THE FLAMENCO BOX in the CLASSROOM History , Evolution and Didactic Autor: Carlos Crisol Maestro

THE FLAMENCO BOX IN THE CLASSROOM History , Evolution and Didactic Autor: Carlos Crisol Maestro

Coordinación de Diseño y Maquetación: Nuria Crisol de la Fuente

Colaboración de los alumnos del CFGM Preimpresión en Artes Gráficas IES Santo Reino: Juan Jesús Mesa Moraleda y Gema Moreno Serrano en diseño de interiores y portada - contraportada.

Traducción inglés: Nuria Sánchez INDEX

I. PRECEDENTS AND ANALOGIES OF THE BOX

Introduction and state of the issue Pg. 2 Searching for a box history in the world Pg. 3 The box in Perú: Findings documented on the origin of the box Pg. 5 The box in Cuba Pg. 7 The box in Spain: origin and evolution Pg. 8 . II. CONSTRUCTION OF THE BOX

Building materials Pg. 12 Sundbox. Cubic capacity and dimensions of the box Pg. 14 Sound output: box hole (back, side, bottom ...) Pg. 15 Front or struck cover Pg. 18 String tension and tuning system. Treatment of harmonics. String arrangements in the box. Pg. 26

III. THE FLAMENCO BOX IN THE CLASSROOM

Introduction Pg. 39 Objectives concretion Pg. 41 Subjects and curriculum areas relation: Pg. 43 Music Plastic and Visual education (Art) Language Social sciences, Geography and History Maths Physical education Languages Techology and Informatics

Contribution to the Basic Competences: Pg. 45 Linguistic communication competence Mathematical competence Knowledge and interaction with the physical environment competence Information management and digital competence Social and citizen competence Cultural and Artistic competence Learning to learn competence Autonomy and self-esteem competence.

IV. FLAMENCO BOX TEACHING AND LEARNING METHODS Pg. 48

V. BIBLIOGRAPHY. Pg. 51

1 Introduction and state of the issue. percussion instrument (since it can produce various sounds that discriminate aurally: treble and bass). The box is one of the tools that is currently having There are some musicians who might categorize it more acceptance among young music fans in di- as a chordophone (by the vibration of the strings at fferent musical styles: flamenco, rock, pop, jazz, the top), but this vibration is a consequence of the commercial music, funk... Since its versatility as an accompaniment or rhythmic support bass, it is percussion on the striking cover of the box considered as the possibility of a successful battery replacement (greater dimension, cost, weight, com- Similarly to the other instruments, the box has a plexity and difficult transport). history that does not go so far, so it needs a rigorous study of its origin in the various countries where Instrument increasingly established as sustenance similar instruments have existed both in form and rhythmic percussion and accompaniment in various manner of interpretation with hands or any percus- musical styles groups. The box is not only used for sion object. flamenco, but it is a very versatile accompaniment to any style or genre. In turn, the complexity of in- Here arise various hypotheses or theories about terpretation and implementation with respect to the the origin of the box, each country or nation (Cuba, full battery is lower, whose percussion requires more Peru, Chile, Africa or Spain) wish to sponsor it as an knowledge of the art of interpretation. Hence, anyo- instrument born in their land, arguing the existing ne who seats at a box can run easily and with little similarities with some of the instruments that exis- musical knowledge or fundamental basic touches: ted since the sixteenth century. But now we must treble and bass (only hitting in different parts of the accept as an evidence that the box has an Afro-Peru- cover of striking). Although for a mastery and skill vian descent. The box is therefore born in Peru (as it playing of the box, the same as any instrument, it has been shown in graphs and historical documents requires many hours of study, technique and assimi- about its existence in the mid-nineteenth century). lation of complex rhythms. So far, there are few studies on the origin of the Another aspect of the possibilities of the box is box, the book of Rafael Santa Cruz “The Afro box” the amount of rhythmic variations that you can (2004), is a coherent written reference to its origin experience with music. There is no fixed rhythmic and evolution. But since that book appeared, the and closed pattern as in the “sevillanas or rumbas”, box has evolved dramatically in many aspects (shape, but the ability of interpretation, improvisation and size, string tension systems, springs or snares, diversi- rhythm variants for “rumbas or sevillanas” makes ty, wooden frame and cap hit, pitch, accessories like the amateur percussionists interpret a personal hype, pedals, removable box, acoustic amplification touch of the box, though under some structural as- ...) And a wide myriad of innovations that today are sumptions of stress, rhythm and meter. lurking in the minds of the major manufacturers, drummers and enthusiasts of the box, on possible For these reasons, to make anyone (from 4 years improvements and possibilities of the instrument. old), to conveniently meet the box (child or adult cadet) and produce different sounds with his knock, All these innovations and technological and with no special notions about musical notation, in- acoustic development in the box lead such instru- terpretation or technique. Herein lies its success as a ment under constant review research for a better tool. understanding of it. Since the work of Rafael San- ta Cruz came to light in 2004, there have been 10 As for the cataloging and classification of the ins- years of technical, acoustic, structural and formal trument, we must locate it properly, it is a hamme- box, which must be constantly revised, hence pa- red idiophone (according to Hornbostel and Sanchs tents (on mechanisms, forms, tuning, exit holes, classification, 1914), since its sound is produced multiple boxes and versatile ...) have proliferated in by vibration of the box beaten with the hands or the last three years since the beginning of the se- any object: auto-resonator. If we make a traditional cond decade of the century. classification, we must categorize it as a determined

2 Searching for a box history in the Here there is a brief tour around Latin America world about similar percussion instruments in their price After an exhaustive search on the history of the as well as its sound or timbre which can resemble box, and beyond all that we have seen of the tea- the box. ching methods of box touching which we detail The torment5 in Chile (direct percussion- idio below, we can say without fear of contradiction phone instrument, also called by some musicians that there is no serious monograph devoted to this box or noises table), is a kind of portable rectangu- instrument. We have found some loose writings, lar wooden table with legs that fold together and experiences, observations, small fragments which cover strips, that is to say that the legs are for a more we will take into account to write about the origin comfortable practice. The torment is used to set the and evolution of this instrument. They are, in most rhythm of the folk dance “The Cueca” (the natio- cases, travelers who recorded in their diaries the ex- nal dance of Chile), tunes and rural dances from periences and observations that they made during the central and northern areas, and currently for their travels to America, and other people – non- the “chingadas” and “ramadas”. The way to play the specialists- that have written on the box experien- instrument can be varied with the fingers, hands, ce from the perspective of what they saw or heard sticks or with thimbles made of different materials from their social environment. (wood, metal or plastic ...).

Rafael Santa Cruz3 writes that the black Ameri- can has the ability to adapt any object of their daily lives to make musical instruments, jars, kitchen utensils, tin cans, seeds, animal and human bones, animal skins and membrane, pumpkins We will see that the box precedents are to be found mainly in the Peruvian population of African origin.

With regard to the various textbooks on the subject of music in the Compulsory Secondary Edu- cation stage, little can be expected: in general the chapter on membranophone instruments, and especially the idiophones casings, are worked with very superfluous content, meanwhile to chordophone instruments and wind instruments there is a greater array of data and explanations of their origin, evolution and description.

Rafael Castillo Santa Cruz4 is a Peruvian box ambassador who wrote the first book on “The Afro- Peruvian box”, laying the bibliographic foundations of the history of the box, a direct result of African and Peruvian ... This work shows that the box is interpreted in various parts of America (Peru, Chile, Cuba ...) and today is present in all musical Afrope- ruvian styles. The box is a traveler instrument, with dimensions that vary depending on the manufacturer and the system voltage. Such was its importance in Peru that it was awarded the National Cultural Heritage of Peru in 2001.

3 The torment body or chassis has a double deck structure (which in most cases is made of wood) and between them, acting as a sounding mode, there are various metal covers with different length and thickness. You could also attach to it rattles or bells to be agitated with the beating of the hands or a stick timbre to accompany the instrument. Its coat or top cover is composed by a series of tables strung by notches and which appear to be loose, those tablets are the ones which strike and produce the characteristic sound of the instrument.

Sometimes the lower cover is not added and the sound intensity is higher. Its size is approximately one meter long, 40 inches wide, 15 to 20 inches tall. Although it should be explained that there are also smaller dimension torments (30 cm long, 20 cm wide and 10 to 15 tall), which are used in halls as a chamber instrument Currently there is a type of torment that is usually placed on the knees of the performer or it can be hung from the neck with a ribbon. Its dimensions are 60 cm long and 40 wide and the placement of the metal strips can be seen in the following images:

According to Fernando Romero, the torment co- the dance called Congo. They were accompanied by mes to Chile from Peru about 1824, being the ins- African chants and instruments typically consisting trument that accompanied the “zamacueca” by the of a box struck with a stick hammer or bone... black battalion number 4. In Santo Domingo (Dominican Republic), Vene- zuela, Haiti and Cuba the “marímbula” is played like Currently you can see a variety of boxes in Mexico a box. Its type and size is similar as it has a similar (from the smaller ones attached to larger boxes, up to sounding box, with a series of metal layers on the other with a lower height than width, which can be front of the box, placed in the output of the sound struck on several sides and different elements). hole, its interpretation is with the hands and fingers, with the contact it is produced a vibration, produ- According to a document of the time taken up by cing waves that expand and amplify its intensity in Mac Lean and Estenós and that has also been men- the soundboard). In Jamaica the Gumba, more than tioned by Fernando Ortiz: an idiophone instrument, it is a membranophone, as they have a small box with very short and narrow In New Orleans, the public auction of black people legs, in which the top is replaced for the percussio- from the Congo was performed in Congo Square nist to have a seat and there it is placed a membrane (now Square Beauregard) and there they executed of animal skin, being struck with various objects

4 hands, sticks of wood or metal elements). which they were. Therefore, they had to be moved to places where their work performance and accli- As Ortiz pointed, in Angola the most popular matization was greater. instrument has been the “kas”, similar to the box but with a lighter body or chassis, where the beating Slavery not only entailed hard work “around the is done on its upper part (either wood or membra- clock”, bad weather, poor nutrition and social diffi- ne) or also the upper cap with a lateral timber made culties, but also brought the uprooting of black mu- of membrane that can be struck with any object. sic and cultural traditions. They banned all cultural art form which took place in their home countries In Brazil, Panama and Argentina, they call box a (dances, ritual dances, performances with various type of box more similar to a drum. percussion instruments, individual or collective improvisations, “batucada”). According to the Peruvian box great ambassador Rafael Santa Cruz, the greatest box researchers But as time passed by, the black Africans manu- either the Cuban Fernando Ortiz or the Peruvian factured in the underground different types of per- Fernando Romero and Nicomedes Santa Cruz, cussion instruments like drums, gourds, marimbas agree that it is not possible to determine the place (which were very prolyx in their countries). Firstly, and date of birth of the box for several reasons. One these instrumentations were constantly executed by of these reasons is the carelessness of the travelers African blacks silently or in remote places where and chroniclers to collect data from this instru- they could not be seen. But eventually, they sto- ment. Another reason is the “simple” beginnings of pped hiding and sometimes they played at unsuita- the box, which have led it not to be taken seriously ble hours: in the early morning, at dawn ... causing in terms of research. We will see that this is not yet problems with the neighbors from Lima (Lima, the case in Spain: due to its recent successful entry Peru). According to Luis Millones and Fernando into the world of flamenco, we have enough docu- Romero, theft, drunkenness and problems were mentation. constant at night, where noise and noise pollution was present in many of the houses where musical The box in Perú: instruments or “cotidiáfonos” were played. Findings documented on the origin of The newspaper “El Comercio”, in one of its hea- the box dlines tells an incident with respect to a sound from a box in the evening of the previous day: After the discovery of America by the Spanish Party, we have already called the attention of the in the late fifteenth century (1492), slavery was police regarding the parties that continually arise in the practice used for the control and development a house in the “Acequia Alta”, down the bridge, but of the land by the colonizing countries. The great it seems that our statement was not attended becau- ships sailed to Africa in search of slaves at a low cost se again, the neighbors of the street complain that and cheated because they were told to be in search the box plays tirelessly day and night. of new, prosperous and better land. The journey by The music, dances of Afro-Peruvians were prac- sea for several days in some cases was subhuman; ticed for many years by them and by people of the hundreds of people were crammed into ships com- same social status, with the exception of the “za- partments or cellars. Choking deaths, diseases, lack macueca”, which was the favorite dance of all social of food and drink were a constant, being in some classes and ethnic groups. cases the bodies thrown overboard. Several were the travelers and chroniclers who wrote about music existing in Peru, according to Rafael Santa Cruz associates the Peruvian origin Ortiz, but none of them made references to the box to African slaves brought to Peru to work in the until the second half of the nineteenth century and Andes (in the gold and silver mines). The African linked to an African origin. According to the scho- blacks accustomed to a warmer climate, succum- lar: bed to the harsh mountain climate, food and work, many of them died due to the conditions under

5 The vulgarity of the packaging squares, so com- About half nineteenth century instrumental mon, has motivated its oversight by researchers and groups, Fuentes comments the leadership that has scholars. the box with the following words: The vulgarity of the packaging squares, so com- We have said that the Amancaes dance is the “za- mon, has motivated its oversight by researchers and scholars. The first evidence of the existence of the box is located in an extract gathered by Stuart Nuñez from two French travelers in the Republic of Peru, referring to the “zamacueca” in Amancaes in 1848 (typical Peruvian dance), says as follows: ... The orchestra, one of the most primitive, un- failingly consists of a guitar rip with all his strength, mixing chords with a very little harmonious voice and often insignificant words. Near the guitarist, with a bottomless box between the legs, another musician in the same category, or in any case a singer no less relentless, beats time on the box with heavy beats, no doubt by way of accompaniment. It can be argued that it is a document that sum- marizes and describes accurately the dance of the “zamacueca” and may be the earliest evidence on the interpretation of the box as an accompaniment macueca”, the orchestra for the dance consists of to an instrumental group or orchestra, which des- harp and guitar, and to these instruments it is added cribes its strong sound and setting the pace of the a kind of drum made from a box whose regular ta- “zamacueca”. bles unpins to hit more sound. This instrument is played with the hands or with two pieces of cane, It is also curious that in a picture of an engraving and it is difficult to form an idea of the skill and attributed to Ignacio Merino for the cover of the ear that the black person that plays the box follows music collection of the musician Claudio Rebaglia- the beat of the music and encourages dancers. As ti, in 1941 and published in 1870, there is a detail the box is the soul of the orchestra, the masses have in the engraving which may seem a box. given the “zamacueca” the name of Polka box.

The scene painted by Merino is a festive, a group of musicians and dancers, near the guitarist appears someone who is sitting and playing a sort of box (no sharp detail in the engraving), another character in the group can be seen sitting on what looks like a box, moreover in an explanatory note attached to his scores Rebagliati gives information about the accompanying of the “zamacueca”:

... And that the accompaniment rhythm resembles that of the guitar, harp or box, instruments which always accompany it. If we were able to confirm that these musical instruments are boxes, Santa Cruz says that it is the oldest graphic testimony about the interpretation of the box in the traditional music of the Peruvian coast.

6 But the graphical document with more clarity leaning, when the go to a party, the do not carry his that remains of the box is dated in 1895, a photo- box with the taped guitar and the patriotic colors. graph of a meeting at the Expo Garden in Lima, The homeowner provides a container of gasoline or a group of members of “La Palizada”, which con- one of the drawer of the chest of drawers, and this ducted a performance with songs accompanied by becomes an instrument. When the orchestra has a a guitar and a box (in this case the character who harp, the box is touched leveraging its bourgeois plays the box can be seen clearly). belly as it was used in the VVIII century. The late nineteenth and early twentieth centu- But as we have seen today, the Peruvian box has ries are the decades when the box is relegated by not disappeared, but it has become Peru’s national other instruments, taking less prominence in the instrument. One obvious data of its importance is accompaniment of dances and traditional dances. the recognition by General Law by the National The creole valzer is accentuated in the population, Institute of Culture of Peru in 2001, to appoint dismissing the box which is only played by blacks the Peruvian box as nation’s cultural heritage. Since to accompany the “marinera” (the “zamacueca” then, there have been carried out a series of activi- with another name and slight variations). ties and events from many cultural institutions to By 1940 Fernando Romero talks to his friend, promote the understanding of the instrument. the musicologist Fernando Ortiz, on what may be the last days of the box. And this is what Ortiz shows in his monumental work “The instruments The box in Cuba of Afro-Cuban music”: The Creole box, resounding, raucous, virile and After so many years, there is nowadays, the con- “quimboso” in the parties, where the half-breed troversy over the origin of the box among the de- makes arabesques around the grinding hips with fenders of Cuba and Peru. Regarding that, Fernan- which it mills desires the Chinese candle is one of do Romero says that in Cuba there is a twin brother the last survivors of the instruments that congo which is hammered with hands and drumsticks. grandfather brought to Peru. I think it is on the eve Instead, we should mention that in Cuban mu- of disappearing, as it is in a regressive stage of its sic, there existed boxes whose origins are very simi- evolution, and not an instrument built by expert lar to the ones of the box in Peru, simple wooden hands and ears in the proper assembly and appro- boxes to bring or carry goods, packaging or ship- priate wood phenomena loudness of it. Now the ping boxes, simple suitcases..., which were in di- half-breed with a scarf around the neck and the hat fferent situations struck accompanying traditional

7 music, improvised work ... Both the morphology, about the arrival of boxes to America in the first such as the type and material (different wood, nails, slave ships and fleets belonging to Spanish or Por- glue ...) with which boxes are built, are very similar. tuguese fleet. Then, these instruments would have What is different, as we can see from the com- been distributed throughout the Americas and se- ments of Orovio, are the way of interpretation and veral hundred years later, in what is classified as a execution of it. In Cuba it is normal to touch the phenomenon of “return” the boxes “returned” to box of various types and size on the legs or above Spain. the knees, striking with the hands on either side, Santa Cruz says it is mere speculation, as the in- there is only a box (of the entire family of the situa- humane conditions in which African slaves were tion), in which the form of interpretation is sitting transported, were not likely to have moments of joy on the instrument itself and hitting the front cover or musical practice in the way. and the side of it. In Cuba there are settled dances which are accompanied by the family of boxes, as in Santa Cruz’s words seem to be right, since accor- the “yambú rumba”. ding to the extensive literature on the history of fla- The creation of the boxes is detailed by Fernando menco in general, there is no reference to an instru- Ortiz who says that the boxes were glued and assem- ment similar to the box or that there was a different bled with their boards, all edges sanded to smooth accompaniment from whistles, palms, heels, throat, the contours and the ergonomy of the instrument. castanets and guitar ... it seems, therefore, true that Once assembled, they were immersed several hours the 1970 is in which the first box presence was at- in water, swelling the wood and then releasing the tested in the Iberian peninsula. water outdoors and in a shady place, when they were dry, they could be played. It is generally accepted by all, that the introducers of the box in Spain were Paco de Lucia and Rubem Dantas, drummer Paco’s sextet. There are actually The box in Spain:Origins and Evo- documentaries devoted to the box from its origins, lution with varied interviews (Paco de Lucia, Susana Baca, Ramón Porrina, Antonio Carmona, Rafael Santa There is a widespread ignorance about the origin Cruz), which explain the arrival of the box to Spain. and evolution of the instrument. Moreover, in the One of the most interesting articles on the his- case of the flamenco box there has been the will of tory of the box and its arrival in Spain is “Three some Spanish people to hold the ownership of the Worlds in a box” published in “El Pais semanal” on origin of the instrument. But in this case the do- December 18, 2011, by Fietta Jarque. Since the his- cumentation is enough to dismiss the ambiguities tory is interesting, here’s a summary of its contents. and propose several hypotheses about the Hispanic According to Jarque’s article, in Lima (March birth. 1980), Paco de Lucia and Jorge Pardo were invited to a small private party. With the passage of time The name of the instrument “cajón flamenco” and the drinks, surrounded by friendly people there has been coined by fans no more than 40 years ago were requirements that Paco touched the guitar, he (1970), when it began to be seen more and more desisted but Jorge Pardo joined with his sax to other often on stage and “tablaos” accompanying the folk musicians and the musical temperature rose. Cu- singing, the guitar and flamenco dancing. Placing riously, many musicians of the area began to appear the box as a percussion instrument almost essential (Susana Baca, Andres Soto and Eusebio Sirio “Piti- in any musical performance. ti”). Susana Baca tells in the article the comments In the book “The Afro box” by Rafael Santa made by Paco de Lucía in this private party, about Cruz, a chapter of eleven pages is devoted to the his first impressions of the sound of Caitro Soto’s box in Spain, which emphasizes the sparse docu- box. According to Susana, Paco said that when mentation on the origin of the box and precedents he first heard touching the box, he thought it was in our country before 1970, rejecting any hypothe- perfect for flamenco percussion, the box could be sis about a nationalist source. There we read: the feet of a dancer because it has the sound of the Circulates all through the Internet, a hypothesis plant (bass sound) and the sound of the heel (treb-

8 ble sound). Rubem Dantas, Brazilian percussionist of Paco de Lucía Sextet (which by that time was touring America at the time of the entrance of the box in Spain in 1980 in the “Semanal” newspaper interview), said he saw the box before the evening in the Spanish embassy in Lima and he was captivated by it, but listening to Caitro Soto was the moment of greatest splendor and loudness of the new flamenco percussion. Cla- rifying that the box origin is Peruvian, but his style of playing has nothing to do with the playing and the feel of the flamenco rhythm.

For all these reasons, we must attribute to Rubem, the introduction of the Peruvian box to Spain, but adapting it to the percussion and flamenco rhythms. He was the one who recorded the first works with the box, “Solo quiero caminar” (I just want to walk) with Paco de Lucia and “Como el agua” (Like water) with Camarón.

As Fietta tells us in her article, not all are full of praise for the idiophone hammered instrument, Ricardo Pachon, former music producer, who has produced “Como el agua” and a lot more where the box is very present ... She discusses that the box is accepted for the simple flamenco 4 by 4 (tango, rumba ...) but for the 12 times its use is a monstrosity because its sound does not permit to hear the tapping of the dancer. The box evens everything, it becomes a clapperboard. You do not hear the feet of the dancer or the guitar. In the words of Chacón he assumes that everyone uses it because it is cheaper than hiring three clappers.

Instead, the producer Javier Limón Pachón thinks the opposite, indicating the importance of the box in Spain and the world, creating the first degree on the box of the Berklee University, Boston, at which headquarters in Valencia, Piraña gave some courses on the box in 2011, and achieving great success.

The box is a perfect instrument for flamenco because it has bass, mid and trebble sounds, but no musical notes ... The box is touched very differently from the way in Peru. Now, the bix is known in the United States and Europe is the flamenco one. Although I personally prefer the Peruvian box. The once discarded packing box has become a musical instrument that has raised its voice even with symphony orchestras that are very famous. There is much to see and hear from this box where all worlds fit. It is worth mentionable the notable audiovisual documentary “The journey of the box: from Lima to Madrid” directed by Javier Limón in one of the chapters of “Entre2aguas” of TVE, or “The ways of the box”, directed by Paolo de Gregorio. Both offer a very similar view of the origin and evolution of the instrument, matching the attribute of its arrival to Spain to the initiative of Rubem Dantas and the innovative mind of the great Paco de Lucia.

9 One of the graphics and documents of great va- of the Peruvian box). Susana Baca makes a brief his- lue for the knowledge of the instrument, is made torical retrospect on the cultural diversity that exists in December 2011 by Javier Limón. The direction in Peru and Afro-Peruvians and which are worth of the BBC2 documentary by Javier, in a series of mentionable. She clarifies that Peru is all, “tonderos”, chapters of “Entre2aguas” (Chapter 7), called “The “marineras guaino”, gangs, songs of all kinds ... She Journey of the box: Lima-Madrid” (30 minutes). mentions the great Peruvian artist Chabuca Granda In which great personalities related to the box are and her box player Caitro Soto, commenting on the involved, both in Peru and in Spain. story of Paco de Lucía, who was impressed with the box in an evening with the Ambassador of Spain in Below is the content developed in the film and Lima. These are all reinforcements to what Fietta whose link for viewing is the as follows http://www. writes in “El semanal” and what has been discussed rtve.es/alacarta/videos/entre2aguas/entre2aguas-ca- above. pitulo-7/1252976/. One of the most highlighted interviews of the documentary is the one witnessed with Paco de Lucia (one It is very important to note the introduction that of the best guitarists in the world with an extensive cu- makes the director about the importance of Africans rriculum ...). Paco explains a little bit about the transfer in Peru, the Afro-Peruvian music which has been of the box from Caitro to Rubem Dantas. In 1977, the around for many decades and where the idiopho- Spain’s ambassador in Lima prepared a musical evening ne percussive instruments (percussion) have been a party inviting Paco de Lucia (on tour in America with constant rhythm from the beginning of this hodge- his sextet) and many other groups in the area of Lima. podge. In the course of the evening, Paco was very impressed with the box player Caitro Soto who played during Then the musical duo of Jose Luis Madueño (pia- the performance of “the cinnamon flower” of the ar- no) and Leonardo “Gigio” Parodi (Peruvian box), tist Chabuca Granda. At the end of the party Caitro where at the end of the interpretation of the Pe- accompanied Paco when he played the guitar, he felt ruvian folk music, Madueño talks about its little that the box was the perfect percussion instrument for reminiscences of jazz or classical music, but always flamenco. Caitro sold his box for the price of 12,000 under the afroperuano sense. pesetas, Paco gave it to Rubem Dantas (percussionist of his sextet) and from there to Spain. One of the most consistent and present ambassa- According to Paco de Lucia, the first time the box dors of the Peruvian box, Rafael Santa Cruz (son of appeared on stage was in the amusement park of a bullfighter, musicologist, actor, musician, compo- Madrid, seeing Rubem acting box players from the ser, ambassador of the Peruvian box, author of “Afro current Habichuela family, Ramon “el portugués”, Peruvian box” ...), makes a brief introduction to the the Guadiana family... history of the box: a) is a recycling instrument... b) The interpretations of the Peruvian box, flamen- is made of wood ... c) ignored by the white and pic- co and the dancing are followed by the following ked up by the black... d) marginal instrument of the artists: two Peruvian box players Christian Antonio minorities, segregated, as happened to the gypsies. Atapaucar and Luis Felipe Amable; Madrid, July Then, he refers to the two basic touches (bass and 2011, Spanish box players improvising (Piraña, Ju- trebble), following the interpretation of several ba- lio Muñoz, Sergio Martinez, Bandolero, Chispas, sic rhythms such as the afroperuvisan “zamacueca” Quike Terrón) and in “Casa Patas” Flamenco show, or “marinera”, the Peruvian folk music, the celebra- Madrid, with Belén López (dancer). tion or the waltz of “The cinnamon flower” so -po pular in Peru and which author is Chabuca Granda. The following interview done by Javier Limón to “Piraña” (one of the largest world box players, The documentary on the box continues in a bar or accompanies Paco de Lucia, son of Ramon “el Por- “flamenco tablao” called “The office” where Susana tugués”, nephew of the Guadiana, grandson of Po- Baca (singer, composer, researcher of Afro-Peruvian rrina from Badajoz, and brother of Ramon Porrina music, Latin Grammy in 2002 for “black moan”, and Pakete ...). It makes a first appearance in the former Minister of Culture of Peru and Ambassador recording studio, playing independently the box,

10 the drum and the congas, recording a theme for a Daymo, Granada Drum, Requena, Torero, Vadila, record label. After that, he speaks about some of the Abueno, Trébol, Chambo, Media Luna, Camarada, first Spanish box players, Rubem Dantas, Antonio Porrina, Tókalo, Senbare, Mario Cortés, La Perú, Carmona (revolutionizes the box with his “bulería” Felipe Bueno, Kimto, Caña percusión, CHM, Dp, “barrio negro”, his touch is unique) and his brother D´Manué, …). Ramon Porrina, are the ones who everyone should look at as the box evolution. Flamenco box construction: Buil- And finally the testimony of Antonio Carmona ding materials, soundboard and di- (Ketama singer, songwriter, box player ...). Antonio mensions, string tension and pitch, comments that the first time he saw Rubem Dantas exit hole, cover and finish. play the box in the amusement park of Madrid, he stayed impressed by its sound. Antonio innovated Basically, there is a great similarity to the Peru- in flamenco, changing the rhythm pattern for his vian box (dimensions and cap hit), but the flamen- own one and more personal, and his rhythm called co box has been evolving with small characteristics “el caballo o caballito.” that make it go slowly differentiating with respect Another very interesting audiovisual document to the Peruvian one. and one of the first to appear is “Los caminos del cajón” (The box’ roads), directed by Paolo de Gre- gorio (50 minutes). The DVD also contains a small Building materials. booklet in several languages which makes states the principles, evolution and use of the box. In addition, it describes the basic sounds of the instrument, the hand positions at the top of the knock, the way of positioning the microphone output or rear hole. The booklet also contains small abbreviated scores of different patterns of different musical styles (Pe- ruvian “landó”, Cuban box rumba, Samba, Partido Alto, Bossa Nova, Blues, Funk, Reggae, Afro, Hip hop, Pop-rock, Hard Rock and Flamenco (Bulería, Alegría, Siguiriya, Fandango, Sevillanas, Tangos, Rumba Tanguillos and Rumba flamenca). Once accepted the proposal of Paco de Lucia and Rubem Dantas, of introducing the box on stage and Flamenco art, Spanish drummers began to ask boxes to Peru. After some time they are built in Spain, following the dimensions of Peruvian models and in some cases changing the building material (birch plywood, poplar, okumen, Calabó, beech and pine). Currently there are over 50 Spanish manufacturers engaged in the creation of boxes, being the pioneers Mario Cortes (the most recognized in the decades 1980-2000). He was joined by the German brand “La Perú” and the Spanish one “La Pepote” (these early manufacturers sold the boxes for about 400 or 500 euros and in some cases it was chipboard wood) and to these days, in which we find builders in all regions of Spain (De Gregorio, J.Leiva, Katho, Duende, La Rosa, PRK, Pepote, Martínez, Soler,

11 The material most used and which has best survi- ker, whereas what has only been done is to widen ved the climate changes, timing and durability has (up to 15 mm in some cases the hole), by means been the plywood, in each of its varieties of trees of small internal strips which have been san- (birch, poplar, beech, pine ...), being an economi- ded and shaped circular, increasing the thickness cal and affordable material for the manufacturer of the back lid in the part of the air outlet hole. better than solid or noble wood, besides being a Another cheaper type of wood often used by very flexible and durable material. We should also box manufacturers is the DM (Medium Density) mention the willingness of some manufacturers in or MDF. They are boards made of small particles constructing flamenco boxes with solid wood (ce- or fibers which are constructed from wood that has dar, pine, sapelli, beechwood ...), taking a logical been reduced to their basic fibrous elements (what problem of physics, these woods are susceptible to is called in some cases sawdust) and then reconsti- cracking with changes in temperature and humidity tuted to form a stable and homogeneous material. . It is important to know that, within the different They are made of different density depending on the types of plywood, there are differences in the trees pressure applied and the agglutinating agent used location and their production, i.e. it is not equal in its ma- the Finnish birch to the Russian birch (a little drier nufacture. and lighter). As shown in the previous picture, the plywood construction system consists of several layers or floors built on one another alternating horizontal and vertical wood.

The thickness of the wood or parts of the box is currently about 9 to 12 millimeters, although it should be explained that, until recently, the thickness of the body was higher (12 mm and 15 mm in some cases). Over time, manufacturers have opted for comfort, lightness and timbre of the boxes with 9 mm (it is well-proportioned as a whole), getting a

It is made by forming a double-sided board having both sides smoothed, which is manufactured using a dry process. The fibers are bonded by a synthetic resin adhesive. These boards can be worked as if they were solid wood. They provide an excellent base for veneers and paints in different finishes. They are generally manufactured in various thicknesses and dimensions, but typically between 2.5 mm and 40 mm. much lighter instrument, balanced sound frequen- cies, besides giving lightness and functionality to the box, achieving an internal displacement soundboard suitable with the resulting bass and treble sounds.

Many manufacturers use in the box back part a lower thickness plywood (5 to 7 mm) and to give more strength and feeling of reliability to it, they internally widen the back hole, so that when it is picked it gives the feeling that the back is thic-

12 Chipboard boxes were the first to appear on the market about 35 years ago. Currently, the cluster is not used in the manufacture of the instrument, since its deterioration, fragi- lity, weight and acoustic characteristics are very poor.

It is obtained from small chips or sawdust, glued under pressure in a proportion 50% of shavings and 50% of glue. They are made of different types depending on the particle size, its distribution across the board, and the adhesive used to manufacture them. Usually softwo- ods are used instead of harder ones only for their ease of working with them, as it is easier to press soft than hard.

The agglomerates are stable materials with a uniform consistency, they have smooth surfaces and they are totally unsuitable as a basis for veneers. Most particleboards are relatively breakable and have less tensile strength than plywood, because the others have perpendicular metal overlays that give more stamina.

These boards are affected by excessive humidity, pre- senting expansion in its thickness, expansion which is not recovered upon drying. However, models are produced with some resistance to humid conditions. Sound Box. Cubic Capacity and Di- mensions of the box. About the soundboard we should note that the more cubic capacity or soundbox of the instrument, the more intense and powerful the bass is, i.e. there will be more air moving inside the box: the larger the cubic meters the box soundbox, the greater the wavelength of the sound and consequently, stronger or more intense the sound will be. The hard part is to get a balance between the treble and the bass, being the key a good system of tuning of the strings both in number and arrangement. Clarifying that according to the individual taste of boxes percussionists, there are very powerful basses and less bright trebles, but others less powerful basses where a sharp brilliance is present. Therefore, when manufacturing or buying a box we must take into account the personal taste, but over the time the manufacturers are getting boxes which are very balanced in bass and treble, with tuning and tension systems which are very successful, the Spanish being more creative, original and innovative than the Peruvians. With respect to the dimensions of the box the first boxes made in Spain were about 30-32 cm wide and deep, about 50 cm high. But nowadays these dimensions have slightly changed, mostly to give the instrument more functionality, comfort, light weight and proportion between treble and bass. As for the width and depth, the dimension of the box typically ranges from 28-30 cm (there are many manufacturers who change the measures of width and deepth, but the boxes have usually squared tops and bottoms). When slightly reducimg the size and cubic capacity of the sound box, the manufacturers compensate the said reduction decreasing the thickness of the wood, which has changed from 12 to 15 millimeters in the first box, to the 12 millimeters a few years ago, until now the thickness of all the plywood parties of the box which are usually 9 mm (leaving in some cases 6mm for the back part), although many are also manufactured with 12mm. Regarding the height of the box, it has also varied with respect to the first of 50 cm,

13 ranging between the highest of 50 cm, to the height of the back of the box and which is usually struck of 47.5 to 49 cm. The examples we have below are for the output of the bass. So, putting the back hole a sample of the variety of dimensions that a box can up from 4 to 7 cm over the centre of the back part, have depending on the manufacturer. is the solution to give a better output for the treble and bass sound wave, although the oscillation of the Sound output: box hole (back, side, bass wave is more perpendicular to the air output by the hole. bottom ...) In the following examples we can observe how An important element of the instrument is the the sound wave behaves when it leaves the sound- output or hole (back, side, bottom ...) of the box, box of the box: which in the first or oldest manufactured boxes were located exactly at the center of the back. Currently In the first picture above left, there is an example and after several sound physics research and analysis of how when hitting at the top of the box, there is an of sound waves produced by the various boxes, the incipient wave (A) rising or projecting through an said hole has moved slightly back towards the top so opening (back hole of the box) and is refracted to the that both treble sounds (upper part struck) and bass outside (B). (medium upper struck) can give their sound waves with greater cleanliness. The resulting longitudinal In the second picture (top right), we find three exam- waves will go out more directly and with no obstruc- ples of the behavior of the incipient wave produced by tion, with a shorter trajectory of the waves to go out- the beating. In the example (a) we observe the result of side the soundbox and all of that with great cleanness an incident wave when it encounters two exits or holes. and clarity of the longitudinal wave. This would be the case of a box with two holes at the back (of which only one sound wave encountering two The sound and the sound wave of the vibrating outputs causes sound waves resulting from a unique string on the treble part of the box always take a litt- sound or beating). The result of a double hole box with le longer to go outside (milliseconds) than the bass, two waves would be the two waves which concur, mix as the hole is just in front of the middle-upper part or sound at the same time, resulting in a superposition

14 of waves. All this means that the wave is not perceived well-defined, clean or clear, which is what they usually say a “dirty” sound. One solution for boxes with two holes would be to place a table to make the soundbox independent in two resonance boxes, otherwise, the sound produced is not suitable. In the following picture we see a percussion Clover box with two back outputs, in this case those outlets have become independent.

Example (b) shows that when the sound wave leaves a single small hole, all the air tends to be compressed, but if it is struck perpendicular to the hole the resulting or different symbols and signals shapes. We must take sound wave has a higher amplitude and will be stron- into account that if the hole is too small, the air will go ger in decibels. That is, if we struck just opposite the outside more compressed and with a higher frequency outlet opening of the box, the resulting sound is more of sound, that is, a more treble sound, and if it is too severe (the wave amplitude is greater). In example (b) big, the treble and the bass is lost and the sound won’t we note that the center of percussion or striking is be- be balanced, it won’t be round or bound. low the air outlet. To determine a balance between treble, medium and The diagram (c) illustrates a sound struck in the cen- bass sounds, we must establish a suitable percentage to tre but with two outputs, just above and below the pro- the cubic capacity or the soundbox dimension and the duction of sound, with the result that if we struck per- opening of the output hole, that’s the way to differen- pendicular to the outlet hole, the sound wave will have tiate the output of a box with the following dimen- greater strength or power sound. This example can be sions (50cm high, 30cm wide and 30cm depth) and matched to a box with two back holes in the lid and we with a 12,5cm back hole, to a box with a smaller cubic struck in the central part in the middle of the two exit capacity and which is currently being manufactured holes. What would cause a not very clean sound.. (47-48cm high and 28-29 wide The various out holes have not changed much in di- and depth), in this mension along the years, being from 10.5 cm to 13cm case the output a widely accepted size by manufacturers (according to hole has an 11cm the cubic capacity and dimension) although there are circumference. also manufacturers that make limited series of boxes with the hole in one side, two smaller holes, holes Another very with a small opening/ closing gate, V-shaped hole or important data f-shaped (like the violin family), or double lateral hole, and to which many manufacturers do not pay attention is the placement of the back hole with respect to the box top lid. Some of them leave a lot of centimetres from the top back part of the instrument to the beginning of the hole (touching the central part of the box). Whe- reas, some of them place the hole at 9cm from the top back part of the hole to the end of the box in the top part.

15 What has been proved is that the more you raise the the desired timber to the sound and the way the per- back hole the brightest treble you achieve at the expen- cussionist hits the box. Many experiments have been se of the bass, if we add that we left a hole circumferen- done based on the lid (varnishes with different com- ce of about 10 cm, that means that the manufacturer ponents and brands, total or partial silkscreen of the intend to achieve great sharp, bright and very particular cover, various thicknesses, from 2 to 4.5 mm), various treble. But there may be an error, as the bass does not veneers, inlays and decorations, interior varnish, recess have enough output opening and remains off. of the caps ...) especially in terms of decoration and varnishing of the box. We can nor fall on making a too low hole, ie more A long time ago, the lid was thicker (4 to 4.5 mm) than 13 cm from the top and with a diameter of more so that its hardness was evident during the interpre- than 12 cm, because the acute angled sound wave tation. Instead, now thinner, lighter and composed of would take longer to go through the hole and the said several sheets or multilayer lids are preferred, provided outlet would be very broad or open and it would make on plywood (presumably more difficult to break -be the wave not to have much frequency or vibration, the- cause of its flexibility), the most commonly used being re being no clear differentiation of the two basic sounds from 2.7 to 3.5 mm thick. It is important to define of the box. the type of striking interpretation of each person, that is, for those drummers and fans that his way of hitting In short, the most ideal situation (talking about phy- is stronger and more powerful, tougher caps from 3.5 sics of sound), is making a back hole of about 10.5 cm to 4 mm are recommended, while for beginners and to 12 cm, depending on what the manufacturer wishes people running normally or hitting the front part of to potentiate in the box, making the hole from 10 to the instrument thinner lids are advisable (2.7 to 3.3 12cm counting from the top of the box to the opening mm). The thinner they are, the more sensitivity will of the hole. get the sound and timbre of touch more easily and the For example, in this case the box has a back hole sound produced by the touch of the fingers which in- with a diameter of 12cm (6 cm radius) and at a distan- dependently struck on the lid is very noticeable. ce of 10cm from the top. If we take into account the overall dimensions of the body or chassis are very large, We have to say that this cover is in contact at the leaving a sounding box or internal cubic capacity very back with various guitar strings (various sizes). They large in relation to other smaller boxes.aWe can say that are therefore likely to be eroded by the vibration of the the situation in the back hole should be a little lower strings and especially by the constant beatings produ- and with a larger diameter, at least about 11.5 cm from ced by the performer. the top and a diameter of 11.5 or 12cm. This example of box dimensions will result in a slightly bright hole, Typically, the entire lid is of the same thickness, sound very good treble sound but a dirty bass, with although recently manufacturers are partially lowering an insufficient air output, therefore not a compensated box. Here is an example of a Peruvian box. We can see that the bottom hole location is below the central part of the box. It should also be explained that it is a cor- dless box therefore the vibration is better than when there is a vibrating element (aside from the air itself). Thus, not having strings we cannot apply the same physics of sound theory that if it has a string. the internal face of the cap, slightly reducing its defi- In the following images we can see different types of nitive thickness. This recess is used to emphasize the holes depending on the manufacturer: treble or the bass sounds depending on where the said Front or Struck cover recess is done, and to try to alleviate the issue of har- The struck cover is unknown for manufacturers and monics. enthusiasts of the box, and it is a key element to give

16 The finish, final product or decoration of the hitting lid is most visible at first glance, since the vast palette of finished forms of the instrument makes the cover to be a very particular element and that “often enters by sight.” Since leaving the plywood lid with several layers of varnish in its natural state, to sticking the wide variety of natural veneers (coniferous, tropical and lush in its two forms-meshing and branchy) on the market, very particular decorative aspects of the box. “Nazarí” star Perez Gago’s shapes Guitarrería These plates are usually attached with glue, leaving it dry by touch, after that and very carefully, the plate is ironed and leaving no bubbles or air inside, it is advisa- Hole positions J.Leiva ble to use a dry cloth to help not to create the bubbles. To stick it on a plywood plate, it should be fine smooth and clean, the plate is cut with a blade or sharp knife a few inches larger than the top.

Thicknessing and decoration Katho

Canaro output

Benny’s triangle

Double hole Trébol Curved back part and lateral hole Soler

Opening/closing hole Mario Cortés

Oval hole by Joss Hole and opening in the low part by J.Leiva

17 Then, a first hand contact mild carpenter glue is -gi ven, letting it dry and applying a second coat to the top. After that, you stick the plate pressing with a hammer or a block of wood with rounded edges (you must press well several times), a press simplifies work. Then with a cue leaning on the excess edge, cut the excess with a blade. For the final finish of the plate, you must slightly smooth the corners and adapt it to the inclina- tion of the striking plate.

The dimensions of the plates are different 1.50 cm by 2.20 cm, 1m by 50cm, but measures are more often found in square metres. The thickness in most plates is 0.60 mm. According to the wood store or manufacturer, so you can find the plates, although most manufacturers purchase the boxes’ plates in a 50cm by 30cm dimension (which is the approximate size of the plate, overrunning a little bit).

The cost of each of the plates (50cm by 30cm) va- ries considerably, from the most economical that can cost from 1€ to 1.75€ (Mukaly, Mongoe, Bubinga...) each, to the most expensive which range from 20 € to 25 € (various root stained lids, Makassar Ebony, Ro- sewood, rosewood...), hence the final cost of the box vary the sale price. We must also comment that there are veneers which are harder to find and get (exotic wood) on the market, a fact that makes an impact on the final cost. The most expensive plates are Rosewo- od and Rosewood and the stained roots (which gives them that special shade). If the plates are purchased in squared meters, of which six plates come out, the economic cost is lower than if purchased by unit. From the 10 square meters on, the woof factories usually apply a substantial discount, but only manufacturers which sell enough boxes a year can afford it.

Below are more than 100 plates (plain and prefabricated-meshed-), they are all from Spanish companies: Tableros Galindo, Alpisa, Maderas Blanquer, Maderas Aguyo:

18 Coniferous natural plates

Caoba Bossé Bubinga American Cedar Etimoe

Iroko Red Pale Sapelly Sucupira Wengé

Tropical natural plates

Red fir Red cedar Hemlock Yellow pine

Oregon pine Wild pine Maritime pine Insignis pine

Leafy natural plates

American cherry- European cherry- Birch European maple Chestnut wood wood American ash

Black American European ash Beech Soft maple Tough maple European walnut walnut

White oak European oak Red oak

19 Prefabricated plates

Mashed cherry- “Rameado” Cebrano1 Cebrano2 wood cherry-wood Mashed ebony1 Mashed ebony2

beech/maple Mashed beech/ Mashed ebony3 Mashed ebony4 Ash Light gray “rameado” maple

Mashed Mongoy Mashed Mongoy Mashed Mongoy Mashed Mongoy Mashed Mongoy Mashed Mongoy 1 2 3 4 5 6

Mashed Mongoy Mongoy “ramea- Mongoy “ramea- Walnut “ramea- Walnut “ramea- olive tree “ramea- 7 do” 1 do” 2 do” 1 do” 2 do”

Mashed Mashed Mashed Mashed Mashed Mashed rosewood1 rosewood2 rosewood rosewood rosewood rosewood

Palisandro ram.5 Palisandro ram.6 Palo rosa mallad.1 Palo rosa mallad.2 Palo rosa rame.2 Pino mallado1

Mashed pine 2 pine “rameado” 1 Pine “rameado” 2 Mashed oak1 Mashed oak2 Mashed oak3

Mashed oak 4 Mashed oak 5 Mashed oak 6 Mashed oak 7 Mashed oak 8 Oak “rameado” 1

Oak “rameado” 2 Oak “rameado” 3 Oak “rameado” 4 Oak “rameado” 5 Oak “rameado” 6 Sapelly

20 Teka mongoy Mashed dyed1 TMashed dyed2 Mashed dyed3 Mashed dyed4 Mashed dyed5

Mashed dyed 6 Mashed dyed 7 Mashed wenge 1 Mashed wenge 2 Mashed wenge 3 Mashed wenge 4

Mashed wenge5 Mashed wenge 6 Mashed wenge 7 Mashed wenge 8 Mashed wenge 9 Wenge “rameado” 1

Each manufacturer of boxes uses the different variety of plates on the market in catalogs, preferring those that confer a uniqueness to their brand of boxes. It is common in many manufacturers like Zebrano veneer, Ebony, Rosewood, Bubinga, Mukaly and Mongoe plates. But if you want to differentiate yourself from the others, you should propose uncommon plates for the covers. Schlawerk-La Peru, uses plates which are very hard to find as well as being very expensive (Makassar ebony, red skinwood or Mocca Fineline).

The decoration observed on the front cover of birch calibrated in 2.7mm, is a mosaic of the Alhambra in Gra- nada, which is a design pasted to the plate with a resin which gives it a very good sound while more durability, and at the end we have a lid of 3.3mm.

Covers with different plates by “Cajones Soler” 21 In Cajones Abueno Percusión they make inlaids with different types of woods (Erable, Ebony, Oak, Italian Wenge, Zebrano, Root, Fantasies ...) and marquetry from Granada, used for more than five centuries in Al- Andalus, the current Andalusia. They use the technique of marquetry, making each cover entirely by hand.

Covers with inlaid marquetry by Abueno Percusión In J.Leiva Percusión, the decoration of the boxes and lids are made with direct screen printing on wood and protected with a special varnish. The wide variety of designs and colors gives a singularity of the brand, not only at the top but also at the sides and back of the box.

Silk-screen printing covers by J. Leiva Percusión In Katho Percusión the front striking cover is composed of various woods like beech, okumen and different leiris plates, all with an innovative design on almost the entire surface of the cover, with symmetrical geometric elements at both sides of the cover with inlaid grenadine marquetry. The decorative inlay forms are varied (dia- mond, polygon with 8 pointed star internal or external).

Decorative covers with inlaid grenadine marquetry by Katho Percusión About 2010, it became fashionable the personalization of the cover with various vinyl designs that can be attached to the box in any of its parts. The vinyl is usually placed at the top (most visible to the viewer), but vinyl is also often put on the sides of the box, and almost never on the back or top parts.

The Plotters are the vinyl printers, which in turn also cut letters, logos and any letter you want to highlight on vinyl with a needle. There are different types of plotters of vinyl by size, quality, variety of

22 color ... From 200€ of an economic plotter and which can only print on A4 size, up to 8 or 9 thousand euros of the most professional and highest quality, all of them work with a computer characteristic pro- gramme. On vinyl, there is a diversity of colors, sizes, quality and brilliance...

Below there is a catalog of vinyl, and examples of plotters with different characteristics.

The plotter can also cut with the blade the letters of the logos or trademarks introduced in the computer program, for them these letters are cut and taken to a transparent carrier for the subsequent placement on the top of the instrument. We must try that the letters are not too small and thin, because they will be difficult and they can be broken.

Another system is that, once the vinyl (with equal dimensions to the box parts) have come out of the plotters we have to attach them to the wooden frame of the box, it is important a good adhesion, for no bubbles to appear. You have to do it slowly, helped by a plastic pallet and sometimes by a catalyst or dryer to mold the vinyl.

Customized vinyl covers Trébol (Camarón) and Granada Drum (insects and Spanish flag)

23 Another technique that is applied to the stricking tops, is the customization by pyrography of any drawing or photograph which the client brings to the manufacturer. It is very similar to the technique applied by tattooists.

Pyrography on the cover technique (Dp boxes) The German manufacturer Erakkustik makes of his boxes a work of art regarding workmanship and decoration. The polychromy in his boxes, and their various forms of structure lines and color, makes it a top rated manufacturer when its pictorial presentation of boxes and striking lids, like the one which imitates the Rubik’s cube.

Varnished covers in different colours and forms by Erakkustik

But the most used technique for decorating the stricking covers are the silkscreen plates. In the example below we see that the plate has just silkscreened the cover. This procedure consists of an plate with a wooden frame properly put on the lid and where to pour the paint color you want, then the paint penetrates on the plate which has no threads, whereas where it is not transparent, the paint doesn’t enters. Therefore, when take off the cover plate, the only paint which will remain is the one penetrated by the plate, thereby making the pattern desired by the manufacturer.

24 It is also the technique used to put the different logos of manufacturers, the color of the logo can change depending on the finish of the stricking lid, but the usual ones are white or black.

Covers done with plates of different drawings and forms (Maya by Trebol, Rocoto and Mescalero by PRK)

Among the decorative plates, we have to differentiate between “rameadas” and mashed. The “rameadas” have a placement of its distinctive grain, forming a kind of ondulating grooves, which in many cases give a sense of overlapping mountains, either up or down, whereas the mashed plates are very straight and parallel vertically often with very similar shades of colors but sometimes we can see that the mashed is polychromatic (examples of DG). Other plates are very characteristic of certain boxes manufacturers, as is Mario Cortés example, with plates which make him be identified over the others.

Rameadas and mashed covers by De Gregorio and decoration by Mario Cortés. The laser has also entered the world of boxes. In the market, there are laser machines that can draw on various materials (glass, textile, leather, metal, wood ...), whatever the customer wants. In this case, the machine we have in the photograph below is for cutting and laser engraving. The total cost of a laser of this type is above € 7,000 (the cheapest), which makes it a tool not used by boxes manufacturers. But some of them, as in the case of Abueno Percusión, they use this technique to give expression to their logo on the side of the box. Its definition and resolution, make the result almost perfect.

25 String tension and tuning system. next most used is 0.46 mm thick. Formerly, thinner strings were used 0.34 mm and 0.32 mm or Treatment of harmonics.String ange- 0.56 mm thick, but over the years, the manufac- ments in the box. turers have realized that the constant vibration of As for the tension and tuning system, we have to these strings make internal harmonics bigger, be- comment that the imagination and innovation of cause being finer (higher frequency or vibration) or boxes manufacturers have been constant since the too thick the strings (lower frequency), therefore beginning of its arrival in Europe and Spain from they chose an intermediate interior diameter and a Peru. The most common system for over 30 years has more balanced string. Currently, manufacturers are been the one originally used by the German brand experimenting with the strings of the lute, vihuela, La Peru, as the string tuning system single, double or piano (as Bonca) to even the strings of the violin triple tuned by varying the bascule bridge and screws family (viola, cello and bass), all of this shows that up or down in different ways for the tension of the the manufacturer is constantly looking for various said strings, which tightens or loosens at the bottom sonorities to improve the instrument. (the more usual case), top or side part of the instru- The treatment of harmonics in the box is a ques- ment. tion that has been among boxes manufacturers from the moment in which Spain decided placing a vibrating element or strng inside the soundboard. After many years of operation and improvements of the box: Afroperuvian (lately, strings have been added which were previously unavailable) and flamenco, the instrument will be added different types, systems, objects or mechanisms reducing tension / tuning strings, bass or springs . Many of the currently existing boxes have a tuning voltage system or similar, comprising a bridge or bar that pivots up or down according to the On the number of strings, springs or bass strings tension of the screws which are normally adjusted we cannot be specific, since the same manufacturers by the box bottom. They use various types of screw release different models with different number of head (allen, cross, flat, pomfret, viola, plugs ....), strings too, the normal or standard ones are arran- which need to lift the box cover to be tuned or ten- ged in dual string “VV” or “| | | | “. But gradually, sioned handly or with tools (flat or star screwdriver we can see inside the box a network of strings (with or Allen key ...). different settings), reaching four or five double This voltage tuning or tension system may have strings placed on the same bridge or tension strip different number of strings, bass or docks, scraping (as we shall see later). the inside of the stricking lid, but there is a small It is very important the location, situation, num- problem: the harmonics that are produced by the ber and method of attachment of the strings on the inaccuracy of all the components. Some of the rea- instrument, since the proportionality, disposition, sons for the production of harmonics are: 1. - The symmetry and size when placing the structure of the bridge or bar that moves (up or down) to tighten box it is considerably important for a search of the the strings is sometimes not directly symmetrically desired sound by the performer or manufacturer. parallel or longitudinal to the stricking lid, which This is where we can discriminate auditorily that will result in no contact of all the strings with the with a disposition of the strings in the box and the stricking top. 2. - Sometimes the very top has a different forms of stress, we will differentiate more small bulge or curvature produced by the manu- bass or treble sounds as modified. facture or by applying various painting processes, The more used strings as element of vibration and which leads the strings not to rub in their whole sound production are those of the guitar (classical, extension. 3. That the bridge is pushing hard the electric and acoustic) being the more balanced that cap without letting the string to vibrate properly. 4. with an interior diameter of 0.42 mm, although the - That the countersinks formed to adjust the strings

26 to the frame of the box at the top are not well made dented lid, no bridge symmetry tensor, inaccuracy or symmetrical, which means that the strings are of any structural element ...), and when knocking not equally arranged vertically (discontinuous con- on the front cover of the box, this is a free string, tact with the top rope). 5. - The chassis or body of producing a free or uncontrollable vibration, in the instrument is not symmetrical on each side, as contrast with the vibration of the other strings re- in the gluing the suitable tools haven’t been used, or maining in contact with the top of the box. that for its realization the tips are the main fixing The theme of the harmonics that cause the boxes element of the box’ structure. with inside strings can be solved, this can be done That is, there are multiple issues to consider boxes’ manufacturers so that the instrument is in good structural condition, formal and of timbre. So far, the reduction of harmonics that are arranged in different internal hitting caps of the flamenco boxes, need some kind of added or attached to the cover accessory: different material adhesive tape (coachbuilder, duct tape, network tape ...), several bridges, plastic adhesives with the manufacturers’ logos, male-female Velcro tape or glued, rubber bands horizontally to the box... These accessories act as bridge of vibration of putting a little duct tape, velcro or plastic on the the strings, springs or bass strings, removing sound loose string or on the one which produces the har- quality, dynamics, tone, frequency and amplitude monics to calm or soften vibrations, is like putting to the sound wave that is produced by striking the small bridges on the strings (as in a guitar). These harmonics are simply caused because the string is not in direct contact with the striking cover, therefore a millimeter up or down causes the string to vibrate loose-fitting and without obstacles. To detect the presence of harmonics we must first make sure that the strings are properly stretched and then make small taps with a finger on the entire surface of the top cover of the box and we will be able to discriminate these harmonics located where we tap with the finger; if we notice the harmonics we have to put the adhesive tape, usually duct tape top of the box and the resulting vibration of the or that used in hospitals with a grid, in the detected elastic element (string, bass string or spring). In area. many cases the elements which obstruct the vibration (adhesive tapes, velcro ...) intersect one string into three different zones, where cleanliness and wave vibration is not present. For all these reasons and many more, the anti- harmonic mechanism presented finishes with the problems that arise both to manufacturers and interpreters of the box, avoiding some discomfort that occurs in the instrument. The harmonics arise inside the resonance box of the box, when the strings, bass strings and springs are not tight or not pressed with the back of the striking cover. When any of the strings does not paste or collides directly with the cover (for various reasons as the

27 One way to pacify or reduce harmonics and vi- As to the bridges or mobile dump strips which brations of the strings is to set elastic bands hori- act as tensors of tuning of the various strings, bass zontally from one side to the other of the box body. strings or springs, it is worth mentioning the small Its width can be from 0.5 cm to about 2cm used difference regarding proper placement and the by some manufacturers. The best way to place the most appropriate number according to the ropes. stickers is to find the harmonics of each string and Bridges or mobile strips are a small bar of wood then solve the problem with the tape (which usually (plywood, pine, beech ...), whose size is usually 2cm takes a minute for proper tuning of the box, when wide, 9mm thick and different lengths depending an expert tunes it). Instead, to go faster and even- on the placement of the screws. One or more ho- tually prevent unexpected harmonics from arising, les are made in these bridges with a thickness equal some manufacturers place three adhesives symme- to the diameter of the screws (4 to 6mm) and the trically on both sides, to avoid the troublesome har- screws needed are introduced. We must take into monic to the performer. account the distance of the holes and the through- Another issue is the cross or vertical beam at the going screws from the bottom of the box (where the center of the box’ chassis, which in many cases is strings are tensioned) to the mobile bridge or bar, placed behind the bridge or in the center of the box. and a correct positioning of the hole. The result of In the history of the manufacture and construction an asymmetry of the holes (in both the chassis and of the box, most manufacturers placed this cross or the box movable bridge) leads to the production of beam vertically, believing it to be an element that unwanted harmonics produced by the improper brought stability and strength to the structure, and placement of the strings in the striking cover. It is definitely, that the instrument could be hammered also advisable to attach the device or element which by considerable weight people. Over the time, they acts as a stop and makes the bridges do not move have realized that it is not so much the stability into the box. provided to the box placing it at the center of On the most appropriate number of mobile the body of the soundboard, it acts as a barrier dump strips, it is advisable to use a string bridge, to sinusoidal waves. Such waves are produced by since the use of the same strip for two strings, can striking or hammering on the top, they are “divided” cause unwanted slight tension modifications. For or “cut” in two waves resulting from the original example, when we want to tighten a double string one motivated by the vertical cross obstacle. The air outlet through the back or side hole of the box of the waves that have been broken, has a negative consequence with regard to the final outcome and checked by the oscilloscope of sound waves. The characteristics of timber of the resulting wave sound will not be clean nor clear, diffuse and of less quality than the same box but without the crossbeam. But this does not mean that the box does not sound properly, but that you can improve the benefit, quality or color of the sound of the instrument. box with a single bridge, we found that by tightening the screw on the right chord, we are moving the bridge slightly in all its dimension and there is a consequent change in string tension in the left string (especially if the bridge or distance between screws is small). Therefore, it is advisable that each string possesses its own bridge or mobile bar, which will only tighten the rope the interpreter wants to tighten, and each bridge its own block for it not to be rotated or moved for various reasons.

28 There is a great diversity in shapes and patterns of rope is the most economical and therefore the one screws or mechanisms for the tension of the strings, of the cheapest and simplest boxes: which typically bass strings or springs. Such screws are usually from cost in the market 50 € or 60 €, including in either 4 to 6mm that are bolted to screws that are nai- case materials like DM or MDF (medium densi- led to the bridge or strip and stretch the string if ty fibreboard), hardboard or plywood reduced cost we press the screw (putting the bridge down and poplar or pine okumen. tightening the string). The screw head was origina- Its sound is also characteristic, as the string vi- lly an allen key, and the manufacturers had to inclu- brates less (one string on both sides), although it de in the box (docked anywhere inside the chassis) should be explained that there can be tuned single this key for the customer to use it. Over the time, string boxes which have very acceptable characte- the head of the screw that holds and tightens the ristics. A disadvantage of those not tunable, those bridge is usually of a different shape or size, cross, which are fixed to the lower cross-tensioned, is that flat head (which you can tighten or refine with a over the time it tends to be loosen and therefore simple coin), battery screw head with various brac- the string is released, producing unwanted harmonics. This is a very common problem, having to unscrew the cover again and tighten the string and tighten the screws better. Therefore, this type of single string boxes is better for beginners, where sound is obtained easily and we do not need to hit hard. The disadvantage is that over the time (two years learning and perfecting on interpretation), you will kets (as used by La Rosa, J.Leiva, Tókalo), viola or any stringed instrument peg. All the screws or mechanisms act in the same way, differing only by the ease which present some with respect to the others. Below, we will develop various systems of tension strings, bass strings or springs depending on its tuning / voltage way, strings number and arrangement of them inside the striking cap: 1. – Tuning and tension system with single string (with and without tuning bridge): In both cases, boxes with simple tuning and vol- have to buy another box that can give more sounds, tage systems, both the key tunable string as the timbre and dynamic nuances. fixed string, have a similar arrangement of the guitar string in “V” shape, leaving the two endings of 2. – Tuning and tension system with double the “V” string open at about 5 or 5.5 cm from the string (with and without tuning bridge): lateral end of the boxes. It is a suitable distance, they could even reach 4.5 cm from the end. The voltage / tuning system of double string has This type of voltage / tuning system of single more possibilities of arrangement of the vibration with relation to the box structure because as being two double strings (four individuals), it enables the manufacturer to place them at different locations. Similarly as in the simple voltage system, we find boxes in which the strings can be tuned and tensioned by bridge and screws, or otherwise fixedly tensioned strings to the instrument’s structure. With regard to the system of double string fixed voltage, we must clarify that it is not a very recommended

29 tuning. First, because the two strings are fixed (by strings vibrate, vibrating the internal ones by sym- means of screws screwed into the bottom of the pathy or friction of the cover. chassis), acting as cutting elements, nut and vibra- However, if the arrangement of the strings is dis- tion damper. If we put these strings to vibrate, we tanced from one to another in a “| | | |” or “\ | | can discriminte that each of the four resulting inde- /” shape, and leaving a wider stringless area for the pendent strings (which normally have different ten- bass, the balance between treble and bass is more sion each) produce very different heights sounds, appropriate. reaching more than a 6 tones area between the bas- A proper placement of the strings in the acute would be the one used in the next box, where the two lateral strings are on both sides (place where the box is struck in the treble). Instead, we must say that its final structure is not ideal, as the two double strings are tensioned by a single bridge, besides having the vertical beam which breaks the sound

sest note of a string to the note of the treblest string.

The most important thing for a proper result of the sound wave produced by the vibrations of the strings struck by the interpreter, is the arrangement or location of them on the chassis frame or body of the instrument (both at the top and the lower wave. parts). 3.- Tuning and tension system by means of If you look carefully at the placement and ad- bridge or strip of triple string justment of the strings at the top of the box body, we find that their layout, symmetry and fitness is The box of the photographs has a very characte- very important for a proper sound result. If the two ristic string, three strings on each side, of which the strings are fastened by screws in “VV” shape, we most extreme string, that is, it has been cut in two note that the central part where the bass sound is halves and used for the extreme ropes and instead, a struck, has little space between the two strings insi- double rope is fixed by a screw at the bottom, with de the box, the consequence will be that we cannot a disposition of the string as follows “| \ / \ / |”. This perceive clearly the treble and bass, being a not very location of the strings is another way of the exis- powerful bass. In turn, we can say that when you ting in the market and is, in my opinion, a success, play the treble on the top corners of the box, it can but we must mention that being a fixed rope sys- be touched and vibrate directly only the extreme tem there is no possibility of stress and intonation of the instrument. As for the distance between the strings (3, 5 and 8 cm) of the extremes on the top, it is a coherent arrangement, although when they are touched we can discriminate that they produce different sound heights according to the string that we press. Therefore, this system of arrangement of the strings, arranged with a screw tensioning system may have a good final result in the production of sound in both the treble and the bass. Here there is another example of box with triple string or springs, this disposition in “| | | | | |” shape

30 is very appropriate, since it resembles the system of at 4.5 cm the first and the next two at a distance of strings of many manufacturers, the only differen- 2 cm each, having a total from the lateral outer of ce is that instead of guitar, lute, vihuela, piano ... the box until the most internal string in the center strings, they are springs of an intermediate thick- of about 8.5 cm. ness. In this system the spring tension drawback Another very used disposition available by ma- has disappeared, as the screw and wooden bridge nufacturers of boxes is this “| | \ / | |” shape, leaving plate with the barbed nut makes of tensioner to the considerable space for bass sound beating in the springs, and the three springs will move at a time central area of the box. when they are tensioned. The manufacturer has done a good job and has made a block or stand at 4.- Tuning and tension system by means of the base of the box so that the movable bridge does bridge or strip of four double strings

In this example we can see the arrangement of the four double strings as “WW”. The manufacturer of this box uses this system leaving free space in the center for the bass to be more powerful. The system used for the tension or tuning of the strings is that of two strips or allen screw bridges, unlike the system of a twin screw system which tenses or tunes the four strings (as in the box which follows). The last one is poorer because when tensioning or loose- ning with either screws, we would indirectly do it not move when tensioned (block which many ma- with the two strings on the right or the left, with no nufacturers do not place, making the board move individual tuning or voltage of the 4 strings. with every stress, touching it the cover). The only thing that can be a problem is that the ends of the springs are stapled to the wooden board or chassis,

What is most curious is the placement of the two extreme strings at the vertex of the box, which are with the possibility that they jump out by means of arranged on the body side of the soundboard whose the tension of the key. We must also clarify that the asymmetry makes the adjustment and countersink tension of the three springs on both sides is difficult difficult. But it is a disposition of the most appro- to achieve, so their indivi- priate ones on the market, as these strings occupy dual sound certainly differs enough surface of the treble area, leaving stringless in some height tone. the bass sounds that are struck in the middle of the The vertical arrangement, box. Therefore, the symmetrical arrangement on parallel and equidistant of both sides of this design is typical of a box which the springs, is very appro- can produce a great sound quality. Instead, both the priate, because from the vertical cross (which cuts the sound wave) and the outside of the instrument unique bridge used as tensioning mechanism, make the springs have been placed its overall conformation not to achieve a full sound

31 quality. This means that if we placed four small tu- within the flamenco boxes. They differ from each ning tension bridges to the four strings and took other by their material, but the most characteristic off the center and vertical cross, we could speak of is the curly shape of the spring and its length, so an excellent box arrangement. All of that with the we can have different thicknesses, lengths and curls proper tuning and reduction of harmonics which that will indicate the sound that you want to achie- this may cause (the more strings a box has, the more ve with the box. possibility of producing more harmonics).

7.- Bass string or drum set bass strings system

The bass strings are vital in many percussion instruments or percussive hit (either with sticks, bars, brushes or just with your hands, as the box). In these membranophones struck instruments we can find various types of bass strings depending on the

Usually, the springs are used by manufacturers through various forms of placement of the springs in parallel, horizontal, vertical or transverse to the chassis or body of the instrument, they make a type of elastic strain something particular. For example, the placement of one to three small springs in the upper vertices of both sides of the box is commonly found, as well as various springs which longitudina- manufacturer, thickness of metal or steel wire, leng- lly traverse the box in the treble. th, elasticity in tension, like of the drummer (is an One of the pioneering manufacturers in Spain easy to handle, tighten and check sound system as and known in the world of percussion is the brand you want). Pepote, which uses the system which we are refe- The bass strings are vital in many percussion ins- rring to. This manufacturer has been joined by truments or percussive hit (either with sticks, bars, many others over the years, being a preferred sys- brushes or just with your hands, as the box). In tem for certain percussionists or box interpreters, these membranophones struck instruments we can but not very common in current Spanish manu- find various types of bass strings depending on the facturers. The sound it produces is very accepted manufacturer, thickness of metal or steel wire, leng- and balanced but lacks the brilliance that can reach th, elasticity in tension, like of the drummer (is an boxes with conventional string systems, being cu- easy to handle, tighten rious that those manufacturers who use the system and check sound system of springs, have more expensive cost boxes. Later, as you want). we have various details of the arrangement of the springs in the boxes and the tension way, but one 8.- Springs or small disadvantage is that they cannot be tensioned (in curly wires system some cases).

As we can see, on the III. The flamenco box in the market there are a wide classroom range of types of springs or spring-shaped strings Introducction that are used in a varie- The widely accepted interpretation of the fla- ty of instruments and menco box in the primary and secondary education

32 classroom is justified by the great importance that it must be approached from the perspective of un- flamenco has in the context of the cultural heritage derstanding, protection and respect that transcends of the whole of the country of Spain, especially in the educational pedagogical dimension. those regions where their tradition is more signifi- cant, as it is the case of Andalusia. It also has an ex- Limiting ourselves to the field of music and in- traordinary cultural projection both in the EU and terpretive education about the teaching of flamenco internationally, evidence of that is a recent addition box and small percussion, we will say that educa- to the list of cultural events as part of the Intangible tion and music today is Cultural Heritage of Humanity by the UNESCO. a human right and not a privilege, principle This international projection must be revealed, advocated by all active as it cannot be otherwise, in their educational and methods of Music Edu- pedagogical aspects, increasing the demand for a cation. As stated by the teaching which includes all the facets of flamen- RD 1631/2007 of the co (from both a theoretical and a practical point curriculum for Secon- of view). Proof of this is the growing number of dary Education: Andalusian, Spanish and international students and Music, as cultural seeking for a comprehensive training in this art, good and language and that includes both the humanities and interpreti- nonverbal communica- ve aspects, training which will ensure, on the one tion medium, is an unquestionable value element hand, the preservation of the essential elements of in the lives of people. Today, we live in a constant contact with music, the more powerfully massive art of our time .... So, some things to be considered by Pilar Pascual in her book “Music Education”, and various issues extracted from my experience, we can emphasize that the interpretation of the flamenco box percussion in the music room is an important element in the full training of personality:

PSo you have to conceive its teaching and training to perceive or express the musical interpretive message, providing the development of many es- flamenco, as the various basic styles or structures sential aspects in training related to the three main that form it and, second, the rigorous transmission, intellectual areas (cognitive domain, psychomotor, through an appropriate teaching and appropriate to social and emotional). the current music pedagogy. Music education with the Organic Law of Educa- Undoubtedly, it contributes to safeguard the dis- tion (LOE), Andalusia (LEA), the Royal decrees, de- cipline, the main objec- crees and orders that complete it, takes on a broader tive of the declaration and more global dimension than in previous sys- of the UNESCO World tems, to promote the perception and expression of Heritage Site of intangi- students and provide content for general and cul- ble manifestations. This tural education, contributing to the development consideration further of core competencies proposed by the Ministry of states that these intan- Education and Science. gible things are a living heritage that gives its It is now, when the teenagers live wrapped in a holders a sense of iden- lot of very diverse musical sounds. The music and tity and continuity, so flamenco in particular play an important role in so-

33 cialization and the formation of identity and it has become a symbol of their quest for personality and autonomy. They use music to reinforce identification with their peer group, as a vehicle for their rebellion against conventionalisms, to help them establish a separate identity from that of their parents, -but not against it-, or simply used for relaxing, entertaining or avoiding the feeling of loneliness. Our students listen to music from the moment they wake up until they go to bed, and even many of them sleep with music.

The educator or teacher should be aware that we are in a changing society, changes that occur at a me- teoric speed and surprise even the teenager. Teenagers cannot stand boredom. Their taste in music, as in

clothes, and even in ways of thinking, or live, are subject to trends that mark the media.

The interpretation in the classroom with the flamenco box collaborates with many educational subjects

(interdisciplinarity) and therefore allows the principle of globalization, so important for students to realize that culture is not the result of many independent things, but a set of inter-related achievements.

34 Specification of the objectives for The scores of each of the exercises, techniques secondary education for the music and flamenco styles, make the students have to assi- area or subject milate the message as their own artistic code of the score for percussion and flamenco box, as it is not 1. – To understand, appreciate and respect the the typical stave notation system they are accusto- basic aspects of culture and history of their own med to see and read on the subject of music to play one and of the others’, as well as the artistic and the flute or plates instruments. cultural heritage. 5. – To understand the basic principles gover- Teaching meets this goal as it helps to know the ning the operation of the physical and natural basics of artistic culture of flamenco and its inter- environment, assess the impact of human acti- pretive part of music. We have already mentioned vities on it and actively contribute to the protec- that flamenco is the heritage of humanity and it is tion, preservation and improvement of the sys- present in our history, being important the gypsy tem as a determinant of quality of life. race in its origin; so the study or knowledge of the history from its origin to the present makes our students get into the historical-artistic culture of our country.

2. – To know and accept the functioning of our body and that of others, respect differences, strengthen the health care habits and body to promote personal and social development.

The body percussion is also a reference point in education, since all flamenco can be interpreted with the body (knees and thighs), as with the box As we know, the interpretation of any kind of and small percussion. Carrying out a good working percussive sound leads to a sound production of va- knowledge of our body (right punches, striking in- rious dimensions of intensity or power (decibels). tensity, differentiation of sounds in different body You have to understand the principles of operation parts ...), makes us appreciate our body instrument of the instrument to preserve the quality of life for and most importantly: you can play anywhere, di- both the performer and those who are close to the fferentiating only the positions of sitting or stan- production of sound. An inadequate interpretation ding, bass and treble percussions. or hard struck is neither good nor adequate. We

3. – To appreciate artistic creation and understand the language of the various art forms, using various means of expression and representation.

The means of expression and artistic creation is the individual interpretation with percussion (body and flamenco box), appreciating the language of music, accompaniment and sound representation, and understanding of a very unique art expression in our community. have to take into account the environmental sen- 4. – To properly interpret and produce, auto- sitivity, highlighting the importance of good inter- nomy and creativity messages using artistic and pretive praxis and the procedures for the instrument technical codes. to produce less sound intensity.

35 8. – To develop and implement various skills 6. – To know and respect the cultural reality of and techniques that facilitate instrumental per- Andalusia “Flamenco”, from the knowledge and formance and music creation, both individually understanding of Andalusia as a cultures com- and in groups. munity meeting place. The skills and techniques developed in box and This objective is of vital importance as the cultu- small percussion teaching are very diverse and ral reality of Andalusia is present from the begin- adaptable to all students’ interpretive possibilities; ning to the end of it. With the development of a there are different exercises or interpretation tech- whole introduction of flamenco culture from its niques advancing in complexity. So each student beginnings, stages and development to the present can fit his own knowledge and interest in flamenco day, we will reach an understanding and compre- style. I have been able to assess that the skills in box hension of the historical culture of our community. capacity are very different from those in other areas It should be emphasized the mix of cultures invol- of knowledge, hence some students whose intellec- ved in the origin of flamenco, highlighting the con- tual capacity is below that of other peers and need tribution that each of them has had to the musical style of flamenco. Knowing the reality in which it is

to have an adapted curriculum, have less difficulty learning the basic rhythmic interpretation of fla- 7. – To use your voice, body, objects, tools and menco or sensitivity. Such students, who typically technology to express ideas, feelings... attend educational support, experience a very signi- ficant self-esteem, which are in solidarity with the As mentioned above, small percussion teaching other partners and help them to a better understan- is designed so that any student can interpret the ding, both individually and in groups. Therefore, proposed rythms with the voice, body percussion, the creation of music is constantly present, so as table, board, chair, any cotidiaphone instrument improvisation is. (pan, wooden spoons, pen ...). This allows expres- sing ideas that can be fully personal and exercises 9. – To familiarize with a wide variety of wor- or activities that are reflected in the scores or au- ks, of different styles, genres, trends and musi- diovisual. The voice is also important, because the cal cultures, appreciating its value as a source of rhythms carry a special and particular “singsong”, which in many cases are brought to the vocal sounds with the production of short sounds known as “vocal clickings”. It is curious to note that creativity in sound production with any instrument at their dis- posal is present, its originality makes this method of teaching intended for the entire educational community in general, and any father or mother who is interested in learning the basic flamenco rhythms with their children.

36 knowledge, enriching intercultural and personal pleasure. The introduction by scores and musical notation in the system of percussion (box and body) in the The interpretation and listening to the different graphic language of musical sounds, knowing the flamenco styles, from simple variations to the most Gypsy language at the beginning of the introduc- complicated, carry a great cultural enrichment of tion of Gypsies in Spain through “La Junquera”. the flamenco style and its contribution to the fusion Expanding the knowledge to other socio-historical, with other musical cultures such as jazz, pop, rock, linguistic and geographical subjects. contemporary music... The body percussion and flamenco box have become a versatile instrument 13. – To make judgments and personal crite- in almost every style, replacing in many cases the ria. Students in the final stage of primary school drum set, its percussive is felt at first, experiencing and all secondary education are capable of ma- a pleasant hedonistic feeling or personal pleasure. king judgments and personal criteria, and are forming their personalities and tastes of different 10. – To recognize the formal characteristics of musical styles and within flamenco. different tracks as examples of artistic and cultural heritage, recognizing their intentions and With the box we can introduce from the easier functions using appropriate terminology. learning of flamenco to the deeper knowledge of the various styles, expanding the need for motiva- The historical and formal recognition of the ten tion that students project in music and interpreta- essential rythm flamenco styles (“alegrias, solea, bution. It was noted that those students whose beha- lerias por solea, bulerías, tangos, tanguillos, sevilla- vior, attitude, study... are inadequate, often show a nas, fandango, rumba and seguiriyas”) as an artistic, good aptitude towards the interpretation of percus- cultural creation of our heritage... it makes that the sion. This has a positive effect on their behavior and flamenco language and terminology is assimilated interest. by students progressively in both its historical and sound sides. 14. – To value silence and sound as an integral part of the environment and music, becoming 11.- To use autonomously various sources of aware of the problems created by noise pollution information, media, the internet... and its consequences.

Throughout the teaching-learning process of the box, it will sensitize and inform the audiovisual lis- tener of the harm associated to the touch of the box or small percussion improperly, since we are talking about an instrument to accompany flamenco and it should be secondary, we have to look for the right sound or timbre without beating too hard or intense... Silence plays an important role, because you Once you have digested the main flamenco styles, have to know how to listen and remain stopped in rhythms and more essential touches, students can certain rhythmic musical passages of silently wai- experience and look at the various sources of infor- ting, valuing in any case, the interpretation of the mation that are available to the user for improvement in the interpretation of the instrument.

12. – To understand and appreciate the rela- tionships of musical language and other languages and fields of knowledge, and the role and me- aning of music in the media.

37 others, keeping a silent attitude of respect for the other partners (if the interpretation is in group). Plastic and Visual Education (Art). In Plastic Relation with the other subjets of and Visual Education at this stage, the emphasis is on expanding knowledge of different artistic codes the curriculum and the use of techniques and resources appropriate to them. The students learn to look, see, observe With the teaching and learning of the box in the and perceive, and from their knowledge of visual classroom we contribute from different primary language, to appreciate the aesthetic and cultural and secondary education subjects to the acquisition values of artistic productions. They will be able to display the many flamenco boxes in the world, and of basic skills. Hereafter there is a description of the their decorative types and techniques. This helps subjects involved and the skills that are addressed: them to experiment and investigate the diversity of plastic and visual techniques, developing the ability Music. The subject of Music fosters the ability to express themselves through the image. to appreciate, understand and critically assess the cultural and musical demonstration of flamenco Language and Literature. This area or subject through one of the most prominent instruments puts the emphasis on the social use of language in different communicative contexts with an evident direct contribution to the development of all aspects that create the competence in linguistic communication. They will come to a knowledge of the specific gypsy language or Andalusian popular slang speech. It should also be noted that the strategies of communicative competence are acquired from a specific language, but not only for the language that is used, but after the guitar, by perceptive and expressive expe- for the use of language in general. Furthermore, the riences and knowledge of music of different eras skills and strategies for the use of a specific language and flamenco styles. In the case of the flamenco and the ability to make the language as an object of box, you can go into detail about the basics of fla- observation, even if acquired from a specific langua- menco music, mainly through rhythm. ge, they are transferred and applied to the learning of others. In this way, you can emphasize open attitudes, Additionally, the contents of reflection on langua- provide elements for making supportede judgments ge contain a set of conceptual knowledge (grammati- about the flamenco musical expression, establishing connections with other artistic languages and the contexts in which each work is limited, given the great variety that flamenco and fusion with other cultures and musical styles (jazz, flamenco, pop- flamenco...) are experiencing lately.

The orientation of the subject, in which personal and group expression plays an important role to acquire skills to express ideas, experiences or fe- cal metalanguage) and procedural (ability to analyze, elings creatively, especially present in content rela- contrast, zoom in and out using conscious state- ted to the interpretation and improvisation, both ments of certain grammatical devices, replace some individual and collective, which in turn stimulate elements of the sentence grammatically equivalent to imagination and creativity. Moreover, a better un- use different syntactic patterns to express the same derstanding of musical allows consideration as a idea, diagnose errors and repair them, etc..) acquired source of pleasure and personal enrichment. in connection with the activities of understanding

38 This objective is of vital importance as the cultu- landscapes, real or represented. ral reality of Andalusia is present from the beginning to the end of it. With the development of a Maths. The management of the basic principles whole introduction of flamenco culture from its of language related to musical figures, compasses, beginnings, stages and development to the present different rhythms (binary, ternary, quaternary), al- day, we will reach an understanding and compre- ternating rhythm management with both hands, hension of the historical culture of our community. and the rhythms of the various flamenco styles are It should be emphasized the mix of cultures invol- based on mathematically structured compasses. ved in the origin of flamenco, highlighting the con- We can nor forget the relationship with the field tribution that each of them has had to the musical of physics in all aspects related to the acoustics of style of flamenco. Knowing the reality in which it is sound and its parameters (height, intensity, dura- placed, the fusion of all cultures and styles. A uni- tion, physics of sound...). versalized Flamenco music, worldwide known and by many countries which very far away from ours. The opportunity to use mathematical tools in meaningful contexts of use, such as measures, sca- and creation of texts and are reused to optimize lan- les, boards or graphics, contributes to the develop- guage learning, ie learning to learn language. ment of mathematics. Moreover, language education is a component clo- Physical Education. Body percussion makes sely associated with this competence: the finding of physically interact with our own body. You can co- the variety of uses of language and linguistic diversi- llaborate with the department of physical education ty, the appreciation of all languages as equally suiting once students have assimilated the basic rhythms to perform the functions of communication and re- accompanying the “Sevillanas”; being able to ac- presentation. company the 4 parts of “sevillanas” with the box, having previously learned the basic steps of “sevilla- Social Studies, Geography and History. There nas” in the physical education lessons. is a recognition and use of social conventions to facilitate good communication and well-being in Languages. The percussion terminology many the group. This matter becomes a privileged space times uses words in different languages like English for reflection and responsibility with respect to the or German, so they can learn those terms and apply group, accept and develop standards for the deve- them to the instrument: Flam, Drag, Paradiddle… lopment of the various activities conducted by the teacher. Understanding the social reality of flamen- Technology and Informatics. The knowledge co, current and historical, is the learning object it- and understanding of objects, processes, through self, but it will really be this way if you have the the development of technical skills and abilities perspective that this knowledge about the evolution to manipulate musical instruments accurately and and organization of gypsy society, its achievements safely, such as the box. In the design and construc- and its problems, it should be usable by students to tion of the box (who wants to self-create his ins- function socially, helping to understand the featu- trument) you will have to manipulate various tools res of modern societies, its plurality, the elements such as sanders, screwdrivers, carpenter or contact and common interests of the society in which one glues, cats, hammers... with the use of the technical lives creating common feelings which favour toge- problems resolution process and its application to therness. identify and respond to the needs, evaluating the development of the process and its results. One of the main areas of work in geography: understanding the space where social events take place It is important, on the other hand, to develop (world map of the various routes that gypsies have the ability and willingness to achieve a healthy envi- followed to reach the Iberian Peninsula), knowled- ronment and improved quality of life, through the ge is filled with geographic content with special knowledge and critical analysis of the environmen- importance for the orientation procedures, localiza- tal impact of technological activity and promoting tion, observation and interpretation of spaces and responsible and rational drinking attitudes.

39 Knowledge and interaction with Physical En- vironment Competence. With regard to the com- Contribution of the box to the petence in knowledge and interaction with the phy- basic competences in secondary sical environment, the curriculum material and the educacion teaching resource contributes to the appreciation of the environment through the perceptive work with Competence in Communication skills. To sounds, musical style shapes, colors, sound lines, this competence contribute, through the wealth of group textures, light, musical rhythms, accompani- communicative exchanges that are generated, the ment discrimination and understanding... The box use of the rules that govern them, the explanation makes use of the medium as a pretext for artistic of the processes developed and the specific voca- creation, it explores, manipulates and incorporates bulary that the method provides. Specifically, the it, recreating it to give a dimension that contributes analysis of the various flamenco styles is a suitable to provide enjoyment and enrichment. vehicle for the acquisition of new vocabulary and for developing the skills related to speech, such as It also takes into account another equally im- breathing, diction and articulation. Moreover, non- portant dimension, the one which leads with the verbal language that is used in numerous occasions attacks that diminish the quality of life, noise po- in understanding the teaching method of the box, llution, excessive noise, indiscriminate use of mu- provides knowledge and understanding of represen- sic, helping teens and our students to become aware tation languages. of the importance of helping to preserve a pleasant and healthy physical environment. It is important, Learning to use the specific language in the inter- moreover, to develop the ability and willingness to pretation of the instrument is also learning how to achieve a healthy environment and an improved analyze and solve problems, and take decision pro- quality of life, through the knowledge and critical cesses, as one of the functions of language is to re- analysis of the environmental impact of technologi- gulate and direct our own activity. The weight that cal activity and promoting responsible and rational the information in this subject has, singles out the drinking attitudes. competence in linguistic communication, beyond the use of language as a vehicle of communication Information processing and digital competen- in the teaching-learning process. Furthermore, it ce. It is encouraged through the use of technology collaborates in the acquisition of basic vocabulary as a tool to show processes related to music and the whose character would be given by those words, co- visual arts and to bring students to the creation of rresponding to specific vocabulary, which should be artistic production and analysis of the image and part of students’ everyday language or others that the sound and messages they transmit. With the fla- have a clear functional value in learning the subject menco box and small percussion, the students are itself. approached to the knowledge of the various sound formats and digital audio processing techniques or Mathematical Competence. The teaching of decorative timber or introduction to box building, the box in the classroom contributes to the deve- among others, with the production of musical, au- lopment of the mathematical competence, since diovisual and multimedia messages. the management of the basic principles of langua- We also develop the competence in the search ge related to musical figures, compasses, different for information on art forms for information and rhythms (binary, ternary, quaternary), alternating enjoyment, to select and exchange information re- rhythm management with both hands, and the garding cultural fields, past and present, future or rhythms of the various flamenco styles are based on from other countries. First, the information appears mathematically structured compasses. We can nor as an essential element, reading a different musical forget the relationship with the field of physics in notation like the one of the box, interpreting graphs all aspects related to the acoustics of sound and its of rhythmic patterns, observing a phenomenon or parameters (height, intensity, duration, physics of using a historical source requires different procedu- sound...). res of selection, organization and interpretation are

40 an essential object in this teaching method. The basic computer usage and Internet-guided search, contribute decisively to the development of this competence.

Giving guidelines to the students to find this information on the Internet and other media, also promoting its use as a tool for self-learning processes and possible integration into leisure activities. Deserves special consideration the use of music and its relation to the distribution and copyright.

The flamenco box in the classroom contributes to the development of this competence to the extent that students watch the box construction and assembly audiovisual. Other audiovisuals can be watched in different media and the internet, various possibilities of creation and transformation of the instrument. In all cases, they are associated to their development the contents that allow to locate, elaborate, process, store and present information using technology.

Arguments in favour of musical education

a) The interpretation of the box percussion or body percussion, contributes to the development of creativity, as an encouraging element of personal wellness and leisure. b) It facilitates the acquisition of new learning and literacy, motor skills, calculation, memory, retention, discrimination ... c) It has a diagnostic function from the sensory point of view of each of the students. d) From the socio-affective viewpoint, group interpretation of the instrument creates affective bonds and cooperation, acts as stress relaxation of other subjects, is one of the areas with the lowest rate of fatigability and it must be properly combined with the other subjects. And it is a strong instrument of socialization and improves self-esteem and personal growth. e) It develops and refines the linguistic ability in its double role (comprehensive-expressive) and it also contributes to correct speech defects.

Effects of music and small percussion in human beings a) It gives the person energy through rhythm and the basic metric touches of the box. b) It wakes up, empowers and educates Feelings. And you do not need more than an attitude of receptivity to the music and a minimal guidance to learn how to listen. In musical improvisations, a person usually shows his character or mood at a time, which is a good help to guide you in your own knowledge and physical and mental maturation. c) It socializes and integrates. The music, even when interpreted as soloist, is the result of collaboration. At least, that which should exist between author and performer and the audience. But in primary and secondary education it is much more, because they usually do music in group settings, which requires by the students to adapt to the group, to socialize, and to adapt his individuality to the community, because everyone should interpret at the right time under the direction of the teacher. d) The music, well-timed and graded, allows the immediate reward, essential psycho-pedagogical factor in the educational process, to get the sense of accomplishment and mastery that will lead to the idea of “being responsible”. e) The music encourages creativity, imagination and fantasy, simply by listening to it. When the working sessions are arranged properly, you can get to play a real musical composition.

41 Social and citizen competence. Interpretation understanding of the musical world around them and creation represent, in many cases, a team effort, and expanding their possibilities of artistic expres- especially at the time to orchestrate any audition sion and instrumentation and communication with the box or body percussion (sevillanas, bule- with others. The box and body percussion is a tool rías, rumba, tango, tanguillos, fandangos ...). Par- through which students perceive and feel sound ticipation in musical activities of different nature at first. The ability to represent an idea personally, requires cooperation, responsibility acceptance, ad- using the resources provided by artistic languages, herence to rules and instructions, care and mainte- especially in the personal interpretation of the fla- nance of the idiophone instrument, application of menco box, which promotes initiative, imagination specific techniques and proper use of spaces (alter- and creativity, while teaching to respect others’ ways nating hands, different types of touch, treble and of thinking and expression. bass, drum roll, trills, slap ...). It helps to promote the approach to various cultural and artistic events on the sociocultural context The following of these requirements educates as of flamenco, both the immediate environment as the commitment with others, in the demand that its history, it gives the students tools to assess them has group performance and the satisfaction that and to increasingly formulate informed opinions provides a product that is a joint effort, existing a on historical and artistic knowledge. recognition and use of social conventions to facilitate good communication and well-being in the Learning to learn competence. It contributes to group. This matter becomes a privileged space for the extent that it encourages reflection on proces- reflection and responsibility with respect to the ses of hands fingering, sensory exploration of sound group, accept and develop standards for the deve- (treble, mid and bass), textures, shapes and spaces. lopment of the various activities conducted by the The development of the ability to observe suggests teacher. Understanding the social reality of flamen- the advisability of establishing a self-guided learning co, current and historical, is the learning object it- such as attention, concentration and memory, whi- self, but it will really be this way if you have the le developing a sense of order and analysis, in order perspective that this knowledge about the evolution to observe the performance of the own method and and organization of gypsy society, its achievements that of the classmates, to provide relevant and suffi- and its problems, it should be usable by students to cient information. The music listening needs repea- function socially, helping to understand the featu- ted listenings to get to know a work, recognize it, res of modern societies, its plurality, the elements identify its elements and “become the owner” of it. and common interests of the society in which one lives creating common feelings which favour toge- In addition, all activities in the musical interpre- therness. tation and ear training require the awareness of their own potential, the use of different learning strate- In short, to express looking for agreement, laun- gies, effective management and control of the own ches attitudes of respect, acceptance and understan- processes. In all these cases, a prolonged motivation ding, placing the teaching of percussion as a good is needed to achieve the objectives proposed in the vehicle for the development of this competence. self-confidence in the success of learning. Making contact with a wide variety of music, both past and present, promotes understanding of diffe- Autonomy and self-esteem competence. In this rent cultures and their contribution to human pro- way, they can set valid criteria in relation to cul- gress and thereby valuing others’ and the features of tural products and expand their leisure options, the society in which we live. being percussion a very socializing and integra- Cultural and artistic competence. The contri- ting issue within the school community and with bution to this competition is done on all the as- an increasing popularity among our teenagers. By pects that form it. At this stage the students acquire making exploration and inquiry the appropriate knowledge of the different artistic codes through mechanisms to define possibilities, find solutions the use of techniques and resources appropriate to and acquire knowledge, students promote a rele- them, helping them to begin in the perception and vant autonomy and personal initiative.

39 Los objetivos son del Real Decreto 1631/2006 de 29 de diciembre por la que se establecen las Enseñanzas Mínimas correspondientes a Educación Secundaria Obligatoria (BOE 5 de Enero de 2007) 42 The process takes the child from initial explora- tried to capture the reality in the learning of the tion, from basic percussion rhythms, to the final instrument. Establishing the same structure for all, product, in which the skill, autonomy, memory, and analyzing the content of each visual or audio: te- other features, require prior planning and demand chnical parameters, methodology, quality of pictu- an effort to achieve genuine results. Moreover, the choice of resources requires taking into expressive re and sound didactic, enrichment activities, and intentionality the product you wish to achieve, de- other accompaniments with music instruments, ba- velop strategies for planning, resource estimate, an- sic theory and flamenco styles, rhythmic patterns, ticipation and evaluation of results, and constant activities or exercises in score, didactic of the per- review of what has been done in each stage of the cussionist or voice off the record, teaching-learning process with the idea of improving it if necessary. process.

Creativity, individual and collective in the assi- Once analyzed the contents we can establish our milation and understanding of the teaching of the own opinion on the learning method, and a perso- flamenco box and small percussion, requires acting nal assessment and scoring. autonomously, launch initiatives, considering various possibilities and solutions. As for the conclusions reached in the study of the various methods of teaching and learning from In those activities related especially to the musical the existing boxes in the European market, we have performance of the flamenco box, abilities and skills argued that the majority do not have a pedagogi- such as perseverance, responsibility, self-criticism cal accuracy in the methodology proposed by the and self-esteem are developed. This approach offers percussionist or director of the method. Learning many opportunities for the development of perso- any instrument type (idiophone, membranopho- nal qualities like initiative, spirit of improvement, ne, stringed instrument, wind instrument or elec- perseverance to face difficulties, autonomy and self- trophone) involves a progressive evolution that is criticism, contributing to increase self-confidence necessary to develop along the teaching-learning and improve their self-esteem. process.

The development of teaching the box in the Every method must start from “zero”, assu- classroom favours the development of strategies to ming the status of a student who has never seen think, organize, store and retrieve information in or touched the box and intends to enter into its rhythmic patterns conceptual maps. We must en- interpretation. It should explain all the basics that courage the development of planning and imple- make up the instrument (position in the box, stret- menting initiatives and decision-making proces- ching, main touches, treble and bass sounds, al- ses, more clearly present in conducting individual ternating hands, agility, mechanization, stress and and group work as it involves designing, analyzing, dynamics ...). They are concepts and contents that planning, acting, reviewing what has been done, must be assimilated progressively and explained in comparing the expected goals and extracting the a simple and enjoyable way, so that the learner is conclusions reached. comfortable with the instrument. IV. Methods of flamenco box tea- In many methods this first premise for a teaching ching and learning method is not present. The base or primitive art in the box is essential to be able to pass after that to the Currently there are over 25 teaching and learning familiarization with basic rhythmic patterns which methods of the box, in this part the vast majority have the different musical styles that exist in the of them will be outlined. Through an analysis and world, as well as the preparation for the improvisa- study (content, structure, teaching and assessment tion (stylistic resource increasingly used). of various parameters) of the methods, we have

43 Referring to the learning of the box as an accompaniment to the different flamenco styles, it is a necessary premise to know the basic rhythm and ac- centuation, subdivided compass, possible variations or variations that may arise in a particular style. A whole network of knowledge that, in a fraction of a minute, which is what usually audiovisual examples last, you cannot get to explain it in depth.

Therefore, the accompaniment of the box to the various flamenco styles should be very detailed, “step by step”, evolving in speed and complexity while the basic rhythmic patterns are discrimina- ted and assimilated, doing strengthening exercises, mechanization, alternation and extension (such as variations on the basic patterns). Once the above is mastered, the flamenco style will be accompanied with other instruments, such as the guitar, clapping and singing.

It is very useful for teaching methods to inclu- de the DVD. The audiovisual resources enter in a more enjoyable and easy way, letting students see the hand positions, beatings, sounds, nuances and dynamics. Those who use the audio or CD, ask to be aware of a score attached to the teaching method. The most complete methods are those that possess a comprehensive audiovisual DVD and in turn a notebook or booklet with all exercises performed independently and with its score.

The quality in regards to sound, recording, lighting, various overlapping cameras, dropdown menu on the computer ..., in the aspects that make the audiovisual or DVD, is also something to mea- sure the quality of the method.

One aspect that is often neglected in the methods is to indicate the type of audience they are intended for (beginner, advanced accompaniment to the dance, semi-professional people who want to meet other musical styles and their basic patterns or rhythms, a unique method for children...). A thorough explanation of the content and structure of the method should be performed in the introduction. Many of them cover up the contents for a better sale. Below are the teaching methods of the box and an assessment of them.

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Páginas Webs. - www.cajonperuano.org, coordinador de la web Rafael Santa Cruz. - www.musicaperuana.com, dirección de María del Carmen Dongo. - www.decajonflamenco.com, creador Carlos Crisol.