Flamenco by
A series of flamenco dances, "an integral part of the Spanish heart and culture" are performed by three hundred dancers and photographed by the master cinematographer, Vittorio Storaro.
Carmen by
A group of flamenco dancers is rehearsing a very "Spanish version of Prosper Merimee's drama. Antonio (the choreographer) falls in love with Carmen (the main dancer). Their story then turns similar to the play" -- IMDb
Flamenco by
This analytical history traces representations of flamenco dance in Spain and abroad from the twentieth century to the present, using histories, film, accounts of live performances, and practitioner interviews. Beginning with an analysis of flamenco historiography, the text examines images of the female dancer in films by Luis Bunuel, Carlos Saura, and Antonio Gades; stereotypes of flamenco bodies and Andalusian culture in Prosper Merimee's Carmen; and the ways in which contemporary flamenco dancers like Belen Maya and Rocio Molina negotiate the stereotype of Carmen and an idealized Spanish feminine that pervades "traditional" flamenco. Instructors considering this book for use in a course may request an examination copy here.
Flamenco Music and National Identity in Spain by
Flamenco Music and National Identity in Spain explores the efforts of the current government in southern Spain to establish flamenco music as a significant patrimonial symbol and marker of cultural identity. Further, it aims to demonstrate that these Andalusian efforts form part of the ambitious project of rethinking the nation-state of Spain, and of reconsidering the nature of national identity. A salient theme in this book is that the development of notions of style and identity are mediated by social institutions. Specifically, the book documents the development of flamenco's musical style by tracing the genre's development, between 1880 and 1980, and demonstrating the manner in which the now conventional characterization of the flamenco style was mediated by krausist, modernist, and journalist institutions. Just as importantly, it identifies two recent institutional forces, that of audio recording and cinema, that promote a concept of musical style that sharply contrasts with the conventional notion. By emphasizing the importance of forward-looking notions of style and identity, Flamenco Music and National Identity in Spain makes a strong case for advancing the Spanish experiment in nation-building, but also for re-thinking nationalism and cultural identity on a global scale.
Flamenco Music Theory by
Flamenco Music Theory is an analysis of the specific elements related to its expression: from, rhythm, melody and harmony. Composers and artists from other musical genres can become familiar with flamenco by learning more about its musical elements, while students in music schools and conservatories will find Flamenco Music Theory useful as a textbook for further study.
Gypsies and Flamenco by
This definitive work on the contribution of the Gypsies to the development of flamenco traces their influences on music from their long migration from India, through Iran, Turkey, Greece, and Hungary, to their persecution in Spain. This new updated edition provides fuller explanations of some of the technical terms and an invaluable biographical dictionary of 200 of the foremost Gypsy flamenco artists from its origins to the present day, as well as a discography and videography.
Lives and Legends of Flamenco by
the people who have been influntial in flamenco, histories,and characters
Sonidos Negros by
How is the politics of Blackness figured in the flamenco dancing body? What does flamenco dance tell us about the construction of race in the Atlantic world? Sonidos Negros traces how, in the span between 1492 and 1933, the vanquished Moor became Black, and how this figure, enacted in terms of a minstrelized Gitano, paradoxically came to represent Spain itself. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Christian and non-Christian, White and Black worlds. This figure's subversive teetering undermines Spain's symbolic linkage of religion with race, a prime weapon of conquest. Flamenco's Sonidos Negros live in this precarious balance, amid the purposeful confusion and ruckus cloaking embodied resistance, the lament for what has been lost, and the values and aspirations of those rendered imperceptible by enslavement and colonization.
When Flamenco Is Not Enough! by
The aim of this book is to bring the Romany community and the therapist closer together. It gives general information about Romany rituals and practices in order to better understand their culture and therefore allow a therapist to build the type of rapport that is necessary for successful therapy. This research mentions the concept of devil possession and its place within this community at present, and it investigates the importance of understanding the clan and its rituals, especially singing and clapping, as a necessary framework to use during therapy.
"Maybe [flamenco] will all go downhill again, like it did before - but who knows? Maybe tomorrow something will come along that is just as good as what we once had, maybe even better!...when people say that without torture and prisons flamenco will die, I say: They are wrong. Why? Because people will always have feelings, joy and sorrow...Even feelings themselves can change, but there will always be feelings. As long as the world exists, this will always be so..." -- Pepe el de la Matrona
