Flamenco 16 – A Celebration

Mrs Maki has insisted that this post should be specially for me! She has chosen a series of clips by my favourite artists as a way of looking back over the series so far.

As we mentioned last week, we’ve seen all of the major palos currently sung and danced in the World of Flamenco: here’s a map of the geographical area we’ve visited and below there’s a chart showing the Provinces of Andalusia, as well as Extremadura and Murcia, with a list of the palos that have developed there and are traditionally associated with each area.



We started with Cadiz and Las Alegrías: here is one from Arcángel. He is one of the modern cantaores, mixing new arrangements and instrumentation with a pure and deeply traditional voice and style.

We moved on to look at Soleá and Soleares and there is no way we were going to revisit the palo in any other company than that of Camarón de la Isla accompanied by the magnificent Tomatito.

We also mentioned Bulerías in the same post. Here is Estrella Morente singing a traditional Bulerías that was written about the bullfighter Frascuelo.

We then took a look at the Fandango and are returning with Arcángel. In this clip he pays tribute to Antonio Rengel, one of the great innovators in this palo. Here he starts with one of his more personal Fandangos and then runs through the four main variations that are commonly sung in the different parts of Huelva. They are, in order, Fandango Marinero from the city of Huelva, Fandango Serrano from Santa Bárbara, Fandango Valiente or Bravío from Alosno (includes imperceptible retuning of guitars by his masterful accompanists) and end with Coros Tradicionales in the style of Alosno.

We spent a couple of posts looking at how the Sevillanas came into being – a history lesson that could be extrapolated to just about any of the palos, truth be told. Here is Estrella Morente singing Sevillanas dedicated to Pastora Pavón, “Niña de los Peines”, the great Cantaora who was born in Seville in 1890. She is, after Enrique Morente, perhaps the strongest inspiration behind the work of Estrella Morente.

On our way through Granada we heard our first Tango Gitano, here’s another one from Camarón, this time with Paco de Lucía on guitar. As we’ve seen throughout the series, this is a palo that is sung not only in Granada but also in Cadiz and Extremadura.

In our post on Malaga we saw how Pregones (traders’ or hawkers’ cries) became the basis for new palos. Remember the Jaberas? Here is Estrella singing a fruit seller’s Pregón. She is singing a palo seco (without accompaniment) something we have seen in other posts.

We took a look at the Cantes de Ida y Vuelta – the cross pollination between both Spanish speaking sides of the Atlantic. Here’s a fine Rumba from Arcángel – the video shows scenes of the coast of Huelva from where many sailors (Columbus among them) set out for the Americas.

And we are ending this celebration of Flamenco with a Fin de Fiesta from the show Estrella Morente put on in the gardens of the Alhambra in Granada. Here she is singing and dancing Tangos Flamencos in true Jaleo style, accompanied by family and friends from Sacromonte.

And here is the researcher of these posts in all her Flamenco glory! A photo from the family scrapbook – Mrs Maki dancing in the Feria de Sevilla at the age of six.

Now that we’ve seen all the palos, it’s time to let it all sink in and take a break. We’ll be back as we still want to look at the most important artists, the family sagas running through the genre, the different instruments and playing styles. In short, we’ve still got a lot we would like to share with you. But it’ll be in a couple of months, after the summer holidays (if we’re all lucky enough to get one this year!)

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One Response to Flamenco 16 – A Celebration

  1. Pingback: The Flamenco Series « Casa Maki

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