Introduction
Flamenco, in its realest sense, describes a professional art of dance and music based on the folkloric entertainment traditions and cultures of Southern Spain, especially common in Andalusia, Extremadura, and Murcia. According to Hayes (2009), the dance has been deeply influenced by the music traditions of these communities for a period extending two centuries: such traditions include baile, which is dancing, jaleo referring to chorus clapping and vocalization, piyos which is finger snapping, palmas that involves hands clapping, cante that entails singing, and toque which is the guitar (Hayes, 2009). Flamenco dance is done in a way that as the dancer begins to feel the music, first with a steady beat followed by loud clapping. The dancer begins the moves with passion, fierce stomping, and graceful arm movements giving time for emotions to develop along with the music. The dancers might use folding fans to portray an attractive visual to the audience.
Origin
Cante flamenco is part of Flamenco's get advantage ahead. The origin of the Flamenco is a subject that has been debated on for more than a century. Different theories have been formulated around its origin. Sources related to the Spanish definitions of vocabulary in the local language attributes the origin of the dance and music to the Spanish people with Roman ancestry. The Blas Infante theory, an Andalusian nationalist, argues that the word flamenco originates from a Hispanic-Arabic word, fellah mengu, which means expelled peasant. The fellah mengu term was used during early times to make reference to Andalusian practicing Islam, the Moricos, and the Roma people. Therefore, based on this theory, Flamenco is an art of dance and music with roots in Andalusia and musical tradition practiced in the Andalusian region. However, there still exist uncertainty in these origins due to numerous influences in the cante flamenco including: chants from the Jewish Synagogue, Mozarabic forms sich as Zambrahe, Islamic classical Andalusian Orchestras, Arabic zayal, Gitanos, the Perso-Arab Zyriab, Andalusian regional folk forms, and West African and South American influences, whicvh are evident in cantes de ida vuelta.
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Another theory states that the flamenco term emanates from Spanish language to mean 'flame', which Gitano players and dancers picked up to portray their performances. The most spread theory about the origin of the magnificent dance and music, is that flamenco was developed through the cultural exchange between the Romani, Castilians, Sephardi Jews, Moors, and native Andalusian who all existed in Andalusia (Hayes, 2009). According to Federico Garcia Lorca, a poet during the early twentieth century, the Flamenco was a significant mark in history associated with the arrival of the Romani in Andalusia.
Based on the discussed theories, one common attribute is that the dance has an association with either Andalusia or the Andalusian. Therefore, it is only proper to say that Andalusia plays a crucial role in the development, maintenance, and passing of the Flamenco culture from generation to generation over years. The oldest form of Flamenco is stated to have occurred in 1774 by José Cadalso. Notably, this form of flamenco was later passed to the first Flamenco teaching schools in the years between 1765 and 1860, in Cadiz, Triana, and Jerez de la Frontera. The ballrooms picked up the art, with adopting the clapping of hands as the major part of musical performance, and later on the guitar was introduced by Julian Arcas. The climax of the dance growth came in between 1869 and 1910, where it developed to its current definitive form, and inspired more forms of the culture which involved deep feelings and guitar players featuring dancers during performances in Cafés cantantes.
Since 1910 to the early 1950's, the culture was marked by opera flamenco, with music types such as the fandabos and the cantes de Ida y vuelta. For instance, in 1915, Flamenco was performed and organized in shows across the Americas and other parts of the world. However, scholars such as Falla did not support the idea and resorted to other forms of performance, with the Granada contest used to promote pure cante jondo, which is a form of Flamenco. In 1955, Flamenco took a special turn in its history, influenced by artists such as Antonio Mairena. The small tablaos became a thing of the past for Flamenco performers since they elevated to greater platforms such as cafés cantantes, theatres, and concert houses (Hayes, 2009). The dance and music influenced by Flamenco culture evolved to the point that the guitarists received recognition across the world. Artists such as Parco de Lucia enjoyed this period and played a great role in development of the process.
Since then, the culture has been passed to the next generations through different platforms, including schools, mass media, mentorship, and apprenticeship. Mass media has also played a role in spreading culture, especially in the twenty first century. As Schreiner et al., (1990) note, the media has propelled the dance and music vulture to the world stage by ensuring that magnificent forms of Flamenco such as juerga, which is a small party with a lot of Flamenco moves and music are shared. The experiences are captivating, and through social media, the sweet guitar, voices, the body of the dancers in the moonlight are amplified. Currently, the dance is taught in many countries, both Hispanic and Non-Hispanic nations, and mostly in Japan and the United States of America. In fact, the number of Flamenco schools in Japan exceed that of Spain, which is regarded as the origin of the dance. The growth of the dance and music culture has attracted attention for International bodies such as UNESCO, which in 2010 made a declaration that the dance is among the world's Masterpieces of the Oral and Intangible Heritage of Humanity.
Flamenco Structure and Styles
Flamenco styles are also known as Palos. The styles are categorized into different groups based on rhythm patterns, geographic origin, chord progression, the mode, and form of the stanzas. There exist more than fifty palos, which are mostly sung, danced to and accompanied with instruments. Some are usually reserved to be danced to and sang by men while others are exclusive for women only. For instance, the Farruca, which is a common type in the modern Flamenco culture, and initially performed by men, is now performed by women too. Palos fall in three main categories: cante intermedio, cante Chico, and cante jondo.
Cante jondo
Cante jondo is a type of Flamenco that was promoted by Falla in the early 1900's and has since become the most popular. The palos takes the approach of dances to the rhythm of birds and natural music. The style is the oldest in the history of European Flamenco. The same can be reflected in the style of singing and dancing (Schreiner et al., 1990). For instance, the song gypsy siguiriya was classified by Falla as a cante jondo, accompanied by the dance that is performed while singing.
Cante Chico
Cante Chico means little song. The type of Flamenco involves musical and dance art of love, humor, happiness, and compassion to soft guitar music. Examples of such include the alegrias, bulerias, and the tangos.
Cante Intermedio
This type of Flamenco does not fall under Chico nor jondo. Examples of such types include the following.
Cante Andaluz
Notably, this type combines many forms of Flamenco from Alandusia to form a special form of dance and music that demonstrate Gypsy flamenco music.
Cante Gitano
Notably, this type is also called the Gypsy whose origin runs back to the fifteenth century by the Gypsies. They include solea, seguiriya and bulera
Cantes Folklóricos Aflamencados
Purists regard the cantes folklóricos Aflamencados style as nontrue forms Flamenco. The style encompasses sevillanas, Garrotin, Farruca, and Cuban Rumba (Schreiner et al., 1990). These folk songs and dances are dominant in Andalusia, Galicia and Asturias, as well as South America.
Conclusively, as much as technology has made work easier, there is more room for taking wise options. There is a high chance for an increased growth of the Flamenco and pass it to the next generation. Additionally, the dance has a potential of growing more than it already has once fully embraced.
References
Hayes, M. H. (2009). Flamenco: conflicting histories of the dance. McFarland.
Schreiner, C., & Pauly, R. G. (Eds.). (1990). Flamenco: gypsy dance and music from Andalusia. AmadReferences
Washabaugh, W. (2016). Flamenco Music and National Identity in Spain. Routledge.
