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47 JOSÉ MENESE Flamenco Singing: José Menese Guitar: Manolo Franco BELÉN LÓPEZ Belén López Company Song and Dance MADRID
SUMA FLAMENCA 2010 The Community of Madrid’s 5th Annual Flamenco Festival Press Pack JOSÉ MENESE BELÉN LÓPEZ Flamenco Singing: José Menese Belén López Company Guitar: Manolo Franco Song and Dance MADRID CENTRO CULTURAL PACO RABAL-PALOMERAS BAJAS (PACO RABAL-PALOMERAS BAJAS CULTURAL CENTER) FRIDAY, JULY 2ND AT 20:30 POR DERECHO (BY RIGHT) For Menese, Por derecho (By Right) means, “producing a cante (flamenco song) that is musically pure, with no additives.” Menese’s contribution to renovating and dignifying flamenco provoked sociological and cultural changes in the way this art form was perceived. The cultura jonda (“deep culture”) comes alive in his cante (flamenco singing). At the peak of his maturity as an artist, Menese has become the most authentic symbol of a decisive period in the history of flamenco art, one that began in the 1950’s and 60’s and was known as the flamenco renaissance. José Menese played a crucial role in this renaissance and he has been loyal to his lineage long enough that now, thirty years later, he has again become a point of reference for the new flamenco renaissance that fans of the purest cante (flamenco singing) are currently demanding. José Menese. He was born and raised in 1942 in La Puebla de Cazalla (Seville), where, from an early age, he first began to discover his love of cante (flamenco singing). In 1959, having sung at La Puebla and at El Café Central, Menese debuted at the Carretria de Osuna movie theater alongside Antonio Mairena himself. Menese moved to Madrid in the early 60’s, under the patronage of Francisco Moreno Beltrán (La Puebla’s lyricist). -
Negotiating the Self Through Flamenco Dance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 12-2009 Embodied Identities: Negotiating the Self through Flamenco Dance Pamela Ann Caltabiano Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Part of the Anthropology Commons Recommended Citation Caltabiano, Pamela Ann, "Embodied Identities: Negotiating the Self through Flamenco Dance." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/anthro_theses/33 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN CALTABIANO Under the Direction of Emanuela Guano ABSTRACT Drawing on ethnographic research conducted in Atlanta, this study analyzes how transnational practices of, and discourse about, flamenco dance contribute to the performance and embodiment of gender, ethnic, and national identities. It argues that, in the context of the flamenco studio, women dancers renegotiate authenticity and hybridity against the backdrop of an embodied “exot- ic” passion. INDEX WORDS: Gender, Dance, Flamenco, Identity, Exoticism, Embodiment, Performance EMBODIED IDENTITIES: NEGOTIATING THE SELF THROUGH FLAMENCO DANCE by PAMELA ANN -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
Córdoba Are Moorish Constructions That Have Been Restored and Used to Present Days
are in the middle of the river, the river Guadalquivir was used for drinking water, water for irrigation and it worked the watermills that ground flour and olives next to the city. The Routes mills are stepped, with their millponds still on the river, they Córdoba are Moorish constructions that have been restored and used to present days. By the city walls Different cultures have marked the city of Córdoba that was the the river. The Museum of Fine the foundations of the great Roman and Moorish capital city, the centre of Western Europe. Arts (34) is situated in the same waterwheel of the Albolafia, the Situated on the banks of the river Guadalquivir it welcomed great plaza del Potro, housed in the philosophers like the Roman Séneca, Averroes, Maimónides the ancient Hospital de la Caridad, Córdoba Jew, writers like Luis de Góngora, or painters like Julio Romero that the Christiina Monarchs de Torres. It has great monuments like the Mosque, the ruins founded. It still has beautiful of Medina Azahara and a beautiful Jewish quarter have all added wood panelled ceilings and to it being declared by the UNESCO to be a World Heritage Site. magnificent patios. It also has a collection of Renaissance shortly after taking the city. It is panels, three paintings of Practical city guide/ Map guide/ city Practical A trip through made up of three naves, with an Zurbaran and several canvases the mountains interesting wood panelled from the School of Murillo and ceiling in mudéjar style a Gothic the workshop of Ribera. At a Córdoba and the chapel, and beside the vestry a short distance from the plaza n impressive Moorish doom, the del Potro you come to the largest of the waterwheels that Hermitages only feature remaining from the rectangular plaza de la transported water. -
Nuevo Flamenco: Re-Imagining Flamenco in Post-Dictatorship Spain
Nuevo Flamenco: Re-imagining Flamenco in Post-dictatorship Spain Xavier Moreno Peracaula Submitted in fulfilment of the degree of PhD Newcastle University March 2016 ii Contents Abstract iv Acknowledgements v Introduction 1 Chapter One The Gitano Atlantic: the Impact of Flamenco in Modal Jazz and its Reciprocal Influence in the Origins of Nuevo Flamenco 21 Introduction 22 Making Sketches: Flamenco and Modal Jazz 29 Atlantic Crossings: A Signifyin(g) Echo 57 Conclusions 77 Notes 81 Chapter Two ‘Gitano Americano’: Nuevo Flamenco and the Re-imagining of Gitano Identity 89 Introduction 90 Flamenco’s Racial Imagination 94 The Gitano Stereotype and its Ambivalence 114 Hyphenated Identity: the Logic of Splitting and Doubling 123 Conclusions 144 Notes 151 Chapter Three Flamenco Universal: Circulating the Authentic 158 Introduction 159 Authentic Flamenco, that Old Commodity 162 The Advent of Nuevo Flamenco: Within and Without Tradition 184 Mimetic Sounds 205 Conclusions 220 Notes 224 Conclusions 232 List of Tracks on Accompanying CD 254 Bibliography 255 Discography 270 iii Abstract This thesis is concerned with the study of nuevo flamenco (new flamenco) as a genre characterised by the incorporation within flamenco of elements from music genres of the African-American musical traditions. A great deal of emphasis is placed on purity and its loss, relating nuevo flamenco with the whole history of flamenco and its discourses, as well as tracing its relationship to other musical genres, mainly jazz. While centred on the process of fusion and crossover it also explores through music the characteristics and implications that nuevo flamenco and its discourses have impinged on related issues as Gypsy identity and cultural authenticity. -
Camarón at the Centre of New Flamenco
CAMARÓN AT THE CENTRE OF NEW FLAMENCO RICARDO PACHÓN1 The man who produced the great works of Camarón de la Isla, Pata Negra and Veneno explains, in a fascinating and surprisingly detailed manner, how what is now known as “New Flamenco” emerged around these figures. Everything was started, of course, in the United States by a gypsy named Agustín Castellón, also known as “Sabicas”. The result was two albums recorded in 1967 with guitar player Joe Beck under the title Rock Encounter. If traditional flamenco had to explode and become out of control, it chose the best ally in those days: rock & roll. California’s revolution landed in Andalusia through three American military bases: Morón, Rota and San Pablo. It apparently was an intentional landing in flamenco territory that settled in towns with an important gypsy population between Seville and Cadiz: Alcalá, Lebrija, Morón, Utrera, Jerez, Arcos, the Puertos… The 1960’s. With the Americans came recordings of freedom and the West Coast psychedelic revolution. Seville suddenly became a new and strange city within the context of National-Catholicism. A city filled with long-haired boys who caused passers-by to turn their heads. A city where adults could buy “laughing cigarettes” in candy kiosks, and where legionnaires coming from Ceuta and Melilla after completing their service could legally bring a suitcase full of weed. That is why the second wild era of flamenco was born here, thanks again to another portentous gypsy, Manuel Molina, and the city’s most underground band, Smash. It was only 1970 when we witnessed an attempt to blend rock and flamenco. -
From La Leyenda Del Tiempo to La Leyenda Del Espacio: Three Decades of Rock and Flamenco Hybridisation in Andalusian Music
From La leyenda del tiempo to La leyenda del espacio: Three Decades of Rock and Flamenco Hybridisation in Andalusian Music FERNANDO BARRERA RAMÍREZ Universidad de Granada Abstract This paper aims to analyse and consider the hybridisations of popular music genres emerged in Andalusia, Spain, during the last thirty-five years. Fusions between urban music such as rock, pop and indie, and the folk music typical from the south of Spain: flamenco. For these purposes, two of the most important albums of this trend have been analysed, La leyenda del tiempo by the flamenco singer José Monge, also known as “Camarón” and La leyenda del espacio by the Spanish indie band from the city of Granada Los Planetas: origin and evolution of formal, aesthetic, social and commercial parameters of these albums. Keywords: rock gitano (Gypsy rock); rock andaluz (Andalusian rock); indie. he sub-genres rock gitano and rock andaluz first appeared in Andalusia (Spain) during the 1960s and 1970s. Both are the result from the hybridisation of rock and the most popular music of T Spain’s southern region: flamenco. These two musical genres, however, sound completely different. We can take note of this contrast by comparing a song from the band Veneno (Veneno 1977), formed by the Amador Gypsy brothers, and another from the band Medina (Azahara Medina Azahara 1979), which is a clear example of rock andaluz sound. As Ricardo Pachón stated in the documentary Dame Veneno, rock flamenco or rock gitano emerged under the influence of works such as Rock encounter from Sabicas and Joe Beck (Barbadillo 2009). -
Composition, Authorship, and Ownership in Flamenco, Past and Present
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2010 Composition, Authorship, and Ownership in Flamenco, Past and Present Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/21 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] VOL . 54, NO. 1 ETH N OMUSICOLOGY WI N T E R 2010 1 2 3 4 5 6 Composition, Authorship, and 7 8 Ownership in Flamenco, Past and Present 9 10 PE T E R MA N U E L / John Jay College and the CUNY Graduate Center 11 12 13 mong the most fundamental musical developments accompanying 14 A the advent of modernity has been the emergence of new conceptions 15 of authorship, ownership, and the roles of composition. A growing body of 16 literature has emerged which addresses various aspects of these processes 17 in relation to diverse music cultures (e.g., Talbot 2000, Vaidhyanathan 2001, 18 Frith 1993). In the realm of Western art music, scholarly attention has fo- 19 cused in particular on the celebration, especially from the Romantic period 20 on, of the composer as an individual genius, and on the special importance 21 of “the work,” as an original, reproducible, structurally unified, aesthetically 22 unique, and privately owned entity (Goehr 1992). Concepts of authorship 23 can be particularly problematic in the case of oral traditions that evolve into 24 or become absorbed into commercial popular musics, entailing new concep- 25 tions of and a new prominence of the “song” and its individual composers, 26 and new notions of ownership as embodied in copyright. -
What the Critics Have to Say…
What the Critics have to say… “Enrique was all smooth edges and poise, giving the audience glimpses of her power “…she luxuriates in the in intense bursts of footwork and soft and hard dancing serpentine pirouettes, before deftly styles of flamenco. tightening the reins.” With her undulating Bridget Cauthry, the dance current rhythms and her skilful articulation of percussive footwork, Enrique invigorates the serpentine line of beauty that highlights About Esmeralda Enrique… this ancient dance style.” Deirdre Kelly, The Globe and Mail “…there is still an unmistakable collective gasp from the audience as Esmeralda herself makes her entrance.” Lise Watson. TWAS “Imagine being lyrical and graceful, she doesn’t seem to have any bones in her body…a beautiful kind of swirling cloud of movement which is why it is always so lovely to watch her.” Paula Citron, Classical 96FM About the Esmeralda Enrique Spanish Dance Company… “incredible and infectious…left the audience buzzing” “But if music and dance Bridget Cauthry The dance current achieved an ideal balance it was in Voz de “…the combination of the music and the dance made this an Mujer…the eight unforgettable evening for everyone.” dancers moved with Daniel Bernal torontohispano.com almost military precision…it was the “I love it when a show exceeds my expectations and this just most polished dancing absolutely caught fire by the end…” of the entire festival, Paula Citron, Classical 96FM inciting most members “Esmeralda Enrique Spanish Dance Company is vintage of the audience to leap Grande -
University of California Riverside
UNIVERSITY OF CALIFORNIA RIVERSIDE Flamenco Capital: Tradition, Revolution and Renewal in Seville, Spain A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Joshua Michael Brown August 2014 Dissertation Committee: Dr. Jonathan Ritter, Chairperson Dr. Walter Aaron Clark Dr. Deborah A. Wong Copyright by Joshua Michael Brown 2014 The Dissertation of Joshua Michael Brown is approved: Committee Chairperson University of California, Riverside 2014 Acknowledgements There are so many people and organizations that helped make this dissertation possible. First, I would like to thank the members of my dissertation committee: Walter Clark, Deborah Wong and Jonathan Ritter. Throughout my time at UC Riverside, each of these professors provided me with encouragement, support, feedback and guidance that have helped me grow as a scholar, teacher, musician, community member and human being. Dr. Clark has taught me so much about music, history and Spain. His leadership and teaching styles have had a serious impact on my approaches to pedagogy, presentation and professionalism. Deborah Wong has consistently challenged me to become a better scholar and to think more deeply and critically about my work. I am grateful for her advice and teachings, and that she demanded excellence from me at every turn. Finally, Jonathan Ritter has been such a great advisor and mentor. His patience, kindness, humor and wisdom are all boundless. I admire Jonathan for so many reasons, and pattern myself after him in a number of ways. I consider myself very lucky for being able to work with these three remarkable individuals and scholars. -
Merging Flamenco with a Postmodern “Universe” of Meanings
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