Separated from the rest of Western Europe by the Pyrenees Mountains that form the border between the Iberian Peninsula and France, Spain exhibits a unique blend of European and North African cultural characteristics. The Romans occupied the peninsula for roughly seven hundred years (second century B.C.E. until the sixth century C.E.) before the Christian Visigoths (Germanic peoples) spread into the region, reducing it to a nominal vassal state of Rome. In addition, most cities had a Jewish quarter after the destruction of the great Temple in Jerusalem in 70 C.E. The Moors (Muslims) invaded from North Africa in the eighth century C.E. and occupied much of the peninsula for more than seven hundred years (711–1492), diminishing Roman Catholic influence in Spain and establishing the western front of the Islamic realm.
Arabic dominance began to recede in the eleventh century as the few remaining Christian rulers, encouraged by the Crusades, began to reestablish control of the peninsula. While Muslims, Christians, and Jews had lived in relative peace under Moorish rule, religious fervor came with the re-conquest of Spain, resulting in the infamous Inquisitions (1478), the expulsion of the Jews and Moors (1492), and the aggressive conversion practices of the Roman Catholic missionaries who followed Spanish Conquistadors to the Americas beginning in the sixteenth century. The Spanish kings soon established Spain as a colonial world power dominating much of the “newly discovered” Western hemisphere.
Flamenco Dancer
Until recently Spain, along with Portugal, was the most isolated region of Western Europe. Long years of internal conflict and dictatorial leadership slowed its modernization and political development. Only after the death of General Francisco Franco in 1975 Spain begun to catch up with the rest of Western Europe, a process hastened by the country’s gradual integration into the European Union. As a result, Spain still retains a strong “Old World” sensibility that is felt less and less in other parts of the continent.
Flamenco
Flamenco is a vibrant music. The powerful voice of the singer, the percussive performance of the guitarist, and the rhythmic clapping and heel-stomping of the dancers as onlookers shout “olé!” create a synergetic expe- rience that propels the participants to heights and depths of emotion that can bring tears of both sadness and joy within the span of a single song. To feel this passion is to understand flamenco, no matter if you hail from Spain or elsewhere.
Flamenco includes one of the world’s most virtuosic of guitar styles. Guitarists must have incredible dexterity with both hands in order to convey the power and delicacy the style demands. Performers use the fleshy part of the fingers for some sounds, while the characteristic strummed “flourishes” of flamenco and much of the solo work are produced using the fingernails. Percussive accents are commonly added by slapping the face of the guitar to emphasize a melodic passage or articulate a specific rhythm.
The guitar accompanies the vocalist. The singer can be either male or female, though male performers predominate. The singer frequently sings in the higher reaches of his vocal range. This creates a strained timbre that encourages the sense that he is “giving it his all” by singing to the point where his voice nearly breaks. The heavy use of melisma is also a key feature of the flamenco singing style. The intricately ornamented melismas are intended to have an emotional effect, by making the singer sound as if he is crying, almost wailing, as he empties his soul into song. The lyrical content of flamenco is deeply personal, with death and devotional love, either accepted or rejected, being common themes.
Handclapping (palmas) as well as finger-snapping (palillos or pitos) are common in traditional flamenco performance. These gestures articulate the basic beat, though frequently the onlookers interlock their claps to create a thick rhythmic density that heightens the tension of the music. The dancers also add a rhythmic vibrancy through their toe- and heel- stamping choreography and/or use of castanets, a wooden clapper held in each hand.
Flamenco music generally emphasizes minor keys, and triple meters are more common. Many flamenco performances shift the meter from triple to duple and back to triple frequently within a single song. Rhythmically free passages may be interspersed within a performance.
Improvisation is a key element of flamenco, on the part of the guitarist, vocalist, and dancers. While the vocalist generally leads a performance, any of these three elements— voice, guitar, or dance—can change the mood of a performance through shifts in meter, tempo, dynamics, or rhythmic complexity.
Francisco Gustavo Sánchez Gómez (21/12/1947 – 25/02/2014)
known as Paco de Lucía, famous Spanish guitarist and compositor.
Many Spanish musicians would likely assert that flamenco is the most passionate music on the planet. While a high degree of musicianship is essential, successful performances are judged according to the level of emotional intensity, or duende. Vocalists are expected to pour every bit of their emotion into a performance, whether the intent is to express extreme sorrow or exultation, and the goal is to achieve a state of catharsis for themselves and their listeners.
Flamenco was born in Andalusia, the southern region of Spain. Originally, flamenco featured the voice alone, in a song form known as cante. This traditional Spanish style of singing incorporates the strained timbre and heavy use of melisma typical of Arabic vocal traditions, reflecting the more than seven hundred years of Arabic influence in the region. Arabic influence is also reflected in the style’s generally vibrant rhythmic activity. Cante is typically divided into three forms—deep, intermediate, and light—determined by the subject matter and rhythmic structure. Cante performances frequently feature audience participation in the form of handclapping, dance, and vocal interjections.
The Most Anguished Voice in Flamenco: Juan Moneo "El Torta"
The earliest evidence of flamenco in its modern form dates from the early nineteenth century, when Gypsy (gitano) musicians were observed singing the cante forms with instrumental accompaniment. The private “jam sessions” of the Gypsy musicians in the bars and brothels of some of the larger cities, such as Seville and Madrid, caught the attention of upper-class clientele. By the 1840s Cafés cantantes, clubs devoted specifically to flamenco performance, became popular throughout the country. The guitar became the standard accompanying instrument, a choice reflecting both the Arabic emphasis on intricate melodic passages and the European taste for harmony.
While modern flamenco is frequently performed on a concert stage, traditional contexts for flamenco are much more intimate. The ideal setting is a juerga, an informal event in which the separation between musicians and audience is blurred. Everyone participates, if only with clapping and shouts of encouragement known as jaleo. These gatherings can hap- pen almost anywhere, on a side street, in a tapas bar, at a musician’s home, and so on. They usually last late into the night, often until dawn, and are characterized by much laughter and a family feeling.
Flamenco has continued to develop in new ways. Theatrical productions of flamenco dance and song are common, and flamenco troupes are frequently found on international tours. Since the 1960s some artists have fused flamenco with other music forms, such as jazz and rock, to create popular sounds with a global appeal. Artists such as Paco de Lucía and the Gipsy Kings have helped to widen the audience of flamenco through their innovative compositions, while remaining true to the roots of the music and the spirit of duende.
Gipsy Kings - Live at The Royal Albert Hall in London
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