#FLAMENCO CANTE JONDO SERIES#

Many of the details of the development of flamenco are lost in Spanish history. More recently other instruments like the cajon ( a wooden box used as a percussion instrument) and castanets ( castaГ±uelas) have been introduced. The toque and baile are also often found without the cante, although the song remains at the heart of the flamenco tradition. Later the songs were accompanied by flamenco guitar (toque), rhythmic hand clapping ( palmas), rhythmic feet stamping and dance ( baile). Originally, flamenco consisted of unaccompanied singing ( cante). 'Nuevo Flamenco', or New Flamenco, is a recent variant of Flamenco which has been influenced by modern musical genres, like rumba, salsa, pop, rock and jazz.

It is supposed that during the Flemish kingdom of Karel V (Carlos I in Spain) some kind of popular confusion between flemish and gypsy culture led the people to use that word for the gypsy music. The word Flamenco in Spanish originally meant Flemish. Flamenco culture originated in Andalusia (Spain), but has since become one of the icons of Spanish music and even Spanish culture in general. It was Infante who typed FernandoвЂ™s manuscript and also wrote a prologue which wasnвЂ™t published for political reasons that are outside the scope of this article.Flamenco is a song, music and dance style which is strongly influenced by the Gitanos, but which has its deeper roots in Moorish musical traditions. Later, he gave the same conference in Coria del RГo, where Blas InfanteВ heard those recollections by Fernando and encouraged him to write the book, published in 1935.

ThatвЂ™s where Fernando el de Triana gave his first conference, using the material that would later become his famous book Arte y artistas flamencos. Silverio DomГnguez Cano, son of Silverio Franconetti, already organized such conferences years earlier, at SevilleвЂ™s Tertulia El Arenal, which he directed.

#FLAMENCO CANTE JONDO SERIES#

See how things have not changed as much as we think nowadays? And that was not the first conference series about flamenco. Oh, the difference between cante jondo and cante flamenco was also discussed, showing that this difference has always existed, although itвЂ™s barely noticeable nowadays. They didnвЂ™t forget the cantaoras, although there were no female speakers, certainly because it would not have been easy to find women willing to give flamenco lectures in those days. And, oddly, doctor Ban-Vaumber-ghemВ spoke about Women in poetry and Andalusian song. JosГ© Bellver CanoВ talked about the guitar. Manuel GГіngoraВ spoke about Gypsy dances and rhythmic dances. The influence of Sephardi music in 16 th-century Andalusian songs was also explored. The relationship between cante jondo and Arabic music could not be left out, with this topic being dealt with by the philologist and writer Isidro de las Cagigas. The great composer from Seville JoaquГn TurinaВ (pictured above) also took part, speaking about Cante jondo in cultured music, with musical illustrations by Saint SaensВ and Rimnsky Corsakof. There was a total of nine conferences, with speakers as renowned as Fernando el de Triana, who talked about вЂњ Bailes flamencosвЂќ, or the painter from Seville JosГ© Rico Cejudo, who gave a lecture about Cante jondo grande and Cantes chicos. The series took place from May 21 st to June 13 th.

On May 20 th, 1936, two months before the start of the Spanish Civil War, MadridвЂ™s Ahora newspaper mentioned a Conference Series of Cante Jondo at the Liceo Andaluz in the Spanish capital. It also proves me right when I say that women werenвЂ™t being neglected in the world of flamenco in those days, as itвЂ™s stated often without any evidence. I donвЂ™t know what the flamenco feminists will say about this news article from 1936, but itвЂ™s kind of interesting.

Flamenco cante jondo