Flamenco The Sounds of Andalusia "Piñones," by Nono García http://www.flamenco-world.com/mp3/2580-8.mp3 "Brillo de luna," by Guadiana http://www.flamenco-world.com/mp3/guadiana.mp3 "Pa que tú me bebas," by Los recortao http://www.flamenco-world.com/mp3/2309-2.mp3 "Palosanto," by Carlos Piñana http://www.flamenco-world.com/mp3/2288-1.mp3 "Mis 70 años con el cante," by Antonio Nuñez "El Chocolate" http://www.flamenco-world.com/mp3/2235-1.mp3 "Juana la Loca. Vivir por amor," by Sara Baras http://www.flamenco-world.com/mp3/2143-2.mp3 "Se busca," by Joaquín el Canastero http://www.flamenco-world.com/mp3/canastero.mp3 "De azabache y plata," by Javier Coble http://www.flamenco-world.com/mp3/2158-1.mp3 Flamenco is a genuine Spanish art, and to be more exact, a genuine Southern Spanish (Andalusian) art. It exists in three forms: Cante, the song; Baile, the dance; and Guitarra, guitar playing. Gypsies are very often named as the fathers of Flamenco, and it is certain that they played an important part in its creation. But the popular songs and dances of Andalusia have also influenced it greatly. There were other influences, too, as is not surprising in a country that has been dominated by divergent cultures and civilizations during its different historical eras. There were the legendary Tartessos, and of course seven centuries of Muslim occupation hardly could have passed without leaving traces. All that, directly or indirectly, influenced Flamenco. The first time Flamenco appears in literature is in the "Cartas Marruecas" of Cadalso, in 1774. Flamenco's origin was most probably there. Between 1765 and 1860, the first Flamenco-schools were created: Cádiz, Jerez de la Frontera and Triana (Seville). In this era, Flamenco dance became a permanent fixture in the ballroom. Early Flamenco seems to have been purely vocal, accompanied only by rhythmical clapping of hands, toque de palmas. It was left to dedicated composers, such as Julián Arcas, to introduce guitar playing. During its Golden Age (1869-1910), Flamenco developed to its definitive form in the era's numerous music cafés (cafés cantantes). The more serious Flamenco art forms expressing deep feelings (cante jondo) date from this time. Flamenco dance quickly gained in popularity, becoming the major attraction for the patrons of those cafés cantantes. Guitar players featuring the dancers increasingly gained a prominence. From 1910 to 1955, Flamenco singing was dominated by the ópera flamenca, with less complicated styles of music such as fandangos and cantes de ida y vuelta. The latter clearly showed South American influences. From 1915 on, Flamenco shows were organized and performed all over the world. Not everyone was enchanted with that development and in 1922 intellectuals such as Falla organized a contest in Granada to promote "authentic" cante jondo. 1955 began a sort of Flamenco Renaissance, the great performer Antonio Mairena being its key figure. Outstanding dancers and soloists soon made their way out of the small tablaos, successors to the early cafés cantantes, to the great theaters and concert houses. It was now that guitar players acquired a great momentum, and their playing became masterful. Flamenco frequently shows influences of other kinds of music, such as Jazz, Salsa, Bossa Nova, etc. Likewise, the Flamenco dance has changed, especially as female dancers increasingly showcase their temperament rather than artistry. The Flamenco guitar that formerly just accompanied the dancers developed into a solo art form, with the great virtuoso, Paco de Lucia, as the pioneer of that development. Mass media has brought Flamenco to the world stage, but it has always been and still remains an intimate kind of music. If you have not listened to Flamenco in a juerga with a small group of friends, at midnight somewhere in the South of Spain, when there is nothing around but the voice, the guitar and the body of a dancer moving in the moonlight, you have not enjoyed Flamenco at its best. Art by Fabian Perez