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.
To round off our trip through the different Palos, today we are stopping off in The Sierra Morena to take a look at a number of important styles that form part of the very origins of Flamenco. This is not the end of the series but is the last stop in our journey through the different Palos and regions that are part of the origin, development and current reality of Flamenco culture.
We’re staying in Cadiz this week, but this time we’re going to take a look at the more Gitano influenced side of things. A look at styles that have evolved from their traditions and beliefs as well as the lifestyle that was more often than not forced upon them.
This week we’re back in Cadiz. There is general consensus that the Province of Cadiz and especially the area around Jerez de La Frontera must be considered the cradle of Flamenco as we know it today. Any list you could make of Cantaores, Bailaores, Guitarists and other flamenco artists and styles would inevitably show the importance of the area. The styles have developed and progressed all over Andalusia and beyond of course, but Cadiz is where most palos started.
We are going to take a more detailed look at many of the styles that originated and are still sung and danced in Cadiz. Read more of this post
Over the last couple of weeks we have been looking at the forms known as Cantes de Ida y Vuelta in this installment we are heading south to Argentina. A land famous, of course, for its Tango. But Argentina has much more to offer than the Tango and we are going to concentrate on other forms that influenced twentieth century flamenco equally profoundly.
A Map Of The River Plate Area Read more of this post
Last week we dealt with the Guajira and the Habanera, both of which found their way back from Cuba. This week we’re taking a look at the Rumba, which made the same trip back to Europe.
A group of singing styles that have been well-known since the middle of the nineteenth century and are flamenco treatments of folk music from the Caribbean and central and south America are known as Cantes de Ida y Vuelta (Ida y vuelta means round-trip). This name comes from the fact that these styles originated from the music that traveled to the Americas with the Conquistadores, which was adapted to the styles of the region and then came back to Spain in the voices of the soldiers and sailors returning to Andalusia and later courtesy of the Flamenco artists that visited these countries. This week we are going to take a look at some of the styles that found their way back from Cuba. Read more of this post
This week we have moved east and out of Andalusia into the Region of Murcia. We are going to take a look at the Cantes de Las Minas or Cantes de Levante. The silver, lead and iron ore mines in the mountains that run from the city of Cartagena to the town of La Unión have been the key factor in the economic development of this small, fertile province nestled between Andalusia and Valencia. Tourism may well be the key today – we bet a few of you have heard of La Manga – but before there were plenty of visitors. Cartagena was originally founded by the Carthaginians, conquered by the Romans and was later an Arab kingdom in alliance with those of Córdoba and Granada.
To give you an idea of the area we’re talking about. Here’s a photo of the mountains (as seen from the Mar Menor):
and a map of the mountain region:
Even the specialists find it hard to agree on a name for this type of Flamenco cantes. Some prefer Cantes de Las Minas because they argue that the mines are the link between these different styles, whilst others opt for Cantes de Levante because they are also sung in the Sierra de Granada, in the in-land part of the province of Almería and Jaen, all of which are part of eastern Spain.
The most important styles are Tarantas, Tarantos, Cartageneras and Murcianas or Mineras.
TARANTAS and TARANTOS
Both these forms descend from the Fandango via Almería. The name could either derive from the Neapolitan Tarantella or from the word Taranto that is the Gypsy name given to people from Almería. Like the Malagueñas they are made up of five line verses in which either the first or second line is repeated. Here is an extraordinary example of a Taranta from Linares, Jaen, sung by Carmen Linares.
The Taranto is very hard to dance as it is slow, intense and very structured with dramatic bouts of taconeo. Here is an example from Merche Esmeralda, a great Bailaora from the eighties:
CARTAGENERA
The Cartagenera is an urban version of the Fandango that, as its name suggests, originated in the city of Cartagena. Its creation is attributed to the professional Cantaores of the late nineteenth century and its most famous and successful exponent was the legendary Antonio Chacón. Here is a recording from 1909 (not a typo) by the great man himself!
And here is an example from 2009. This is a clip from Spanish television Antonio Suárez accompanied by his fifteen year old son on guitar.
MINERA
The Minera comes from the mines in the mountain range of La Unión in Murcia and the lyrics refer to the life and trials of the miners and it is a harsh and very difficult style to sing convincingly. But if anyone could do it it has to be Camarón de la Isla. Here he is with the incomparable Tomatito doing the honours on guitar. Just look at how hard Tomatito has to concentrate to keep up with him.
Back in a couple of weeks (after Easter): Cantes de Ida y Vuelta
Our stroll around Andalusia and the different regional Flamenco styles, influences and variations takes us today to Granada, which as well as being a magical city is also home to some of the most Moorish and Gypsy influenced flamenco music. These styles developed and flourished in the caves of Sacromonte, opposite the Alhambra Palace, and today we will be taking a look at some of the most important. But first, here’s a picture of what was my first view of the city when I visited many years ago.
TANGOS FLAMENCOS
The true origins of the Tango Flamenco are unknown although there are references to its being danced in popular fiestas as early as 1814. The Cantaores Ricardo Molina and Antonio Mairena claim that in Triana (a barrio in Seville) Tangos have always been sung and danced. In 1862 Charles Davillier noted that on his trip to Spain he saw a young Gypsy woman dancing the “Tango Americano” with extraordinary grace.
Be this as it may, by the Golden Age of Flamenco (the end of the nineteenth century), any Cantaor worth his salt had it in his repetoire and that is still the case today. Here is a clip of the late, great Enrique Morente – keep any eye out for some lovely footage of the inside of the Alhambra.
The Tango is, of course, a spectacular and difficult dance. You might want to learn how to do it. Here’s a short class that we thought you’d find interesting!
But sometimes it’s a good idea to leave things to the professionals! Here is Sara Baras’ group showing just how well they learned the lesson. This clip is from her show “Sabores”, which is truly wonderful.
LA ALBOREÁ
This form is also known as Alboleá or Arbolá and the name is a reference to the dawning of the morning after a wedding after the bride and groom have spent their first night together. The form is in verses of four six syllable lines followed by a chorus. This form is one of the most private and deeply rooted in Gypsy culture. It is sung at weddings and was closely connected to the custom of the bride’s proving her virginity before the wedding could go ahead. There is a widely held belief among the Gypsy community that it is bad luck for it to be sung outside of this context and that it is not appropriate to include it in public shows. Here is a rare example from Spanish TV in the early seventies from the Cantaora Magdalena Montañes “La Marelu”, accompanied by the guitarist Paco Cepero.
We should point out that despite the severity and the archaic nature of the customs with which the form is associated, it is a song of great celebration and here is a much more recent example from a real wedding sung by Diego El Cigala.
LA GRANAÍNA La Granaína or Granada Fandango is said to be a long way from the Flamenco Fandango and is more an aflamencado version of the Portuguese Fandango, which as we mentioned in an earlier post is a close relation of the Fado. It was popularised by the legendary Cantaor Antonio Chacón at the end of the nineteenth century. The style is so elaborate, requiring both a good singing voice and feeling, that only the greatest have been able to deal with the difficulties that singing it impose. We started this post with the great Enrique Morente, what better way to end, then, than with his daughter, Estrella, showing us that she has inherited his passion for the history of the genre, his talent and his “raza”.
Of the four major Flamenco palos (Soleá, Seguiriya, Fandango and Tango) we have covered some of the most important features in order to get a hold on the basic concepts. But Andalusia, the land where Flamenco has settled for good, is enormous and each area has developed these palos in its own way, creating their own different versions.
Ronda, Málaga
Today we start our stroll around the principal areas to which they have spread and are going to take a look at some of these local varieties. This week we are in Málaga.
LA RONDEÑA
This is a typical version of the Fandango that comes from the spectacular village of Ronda high in the mountain region of Málaga Province. It is considered by many to be the most ancient of all the Fandangos. The basic sung form consists of verses of four eight syllable lines. This Fandango became well known towards the middle of the nineteenth century and Miguel Borull padre (the father) was the guitarist who really defined its purest and strongest Flamenco style. Later the great Ramón Montoya carried on this tradition. Neither left any recorded works (that we are aware of) but here is a Rondeña from one of the greatest guitarists of recent times, Manolo Sanlúcar. http://www.youtube.com/watch?v=IixUz5ATezc La Rondeña can also be danced and sung. Here is an example. http://www.youtube.com/watch?v=XtVLLRZJgX4
LA BANDOLÁ
Is another Málaga variation of the Fandango closely related to the Verdiales and Malagueñas. It is slower and is not danced. It is sung by a solo singer accompanied only by a guitarist. This palo is not well known outside Andalusia and in our opinion deserves a wider audience.
LOS VERDIALES
Are a sung and danced form of the Fandango that have their origin in the celebrations in the villages of the Málaga countryside. They are performed by groups of musicians, singers and dancers known as Pandas de Verdiales whose individual members are often referred to as Tontos or fools because the Feast Day on which they are predominantly performed is December 28th – The Feast of the Holy Innocents – which in Spain is the equivalent of our April Fool’s Day. These being popular festivals, it’s hard to find good quality recordings but here’s an example.
JABERAS
This form was most popular at the beginning of the nineteenth century. Another variation of the Fandango, its origin is attributed to two sisters who sold beans (habas) in the streets of Málaga. In Andalusia the H (which is silent in Spanish) is often pronounced due to the influence of the Arab language, hence the use of the J (phoneme: x) at the beginning of this word. It is melodic but requires a strong voice and is regarded as a true test of a singer’s ability. Here is a fine example from Antonia Contreras.
Casa Maki 