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Antoñita Singla – a Catalonian flamenco dancer and actress known as "La Singla" who took Spain and Europe by storm in the period 1960–1988. There are specialized flamenco conservatories throughout the country, although mainly in the Andalusia region, such as the aforementioned Córdoba Conservatory, the Murcia Superior Music Conservatory or the Superior Music School of Catalonia, among others. Outside of Spain, a unique case is the Rotterdam Conservatory, in the Netherlands, which offers regulated flamenco guitar studies under the direction of maestro Paco Peña since 1985, a few years before they existed in Spain. [20] University [ edit ]
In traditional flamenco, only the very young or older dancers are considered to have the emotional innocence or maturity to adequately convey the duende (soul) of the genre ( Anon. 2010). Therefore, unlike other dance forms, where dancers turn professional through techniques early on to take advantage of youth and strength, many flamenco dancers do not hit their peak until their thirties and will continue to perform into their fifties and beyond. One artist that is considered a young master is Juan Manuel Fernandez Montoya, otherwise known as "Farruquito". At age 12, Farruquito was considered a pioneer and for "Flamenco Puro", or "Flamenco por Derecho", because of his emotional depth. These are typical of fandangos and sevillanas, suggesting their origin as non-Roma styles, since the 3 Use of enharmonic scale. While in equal temperament scales, enharmonics are notes with identical pitch but different spellings (e.g. A♭ and G♯); in flamenco, as in unequal temperament scales, there is a microtonal intervalic difference between enharmonic notes.The accompaniment and solo playing of flamenco guitarists is based on both the modal harmonic system and the tonal system, although the most frequent is a combination of both. Some flamenco songs are performed "a palo seco" ( a cappella), without guitar accompaniment. The state of New Mexico, located in the southwest of the United States maintains a strong identity with Flamenco culture. The University of New Mexico located in Albuquerque offers a graduate degree program in Flamenco. Flamenco performances are widespread in the Albuquerque and Santa Fe communities, with the National institute of Flamenco sponsoring an annual festival, as well as a variety of professional flamenco performances offered at various locales. Emmy Grimm, known by her stage name La Emi is a professional Flamenco dancer and native to New Mexico who performs as well as teaches Flamenco in Santa Fe. She continues studying her art by traveling to Spain to work intensively with Carmela Greco and La Popi, as well as José Galván, Juana Amaya, Yolanda Heredia, Ivan Vargas Heredia, Torombo and Rocio Alcaide Ruiz. In the line of purism, the poet Federico García Lorca and the composer Manuel de Falla had the idea of concurso de cante jondo en Granada en 1922. [10] Both artists conceived of flamenco as folklore, not as a scenic artistic genre; for this reason, they were concerned, since they believed that the massive triumph of flamenco would end its purest and deepest roots. To remedy this, they organized a cante jondo contest in which only amateurs could participate and in which festive cantes (such as cantiñas) were excluded, which Falla and Lorca did not consider jondos, but flamencos. The jury was chaired by Antonio Chacón, who at that time was the leading figure in cante. The winners were "El Tenazas", a retired professional cantaor from Morón de la Frontera, and Manuel Ortega, an eight-year-old boy from Seville who would go down in flamenco history as Manolo Caracol. The contest turned out to be a failure due to the scant echo it had and because Lorca and Falla did not know how to understand the professional character that flamenco already had at that time, striving in vain to seek a purity that never existed in an art that was characterized by mixture and the personal innovation of its creators. Apart from this failure, with the Generation of '27, whose most eminent members were Andalusians and therefore knew the genre first-hand, the recognition of flamenco by intellectuals began.
Fandango [ edit ] Granaínas [ edit ] Guajiras [ edit ] Malagueñas [ edit ] Peteneras [ edit ] Saeta [ edit ] Seguiriyas [ edit ] Soleá [ edit ] Tangos [ edit ] Tanguillos [ edit ] Tarantos [ edit ] Tientos [ edit ] Music [ edit ] Santos Hernandez guitars". flamenco-guitars.com. Archived from the original on 9 November 2017 . Retrieved 9 November 2017. Adolfo Salazar states that the expressive voice ole, with which Andalusian cantaores and bailaores are encouraged, can come from the Hebrew verb oleh which means "to throw upwards", showing that the dervish girovaghi of Tunisia, Maghreb, also dance around to the sound of repeated "ole" or "joleh". [22] [23] The use of the word "arza", which is the Andalusian dialect form, of pronouncing the voice imperative "rise", with the characteristic Andalusian equalization of / l / and / r / implosives. The indiscriminate use of the voices "arza" and "ole" is frequent when it comes to jalear, but the most evidence of the origin of this word can be from the caló: Olá, which means "come". Likewise, in Andalusia it is known as jaleo al ojeo de hunt, that is, the act of glancing, which is "driving away the game with voices, shots, blows or noise, so that they 'get up '". According to the RAE dictionary (1956!) The "duende" in Andalusia is a "mysterious and ineffable charm", a charisma that the Gitanos call duende. Federico García Lorca, in his lecture Teoría y juego del duende confirms this ineffability of the duende by defining it with the following words from Goethe: "Mysterious power that everyone feels and that no philosopher explains". In the flamenco imaginary, the duende goes beyond technique and inspiration, in Lorca's words "To search for the duende there is no map or exercise". When a flamenco artist experiences the arrival of this mysterious charm, the expressions "have duende" or sing, play or dance "with duende" are used.Flamenco de la A a la Z: breve enciclopedia del flamenco que incluye diccionario en el sitio de Radiolé. Concurso de Cante Jondo – (Contest of the Deep Song) was a fiesta of flamenco arts, music, song, and dance, held in Granada in 1922 As the political transition progressed, the demands were deflated as flamenco inserted itself within the flows of globalized art. At the same time, this art was institutionalized until it reached the point that the Junta de Andalucía was attributed in 2007 "exclusive competence in matters of knowledge, conservation, research, training, promotion and dissemination". In 2018 the first university master's degree in flamenco research and analysis begins, [21] after the previous attempts of the "Doctorate Program of Approach to Flamenco", taught by several universities such as Huelva, Seville, Cádiz and Córdoba, among others.
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