lucena,Javier Molina).

• Basic techniques included rasgueados, thumb, andsome picado

• Modern flamenco guitar was led by RamónMontoya and Niño Ricardo

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• Followed tradition of Paco el Barbero and Paco deLucena, as passed down through Pepe Naranjo

• Somewhat simple technique

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T,-B/ @%/$%',• Flamenco ’s first virtuoso guitarist• Incorporated classical techniques (arpeggios,

tremolos, increased picados)•

Accompanied all the major singers oncountless recordings from the teens, onward• Played for Pastora Imperio ’s company• First solo recording (teens)• Innovative use of keys (A-flat, D-tuning)

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• Favorite accompanist of the Pavones, ManuelTorre, and others in Sevilla

• Created numerous solos• Major influence on modern flamenco guitar• Generally considered more flamenco that

Montoya

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F,Q"0,#• Born in Pamplona• Child prodigy• Began playing for singers around Villa Rosa• Toured with Carmen Amaya – played solos in

dance concerts• Remained in Mexico and New York and launched a

very successful solo career

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2,0% 6. R708,• Son of a juerga guitarist• Put on a course of study from an early age• Began playing in the style of Niño Ricardo

• Toured with José Greco – encouraged bySabicas in New York• Launched the revolution of modern flamenco

in the 1970s – flawless technique and flamencotiming

• Adopted a jazz format in 1980s

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• Best known of the Post-Paco generation• Trained in Manolo Sanlúcar ’s group• First known for his cante accompaniment of El

Pele• Later launched solo career• More ‘smooth jazz ’ influence

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• Gitano guitarist from Madrid Caño Roto projects• Son of Felipe Maya - an excellent tablao guitarist• Child prodigy• Went to conservatory on scholarship

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History of Flamenco Part2

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