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88-544: The Convention for the Safeguarding of the Intangible Cultural Heritage defines the intangible cultural heritage as the practices, representations, expressions, as well as the knowledge and skills (including instruments, objects, artifacts, cultural spaces ), that communities, groups, and, in some cases, individuals, recognize as part of their cultural heritage. It is sometimes called living cultural heritage, and

176-415: A cultural area , cultural region , cultural sphere , or culture area refers to a geography with one relatively homogeneous human activity or complex of activities ( culture ). Such activities are often associated with an ethnolinguistic group and with the territory it inhabits. Specific cultures often do not limit their geographic coverage to the borders of a nation state , or to smaller subdivisions of

264-445: A central place. Also the recording company Nuevos Medios released many musicians under the label nuevo flamenco and this denomination has grouped musicians very different from each other like Rosario Flores , daughter of Lola Flores , or the renowned singer Malú , niece of Paco de Lucía and daughter of Pepe de Lucía, who despite sympathizing with flamenco and keeping it in her discography has continued with her personal style. However,

352-633: A change in its music and new rhythms are re-emerging together with new artists who are experimenting to cover a wider audience that wants to maintain the closeness that flamenco has transmitted for decades. The state of New Mexico, located in the southwest of the United States maintains a strong identity with Flamenco culture. The University of New Mexico located in Albuquerque offers a graduate degree program in Flamenco. Flamenco performances are widespread in

440-604: A continental scale are also referred to as "worlds", "spheres", or "civilizations", such as the Islamic world . The term cultural bloc is used by anthropologists to describe culturally and linguistically similar groups (or nations) of Aboriginal peoples of Australia . It may have been coined first by Ronald Berndt in 1959 to describe the Western Desert cultural bloc , a group of peoples in central Australia whose languages comprise around 40 dialects. Other groups described as

528-425: A creative impulse to flamenco that would mean its definitive break with Mairena's conservatism. When both artists undertook their solo careers, Camarón became a mythical cantaor for his art and personality, with a legion of followers, while Paco de Lucía reconfigured the entire musical world of flamenco, opening up to new influences, such as Brazilian music, Arabic and jazz and introducing new musical instruments such as

616-553: A crucible where flamenco art was configured. Locals learned the cantes, while reinterpreting the Andalusian folk songs in their own style, expanding the repertoire. Likewise, the taste of the public contributed to configure the flamenco genre, unifying its technique and its theme. Flamenquismo , defined by the Royal Spanish Academy as a "fondness for flamenco art and customs", is a conceptual catch-all where flamenco singing and

704-653: A cultural bloc include the Noongar people of south-western Australia; the Bundjalung people of northern New South Wales and southern Queensland ; the Kuninjku / Bininj Kunwok bloc and the Yolngu cultural bloc in Arnhem Land , Northern Territory . A music area is a cultural area defined according to musical activity. It may or may not conflict with the cultural areas assigned to

792-403: A dance belongs to the Flamenco genre are the presence of a Flamenco mode (musical tonality), compas , and a Flamenco performer (Martinez, 2003). These three elements contribute to the authenticity of a Flamenco performance also known as flamencura (Martinez, 2003). There is also no such thing as a passive audience during Flamenco performances [ participatory music ]. The audience joins in

880-456: A fondness for bullfighting, among other traditional Spanish elements, fit. These customs were strongly attacked by the generation of 98, all of its members being "anti-flamenco", with the exception of the Machado brothers, Manuel and Antonio. Being Sevillians and sons of the folklorist Demófilo Machado, the brothers had a more complex view of the matter. The greatest standard bearer of anti-flamenquism

968-619: A further 28 were listed in 2003 and another 43 in 2005. In part, the original list was seen as a way to correct the imbalance in the World Heritage List, since it excluded many Southern Hemisphere cultures which did not produce monuments or other physical cultural manifestations. It was superseded in 2008 by the UNESCO Intangible Cultural Heritage Lists . According to academic Yi Sun publishing in 2024, " China has played an increasingly dynamic role in energizing"

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1056-446: A given region. The world may be divided into three large music areas, each containing a "cultivated" or classical musics "that are obviously its most complex musical forms", with, nearby, folk styles which interact with the cultivated, and, on the perimeter, primitive styles. [REDACTED] Media related to Cultural regions at Wikimedia Commons Flamenco Flamenco ( Spanish pronunciation: [flaˈmeŋko] )

1144-415: A major 3rd degree ), in addition to the major and minor scales commonly used in modern Western music. The Phrygian mode occurs in palos such as soleá , most bulerías , siguiriyas , tangos and tientos . A typical chord sequence , usually called the " Andalusian cadence " may be viewed as in a modified Phrygian: in E the sequence is Am–G–F–E ( Manuel 2006 , 96). According to Manolo Sanlúcar E

1232-490: A modern art form from the convergence of the urban subaltern groups, Gitano communities, and journeyman of Andalusia that formed the marginalized Flamenco artistic working class who established Flamenco as a singular art form, marked from the beginning by the Gitano brand. Andalusia was the origin and cradle of the early Flamenco cantaores and of the three or four dozen Gitano families who created and cultivated Flamenco. During

1320-499: A museum, but only experienced through a vehicle giving expression to it. Such cultural vehicles are called "Human Treasures" by the UN . The protection of languages, as the largest and most important intangible cultural heritage, should also be mentioned in this context. According to Karl von Habsburg , President of Blue Shield International, protection of languages is important in the age of identity wars, because language in particular can become

1408-473: A performing art that includes drumming and singing, from India. Other dance forms, however, even if they are officially recognized as heritage from their country of origin, are practiced and enjoyed all over the world. For example, flamenco from Spain and tango , from Argentina and Uruguay, have an international dimension. Dance is a complex phenomenon, which involves culture, traditions, the use of human bodies, artefacts (such as costumes and props), as well as

1496-461: A priority of UNESCO heritage policies, an increasing number of food-related nominations are being submitted for inscription on the lists of the convention for the safeguarding of the intangible cultural heritage. The Mediterranean diet , the traditional Mexican cuisine and the Japanese dietary culture of washoku are some examples of this. The UNESCO lists of intangible cultural heritage also include

1584-475: A purity that never existed in an art that was characterized by mixture and the personal innovation of its creators. Apart from this failure, with the Generation of '27 , whose most eminent members were Andalusians and therefore knew the genre first-hand, the recognition of flamenco by intellectuals began. At that time, there were already flamenco recordings related to Christmas, which can be divided into two groups:

1672-434: A scenic artistic genre; for this reason, they were concerned, since they believed that the massive triumph of flamenco would end its purest and deepest roots. To remedy this, they organized a cante jondo contest in which only amateurs could participate and in which festive cantes (such as cantiñas) were excluded, which Falla and Lorca did not consider jondos, but flamencos. The jury was chaired by Antonio Chacón, who at that time

1760-439: A sense of identity and continuity, thus promoting respect for cultural diversity and human creativity. For the purposes of this Convention, consideration will be given solely to such intangible cultural heritage as is compatible with existing international human rights instruments, as well as with the requirements of mutual respect among communities, groups and individuals, and of sustainable development. Intangible cultural heritage

1848-477: A specific use of music, space and sometimes light. As a result, a lot of tangible and intangible elements are combined within dance, making it a challenging but interesting type of heritage to safeguard. Digital heritage is a representation of heritage in the digital realm and is a sub-category of Intangible Cultural Heritage. It refers primarily to the use of digital media in the service of preserving cultural or natural heritage . Intangible cultural heritage

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1936-480: A state. A culture area is a concept in cultural anthropology in which a geographic region and time sequence ( age area ) is characterized by shared elements of environment and culture. A precursor to the concept of culture areas originated with museum curators and ethnologists during the late 1800s as means of arranging exhibits, combined with the work of taxonomy . The American anthropologists Clark Wissler and Alfred Kroeber further developed this version of

2024-455: A target for attack as a symbolic cultural asset. According to the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage, the intangible cultural heritage (ICH) – or living heritage – is the mainspring of humanity's cultural diversity and its maintenance a guarantee for continuing creativity. It is defined as follows: Intangible Cultural Heritage means the practices, representations, expressions, knowledge, skills – as well as

2112-449: A variety of dance genres, often associated with singing, music and celebrations, from all over the world. The lists include: celebratory and ritual dances such as Ma'di bowl lyre music and Sebiba dance from Algeria and dance from Uganda and Kalbelia folk songs and dances of Rajasthan from India, and social dances such as Cuban rumba . Also, some dances are localized and practiced mainly in their country of origin, such as Sankirtana ,

2200-495: A wedge of purity in her cante make her part of this select group of established artists. Other singers with their own style include Cancanilla de Marbella . In 2011 this style became known in India thanks to María del Mar Fernández , who acts in the video clip of the film You Live Once, entitled Señorita. The film was seen by more than 73 million viewers. In the 1980s a new generation of flamenco artists emerged who had been influenced by

2288-472: A year prior to Borrow's account, there already existed a Gitano party in Madrid that was clearly identified as Flamenco. This equivalency between Gitano and Flamenco is also noted by Manuel Fernández y González , Demófilo , and the scholar Irving Brown who stated in 1938 that "Flamenco is simply another term for Gitano, with special connotations." The origins of the term lie in the sociological prejudice towards

2376-707: Is a significant part of a society's culture, but it can also divide subgroups of the same ethnolinguistic group along more subtle criteria, such as the Brünig-Napf-Reuss line in German-speaking Switzerland, the Weißwurstäquator in Germany, or the Grote rivieren boundary between Dutch and Flemish culture. In the history of Europe , the major cultural boundaries are traditionally found: Macro-cultures on

2464-448: Is actually synonymous with Cantador (professional singer) in reference to the group of Flemish singers brought by Spanish King Carlos I in 1516. Another hypothesis that is not widely accepted is the Arabist theory of Blas Infante , which presents in his book Orígenes de lo flamenco (Origins of flamenco) , Flamenco as a phonetic deformation of Arabic fellah-mengu (runaway laborer) or

2552-463: Is an art form based on the various folkloric music traditions of southern Spain , developed within the gitano subculture of the region of Andalusia , and also having historical presence in Extremadura and Murcia . In a wider sense, the term is used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of

2640-570: Is manifested in the following domains, among others: Cultural heritage in general consists of the products and processes of a culture that are preserved and passed on through the generations. Some of that heritage takes the form of cultural property , formed by tangible artefacts such as buildings or works of art. Many parts of culture, however are intangible, including song , music , dance , drama , skills , cuisine, sport, crafts, and festivals. These are forms of culture that can be recorded but cannot be touched or stored in physical form, like in

2728-527: Is not the only successful case, the Granada-born Dellafuente , C. Tangana , MAKA , RVFV, Demarco Flamenco, Maria Àrnal and Marcel Bagés, El Niño de Elche, Sílvia Pérez Cruz ; Califato 3/4, Juanito Makandé, Soledad Morente, María José Llergo o Fuel Fandango are only a few of the new spanish musical scene that includes flamenco in their music. It seems that the Spanish music scene is experiencing

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2816-506: Is now known as the " cultural turn ." The definition of culture areas is enjoying a resurgence of practical and theoretical interest as social scientists conduct more research on processes of cultural globalization. Allen Noble gave a summary of the concept development of cultural regions using terms such as: Cultural "spheres of influence" may also overlap or form concentric structures of macrocultures encompassing smaller local cultures. Different boundaries may also be drawn depending on

2904-439: Is passed orally within a community, and while there may be individuals who are known tradition bearers, ICH is often broader than one individual's own skills or knowledge. A 2006 report by the government of Newfoundland and Labrador said, regarding oral culture in their area, "The processes involved in the continuation of this traditional knowledge constitute one of the most interesting aspects of our living heritage. Each member of

2992-477: Is primarily associated with Carl O. Sauer and his colleagues. Sauer viewed culture as "an agent within a natural area that was a medium to be cultivated to produce the cultural landscape." Sauer's concept was later criticized as deterministic , and geographer Yi-Fu Tuan and others proposed versions that enabled scholars to account for phenomenological experience as well. This revision became known as humanistic geography. The period within which humanistic geography

3080-556: Is slightly different from the discipline of oral history , the recording, preservation and interpretation of historical information (specifically, oral tradition ), based on the personal experiences and opinions of the speaker. ICH attempts to preserve cultural heritage 'with' the people or community by protecting the processes that allow traditions and shared knowledge to be passed on while oral history seeks to collect and preserve historical information obtained from individuals and groups. With sustainable development gaining momentum as

3168-481: The Calé Romani people of Jerez during the 19th century, originally as a fast, upbeat ending to soleares or alegrias . It is among the most popular and dramatic of the flamenco forms and often ends any flamenco gathering, often accompanied by vigorous dancing and tapping. There are three fundamental elements which can help define whether or not something really is flameco: A flamenco mode -or musical tonality-;

3256-459: The Farruca , for example, once a male dance, is now commonly performed by women too. There are many ways to categorize Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande ), while lighter, frivolous forms are called Cante Chico . Forms that do not fit either category are classed as Cante Intermedio ( Pohren 2005 , 68). These are

3344-648: The Masterpieces of the Oral and Intangible Heritage of Humanity . Historically, the term Flamenco was used to identify the Romani people ( Gitanos ) of Spain. The English traveller George Borrow who travelled through Spain during the 1830s stated that the Gitanos were also called Flemish (in Spanish, 'flamenco') due to German and Flemish being erroneously considered synonymous. According to flamencologist Cristina Cruces-Roldán,

3432-409: The Romani ethnicity who have contributed significantly to its origination and professionalization . However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage. The oldest record of flamenco music dates to 1774 in the book Las Cartas Marruecas (The Moroccan Letters) by José Cadalso . The development of flamenco over

3520-462: The Romani people . The Indo-Pakistani scales of Flamenco were introduced to Andalusia by the Romani migrations from Northern India . These Roma migrants also brought bells, and an extensive repertoire of songs and dances. Upon arrival to Andalusia in the 15th century, they were exposed to the rich Arab-Andalusian music culture, itself a hybrid of Spanish music tradition going back to the 8th century with

3608-460: The Spanish War of Independence (1808–1812), a feeling of racial pride developed in the Spanish conscience, in opposition to the "gallified" "Afrancesados" - Spaniards who were influenced by French culture and the idea of the enlightenment. In this context, gitanos were seen as an ideal embodiment of Spanish culture and the emergence of the bullfighting schools of Ronda and Seville , the rise of

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3696-438: The compás -rhythm- and the performer. .. who should be a Flamenco! All three of these elements: tonality, compás , a flamenco performer and then something less easily identifiable- Flamencura - must be present together if we are to wend up with a piece of music which can be labelled 'flamenco'. By themselves, these elements won't turn a piece of music into flamenco. Three fundamental elements that help define whether or not

3784-464: The 1860s-70s this versatility was exemplified through its use to refer to a musical style and a certain aesthetic, manners, and way of life that were perceived to be Gitano. At that time, Flamenco was not a strict genre but a way of performing music in a Gitano-Andalusian style. There are hypotheses that point to the influence on flamenco of types of dance from the Indian subcontinent; the place of origin of

3872-1207: The Albuquerque and Santa Fe communities, with the National institute of Flamenco sponsoring an annual festival, as well as a variety of professional flamenco performances offered at various locales. Emmy Grimm, known by her stage name La Emi is a professional Flamenco dancer and native to New Mexico who performs as well as teaches Flamenco in Santa Fe. She continues studying her art by traveling to Spain to work intensively with Carmela Greco and La Popi, as well as José Galván, Juana Amaya, Yolanda Heredia, Ivan Vargas Heredia, Torombo and Rocio Alcaide Ruiz. Palos (formerly known as cantes ) are flamenco styles, classified by criteria such as rhythmic pattern, mode , chord progression , stanzaic form and geographic origin. There are over 50 different palos , some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down:

3960-534: The Bandidos and Vaqueros led to a taste for Andalusian romantic culture which triumphed in the Madrid court. At this time there is evidence of disagreements due to the introduction of innovations in art. In 1881 Silverio Franconetti opened the first flamenco singer café in Seville. In Silverio's café the cantaores were in a very competitive environment, which allowed the emergence of the professional cantaor and served as

4048-671: The Cordovan poet Ricardo Molina and the Sevillian cantaor Antonio Mairena published Alalimón Mundo y Formas del Cante flamenco , which has become a must-have reference work. For a long time the Mairenistas postulates were considered practically unquestionable, until they found an answer in other authors who elaborated the "Andalusian thesis", which defended that flamenco was a genuinely Andalusian product, since it had been developed entirely in this region and because its styles basic ones derived from

4136-637: The Intangible Cultural Heritage Cooperation program. Recently there has been much debate over protecting intangible cultural heritage through intellectual property rights, as well as the desirability to do so through this legal framework and the risks of commodification derived from this possibility. The issue still remains open in legal scholarship. Note : Each country may maintain its own cultural heritage lists, items of which are not necessarily inscribed into UNESCO lists. Cultural area In anthropology and geography ,

4224-494: The Peruvian cajon, the transverse flute, etc. Other leading performers in this process of formal flamenco renewal were Juan Peña El Lebrijano , who married flamenco with Andalusian music, and Enrique Morente , who throughout his long artistic career has oscillated between the purism of his first recordings and the crossbreeding with rock, or Remedios Amaya from Triana , cultivator of a unique style of tangos from Extremadura, and

4312-566: The Philippines, Ukraine , the United States, Thailand, France, Romania, the Czech Republic, and Poland, have since created similar programs. In 2003 UNESCO adopted the Convention for the Safeguarding of the Intangible Cultural Heritage. This went into effect on 20 April 2006. The Convention recommends that countries and scholars develop inventories of ICH in their territory, as well as work with

4400-570: The Roma who were seen as ruffians and cocky troublemakers by the Spaniards and were thus associated with the 18th century German colonists of the Sierra Morena who formed groups of urban Bohemians that lived outside the law and were seen as idle and lazy. Other less successful hypotheses include those of Felipe Pedrell and Carlos Alemendros who state that while the term Flamenco is Spanish for Flemish, it

4488-516: The academic methodology of musicology to it and served as the basis for subsequent studies on this genre. As a result, in 1956 the National Contest of Cante Jondo de Córdoba was organized and in 1958 the first flamencology chair was founded in Jerez de la Frontera, the oldest academic institution dedicated to the study, research, conservation, promotion and defense of the flamenco art. Likewise, in 1963

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4576-461: The bata de cola with evening dresses. Her facet in the "Fandangos de Huelva" and in the Alegrías was recognized internationally for her perfect voice tessitura in these genres. She used to be accompanied in her concerts by guitarists Enrique de Melchor and Tomatito , not only at the national level but in countries like Colombia, Venezuela and Puerto Rico. The musical representative José Antonio Pulpón

4664-752: The best known palos ( Anon. 2019 ; Anon. 2012 ): The alegrías are thought to derive from the Aragonese jota, which took root in Cadiz during the Peninsular war and the establishment of the Cortes de Cadiz. That is why its classic lyrics contain so many references to the Virgen del Pilar, the Ebro River and Navarra. Enrique Butrón is considered to have formalized the current flamenco style of alegrías and Ignacio Espeleta who introduced

4752-422: The cante ( Manuel 2006 , 98). In some palos, these falsetas are played with a specific structure too; for example, the typical sevillanas is played in an AAB pattern, where A and B are the same falseta with only a slight difference in the ending ( Martin 2002 , 48). Flamenco uses the flamenco mode (which can also be described as the modern Phrygian mode ( modo frigio ), or a harmonic version of that scale with

4840-498: The characteristic "tiriti, tran, tran...". Some of the best known interpreters of alegrías are Enrique el Mellizo, Chato de la Isla, Pinini, Pericón de Cádiz, Aurelio Sellés, La Perla de Cádiz, Chano Lobato and El Folli. One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (Literally "a tap of

4928-859: The community possesses a piece of the shared knowledge. Crucial knowledge is passed on during community activities, frequently without any conscious attention to the process." Prior to the UNESCO Convention, efforts had already been made by a number of states to safeguard their intangible heritage. Japan, with its 1950 Law for the Protection of Cultural Properties , was the first to introduce legislation to preserve and promote intangible as well as tangible culture: Important Intangible Cultural Properties are designated and "holders" recognized of these craft and performance traditions, known informally as Living National Treasures . Other countries, including South Korea ( Important Intangible Cultural Properties of Korea ),

5016-471: The concept on the premise that cultural areas represent longstanding cultural divisions. This iteration of the concept is sometimes criticized as arbitrary, but the organization of human communities into cultural areas remains a common practice throughout the social sciences . Cultural geography also utilizes the concept of culture areas. Cultural geography originated within the Berkeley School, and

5104-475: The discussion between the difference of flamenco and new flamenco in Spain has just gained strength during since 2019 due to the success of new flamenco attracting the taste of the youngest Spanish fans but also in the international musical scene emphasizing the problem of how should we call this new musical genre mixed with flamenco. One of these artist who has reinvented flamenco is Rosalía , an indisputable name on

5192-499: The end of the 18th and beginning of the 19th century, a number of factors led to rise in Spain of a phenomenon known as "Costumbrismo Andaluz" or "Andalusian Mannerism". In 1783 Carlos III promulgated a pragmatics that regulated the social situation of the Gitanos . This was a momentous event in the history of Spanish gitanos who, after centuries of marginalization and persecution, saw their legal situation improve substantially. After

5280-512: The establishment of Al-Andalus , which brought in traditions and music from the Arabian peninsula , Northern Africa and Sephardic features. Some of the instruments associated with Flamenco and Spanish folklore in different regions today, are the wooden castanets and tambourines , both believed to originate during the Al Andalus period. This centuries-long period of cultural intermingling, formed

5368-530: The fact that many of the interpreters of this new music are also renowned cantaores, in the case of José Mercé , El Cigala , and others, has led to labeling everything they perform as flamenco, although the genre of their songs differs quite a bit from the classic flamenco. This has generated very different feelings, both for and against. Other contemporary artists of that moment were O'Funkillo and Ojos de Brujo , Arcángel, Miguel Poveda , Mayte Martín , Marina Heredia, Estrella Morente or Manuel Lombo, etc. But

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5456-464: The first Antología del Cante Flamenco, a sound recording that was a great shock to its time, dominated by orchestrated cante and, consequently, mystified. In 1955, the Argentine intellectual Anselmo González Climent published an essay called "Flamencología", whose title he baptized the "set of knowledge, techniques, etc., on flamenco singing and dancing." This book dignified the study of flamenco by applying

5544-533: The folklore of Andalusia. They also maintained that the Andalusian Gitanos had contributed decisively to their formation, highlighting the exceptional nature of flamenco among gypsy music and dances from other parts of Spain and Europe. The unification of the Gitanos and Andalusian thesis has ended up being the most accepted today. In short, between the 1950s and 1970s, flamenco went from being a mere show to also becoming an object of study. Flamenco became one of

5632-483: The foot") and bulerías . This structure though, is not followed when alegrías are sung as a standalone song (with no dancing). In that case, the stanzas are combined freely, sometimes together with other types of cantiñas . Alegrías has a rhythm consisting of 12 beats. It is similar to Soleares . Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12] . Alegrías originated in Cádiz . Alegrías belongs to

5720-436: The group of palos called Cantiñas and it is usually played in a lively rhythm (120–170 beats per minute). The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone. Bulerías a fast flamenco rhythm made up of a 12 beat cycle with emphasis in two general forms as follows: [12] 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 or [12] 1 2 [3] 4 5 6 [7] [8] 9 [10] 11. It originated among

5808-415: The groups who maintain these ICH to ensure their continued existences; it also provides for funds to be voluntarily collected among UNESCO members and then disbursed to support the maintenance of recognized ICH. UNESCO has also created other intangible culture programs, such as a list called Proclamation of Masterpieces of the Oral and Intangible Heritage of Humanity . This list began in 2001 with 19 items and

5896-551: The humiliations to which they were being subjected by the National Party: Bando Nacional : Corruco de Algeciras , Chaconcito , El Carbonerillo , El Chato De Las Ventas , Vallejito , Rita la Cantaora , Angelillo , Guerrita are some of them. In the postwar period and the first years of the Franco regime , the world of flamenco was viewed with suspicion, as the authorities were not clear that this genre contributed to

5984-415: The instruments, objects, artifacts and cultural spaces associated therewith – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their environment, their interaction with nature and their history, and provides them with

6072-628: The international music scene. "Pienso en tu mirá", "Di mi nombre" or the song that catapulted her to fame, "Malamente", are a combination of styles that includes a flamenco/south Spain traditional musical base. Rosalía has broken the limits of this musical genre by embracing other urban rhythms, but has also created a lot of controversy about which genre is she using. The Catalan artist has been awarded several Latin Grammy Awards and MTV Video Music Awards , which also, at just 30 years old, garners more than 40 million monthly listeners on Spotify . But it

6160-449: The mythical cantaor Camarón, Paco de Lucía, Morente, etc. These artists were interested in popular urban music, which in those years was renewing the Spanish music scene, it was the time of the Movida madrileña . Among them are " Pata Negra ", who fused flamenco with blues and rock, Ketama , of pop and Cuban inspiration and Ray Heredia, creator of his own musical universe where flamenco occupies

6248-411: The national conscience. However, the regime soon ended up adopting flamenco as one of the quintessential Spanish cultural manifestations. The singers who have survived the war go from stars to almost outcasts, singing for the young men in the private rooms of the brothels in the center of Seville where they have to adapt to the whims of aristocrats, soldiers and businessmen who have become rich. In short,

6336-510: The oldest and most sober styles from the stage, in favor of lighter airs, such as cantiñas , los cantes de ida y vuelta and fandangos , of which many personal versions were created. The purist critics attacked this lightness of the cantes, as well as the use of falsete and the gaitero style. In the line of purism, the poet Federico García Lorca and the composer Manuel de Falla had the idea of concurso de cante jondo en Granada en 1922. Both artists conceived of flamenco as folklore, not as

6424-411: The particular aspect of interest, such as religion and folklore vs dress, or architecture vs language. Another version of cultural area typology divides cultural areas into three forms: A cultural boundary (also cultural border) in ethnology is a geographical boundary between two identifiable ethnic or ethnolinguistic cultures. A language border is necessarily also a cultural border, as language

6512-413: The past two centuries is well documented: "the theatre movement of sainetes (one-act plays) and tonadillas , popular song books and song sheets, customs, studies of dances, and toques , perfection, newspapers, graphic documents in paintings and engravings. ... in continuous evolution together with rhythm, the poetic stanzas, and the ambiance." On 16 November 2010, UNESCO declared flamenco one of

6600-446: The performance by clapping their hands and even sometimes singing along (Totton, 2003). A typical flamenco recital with voice and guitar accompaniment comprises a series of pieces (not exactly "songs") in different palos. Each song is a set of verses (called copla , tercio , or letras ), punctuated by guitar interludes ( falsetas ). The guitarist also provides a short introduction setting the tonality, compás (see below) and tempo of

6688-530: The period of the flamenco opera was a time open to creativity and that definitely made up most of the flamenco repertoire. It was the Golden Age of this genre, with figures such as Antonio Chacón , Manuel Vallejo Manuel Vallejo  [ es ; fr ] , Manuel Torre , La Niña de los Peines , Pepe Marchena and Manolo Caracol . Starting in the 1950s, abundant anthropological and musicological studies on flamenco began to be published. In 1954 Hispavox published

6776-506: The political transition progressed, the demands were deflated as flamenco inserted itself within the flows of globalized art. At the same time, this art was institutionalized until it reached the point that the Junta de Andalucía was attributed in 2007 "exclusive competence in matters of knowledge, conservation, research, training, promotion and dissemination". In the 1970s, there were airs of social and political change in Spain, and Spanish society

6864-463: The repression of the regime when university students came into contact with this art in the recitals that were held, for example, at the Colegio Mayor de San Juan Evangelista: "flamenco amateurs and professionals got involved with performances of a manifestly political nature. It was a kind of flamenco protest charged with protest, which meant censorship and repression for the flamenco activists ". As

6952-422: The roots of Flamenco song and dance genres. It is believed that the flamenco genre emerged at the end of the 18th century in cities and agrarian towns of Baja Andalusia, highlighting Jerez de la Frontera as the first written vestige of this art, although there is practically no data related to those dates and the manifestations of this time are more typical of the bolero school than of flamenco. It appeared as

7040-429: The symbols of Spanish national identity during the Franco regime , since the regime knew how to appropriate a folklore traditionally associated with Andalusia to promote national unity and attract tourism, constituting what was called national-flamenquismo. Hence, flamenco had long been seen as a reactionary or retrograde element. In the mid-60s and until the transition, cantaores who opposed the regime began to appear with

7128-422: The time. Between 1920 and 1955, flamenco shows began to be held in bullrings and theaters, under the name "flamenco opera". This denomination was an economic strategy of the promoters, since opera only paid 3% while variety shows paid 10%. At this time, flamenco shows spread throughout Spain and the main cities of the world. The great social and commercial success achieved by flamenco at this time eliminated some of

7216-721: The traditional flamenco carol and flamenco songs that adapt their lyrics to the Christmas theme. These cantes have been maintained to this day, the Zambomba Jerezana being spatially representative, declared an Asset of Intangible Cultural Interest by the Junta de Andalucía in December 2015. During the Spanish Civil War , a large number of singers were exiled or died defending the Republic and

7304-448: The use of protest lyrics. These include: José Menese and lyricist Francisco Moreno Galván, Enrique Morente , Manuel Gerena, El Lebrijano , El Cabrero , Lole y Manuel , el Piki or Luis Marín, among many others. In contrast to this conservatism with which it was associated during the Franco regime, flamenco suffered the influence of the wave of activism that also shook the university against

7392-490: Was a decisive character in that fusion, as he urged the cantaor Agujetas to collaborate with the Sevillian Andalusian rock group " Pata Negra ", the most revolutionary couple since Antonio Chacón and Ramón Montoya , initiating a new path for flamenco. It also fostered the artistic union between the virtuoso guitarist from Algeciras Paco de Lucía and the long-standing singer from the island Camarón de la Isla , who gave

7480-402: Was already quite influenced by various musical styles from the rest of Europe and the United States. There were also numerous singers who had grown up listening to Antonio Mairena , Pepe Marchena and Manolo Caracol . The combination of both factors led to a revolutionary period called flamenco fusion. The singer Rocío Jurado internationalized flamenco at the beginning of the 70s, replacing

7568-517: Was derived from the Arabic terms Felah-Mengus, which together mean "wandering peasant". The first use of the term Flamenco to refer to the music genre appears in a 1847 newspaper article of El Espectador where it was referred to as a "Gitano genre." In the early years of Flamenco, the term was versatile and was used to refer to a variety of concepts in the Gitano-Andalusian world. For example, in

7656-458: Was the Madrid writer Eugenio Noel, who, in his youth, had been a militant casticista . Noel attributed to flamenco and bullfighting the origin of the ills of Spain which he saw as manifestations of the country's Oriental character which hindered economic and social development. These considerations caused an insurmountable rift to be established for decades between flamenco and most "intellectuals" of

7744-451: Was the leading figure in cante. The winners were "El Tenazas", a retired professional cantaor from Morón de la Frontera, and Manuel Ortega, an eight-year-old boy from Seville who would go down in flamenco history as Manolo Caracol. The contest turned out to be a failure due to the scant echo it had and because Lorca and Falla did not know how to understand the professional character that flamenco already had at that time, striving in vain to seek

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