By Claus Schreiner
Written by way of a bunch of devoted flamenco fans, this publication strains the historical past and improvement of flamenco, the stirring kind of folks dance created through the gypsies of the Andalusian zone of Spain within the nineteenth century and nonetheless renowned at the present time.
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Extra resources for Flamenco: Gypsy Dance and Music from Andalusia
Example text
The juerga is still the best means of conveying the essence of flamenco for there is no separation here between audience and performer as there is between producer and consumer. Everyone takes part in the event in some way and supports each person performing. Flamencos and aficionados take turns shouting encouraging "ay's" or respond by calling out words of support and encouragement while supporting the performers with rhythmic hand clapping. " to the sambistas in Brazil. The atmosphere and comaraderie are much like that of a southern American gospel service.
Ricardo Molina (1971, p. 19) lists some of these supposed root words, most of which are from the Arabic: felagmengu (migrant farmers), felaicum or felahmen ikum (farmer), and felagenkum or flahencou (Moorish songs from the Alpujarra region). In each of these tortured derivations, one essential fact has been completely overlooked: the word "flamenco," which originally only meant "Fleming" or "Flemish," only became synonymous with "gitano" at the end of the 18th century and denoted a Spanish Romany.
Gradually, however, it moved from the countryside, with its gardens and courtyards, to the city. There it was performed on the streets and in the plazas, then in the bars and nightclubs and finally, after 1922, at festivals held in concert halls and theaters. Family celebrations, festivals in honor of the village patron saint or as part of the fertility cycle, feast days of the Church, and above all juergas and reuniones, those spontaneous happenings in intimate settingsall provide venues for flamenco performances.