Fire dance – this is Flamenco!
Flamenco – a very young art, whose history has no more than two centuries. Since then, both in flamenco guitar was used, it is in constant development. This is quite natural: a wealthy, rich, distinctive musical culture can not be in a stagnant state: its undeniable effect of mixed origin.
Flamenco in fact – a product of the absorption, absorption, fusion of various cultures, and the idea of merger has very ancient roots. One of the classics of flamenco many years ago, said: “You can sing with orchestral accompaniment, but you can – accompanied by flute, underneath all can sing!” New flamenco was not born in the 80th, this “other” Flamenco has been around for many decades. Movement – that’s what’s important. Movement means life.
The exact date of flamenco no, its roots go deep into the centuries. The history of this truly Andalusian product of Spanish culture, which at first was quite closed and sealed fanned by a cloud of myths and mysteries. Any folk phenomenon comes from the ancient traditions and is a kind of collective creation. About Flamenco is known that it exists for about two centuries. What’s on? Beautiful Moorish dreams, occult fantasy, sensuality, when all logic
expires:?
In the 19 th century, the term “flamenco” takes on a more specific content, we are close and familiar. In addition, in mid-century, this definition shall extend to the art. According to the researchers, the first flamenco artists have appeared in Madrid in 1853, and in 1881 had published the first collection of songs and flamenco Machado Alvarez. With the advent of cafes Cantante, in which the performance of flamenco begins to wear a professional nature, is a constant struggle between those who fiercely protect the purity of art and supporters of further expansion and development of flamenco.
In the 20 th century flamenco reborn, enriched by the author’s interpretations of innovation. Yes, the roots of flamenco are lost in a mysterious past, but over the past two centuries, it takes the form, undergoing a few fundamental changes since moved beyond that initial environment, its breed. There is little space for experiments, because of the absolute worship of the traditional performance. Despite the fact that at present the songs are performed as a prolonged, as in former times, such emotional anguish, what we hear on recordings of the first quarter of the 20 th century, no longer exists.
Speaking about the changes we have in mind remakes and copyright arrangements, appearing everywhere, like a snowball. In this sense, it is worth noting the huge work compiled by Antonio Mayrenoy (1909-1983), who said that the singing of flamenco can not be global in nature. Despite the fact that the singer is a supporter of comprehensive knowledge about this art form, arose much debate about whether it is fair assignment to flamenco singing different genres represented in his work.
Singing styles are already formed, and the family tree have nothing more to add. Flamenco – folk art, located in a sealed, so so well preserved almost intact. Currently, there is a tendency to preserve the art in its pure form: flamenco better than the more mature taste is.
Make a revolution in flamenco afford only outstanding artists of exceptional ability, who revere tradition. It is worth mentioning the duo’s greatest flamenco artists who have worked most of their lives together: Camaron and Paco. A quarter century ago, an imaginative group of artists with international recognition, including Paco de Lucia and Manolo Sanlucar (guitar), Antonio Gades and Mario Maya (dance), Enrique Morente and Camarón (singing). The dictatorship ended, and flamenco begins painted in different colors. We introduce new musical instruments, new forms of music in singing and playing. A striking example of this – creativity Paco de Lucia and Camaron, which for a whole generation gave a new definition of flamenco.
Nevertheless, there will always be dissidents and dissenters, such as: Flamenco artists, waive the tradition, the musicians of other areas interested in flamenco, restless souls from other musical traditions. History of flamenco – the endless chain of innovations and impurities, but any evolution always has a dual significance.
The natural development. Originating, flamenco was performed in the family circle and does not go beyond it. Redistribution and development it must true creators, performers, found their own ways of development and it is therefore to trace in history.
The last stage of development of flamenco is reduced to reinterpretation. It is not intended as such progress (eg, the introduction of new tools), and attempts to revive the flamenco, return it to its former glory. There is no reason to deny that most of the rules has been established in order to be faulted, but as a written language musical creativity, as any closed and so well-preserved folk flamenco phenomenon must be flavored with passion.
In the late 20 th century we can speak of “mixed cultural elements”. The greatest value in this sense are bold experiments in which due regard is given to the primeval rhythms. To talk about the avant-garde, must return to a deep, affecting the soul feeling that it was becoming less common in flamenco.
Mixing of different cultures in modern Spain is not a craze, but a very old story with deep meaning. Spain – the border region of Europe, consisting of different races and cultures as a consequence. Its strength lies in the fact that it can filter out all unnecessary. You can not go on a leash of fashion and form a mosaic of musical groups representing different folk flow. Should prodelyvat double duty: to bring from abroad what we need, then carefully digest, pass it through itself to make the phenomenon of their own country. Of course, we do not call to get on a plane, fly around the globe, pick up any differently here and there to throw then in a saucepan, and cook, we prepare a new genre and rhythm of the fashion this season.
There is a definite sense that the followers of flamenco revered tradition that has both positive and negative sides. In particular, strict adherence to tradition makes it impossible for a deep understanding of flamenco. Singing, styles, flamenco melody like a living organism: they deserve respect, which means constant development, and every movement, as we know, there is life.
In such a rapidly developing industrial society, as a modern, where the ideals of the impaired, where art ceases to be relevant, understandable pessimism flamenkogologov that for the art of flamenco can not see the future and describes it in his writings, as if it was a dead art. “Flamenkogologiya” (or “flamenkovedenie”) as science peer into the past. A book with such a name was written by Gonzales Clement in 1955 and gave the name section of art history, studying flamenco. In the absence of written documentary evidence, the scientists a lot of time doing hypothesis of the origin of flamenco, which made him rather closed and unpopular art. There was more: the constant moralizing and ascension to the pedestal ideals.
As proof that flamenco is still very much alive, stands the fact that flamenco is not alien to other cultural or social trends. In the early 20 th century it began to perform in the cafe Cantante Falla, Lorca, Niña de los Peynes lifted him on an intellectual level, Manolo Caracol and Pepe Marchena has inspired flamenco on radio and filmed, it entered the history of music with Myra and close to a cult of poetry with Menes. Paco de Lucia and Camaron added a little motivation hippies, Pata Negra – the mood of the punk culture, Ketama, Jorge Pardo and Charles Benavente – jazz music and rhythms of salsa.
I’d like to draw attention to the fact that the purity of flamenco has become a bargaining chip in the arguments resorted to by journalists who have nothing more to write. Very glad that a generation who managed to avoid disputes about the purity and innovation in the art of flamenco.
At present it is too complicated to assess what is happening. Now there are some who say that over the past 50 years has deteriorated and technique, and rhythm that is worthy of attention just singing the elderly. Others believe that a better time to flamenco than at present, and do not find. “Flamenco in the last 15 years has undergone more changes than ever in its history” – says Barbieri, who, like many others, as a starting point of a new vision of flamenco takes drive Camaron de la Isla “Story Time”, released in 1979
Pure Flamenco Flamenco is not old, but older, this is more valuable. In the dying patriarch of flamenco is like a burnt book, the failed disk. If we talk about musical primitivism, purity and authenticity of performance, it becomes apparent complexity to make something new. When a singer performs a song, a musician, accompanies him on guitar, they both seemed to perform an act of recollections. Feelings – a shadow memory.
The fire, dying to be born – this is flamenco. “This definition was given to him by Jean Cocteau. Nevertheless, in flamenco is very much” affinity groups “: a par with the supporters of purity of style is and supporters of new forms and sounds. That is why very important collaboration of musicians from different directions. It is appropriate to recall collaborations Paco de Lucia and Ketama.
And to top it wants to quote Alvarez Caballero, one of the most influential contemporary critics: “Only the duo of singer and guitarist on stage you will meet very rarely, it will soon become archaic. Nevertheless, I really would like to be mistaken in their forecasts.” He is certainly mistaken. “Pure” Flamenco is gone.
