Image of the tribute to the dancer Mario Maya at the Granada Music and Dance FestivalInstituto Andaluz del Flamenco
On November 16, 2010, UNESCO inscribed flamenco on the list of Intangible Cultural Heritage of Humanity. This report includes some of the content that convinced the evaluation committee that flamenco is a living heritage—as intangible as its spirit and as human as its protagonists.
Paco de Lucía and Camarón de la IslaInstituto Andaluz del Flamenco
Flamenco is an artistic expression that encompasses the dialogue between vocal music, dance, and musical accompaniment, known respectively as cante (singing), baile (dancing), and toque (guitar playing). In this report, we'll delve a little deeper into flamenco cante.
Jerez singer José Mercé performing in La Unión, MurciaInstituto Andaluz del Flamenco
Flamenco cante is performed by both men and women. It conveys a wide range of feelings and moods—such as sorrow, joy, tragedy, delight, and fear—through sincere and expressive words, characterized by their conciseness and simplicity.
"The soleá cante, says a lot in one mouth and nothing in another." This is clearly stated in a flamenco copla. Indeed, unlike so-called folk music, flamenco relies essentially on the performer's personality. If flamenco performers want to achieve recognition, they must infuse their work with their own personality, to the point of transforming their interpretation into a true personal creation.
Camarón de la Isla by Carlos ArbelosInstituto Andaluz del Flamenco
Flamenco cante emerged from the brotherhood of different ethnic groups settled in Andalusia, with each group mutually enriching the others through their sung expressions and revendications.
Tribute to the dancer Mario Maya at the Music and Dance Festival of Granada by Pepe VillosladaInstituto Andaluz del Flamenco
In flamenco, the dance draws sustenance from the various cantes, and the dancer choreographs and expresses the feeling conveyed by the singing.
Carmen Linares sings poems by Juan Ramón Jiménez at the Seville BiennialInstituto Andaluz del Flamenco
Throughout the 19th century, cante transitioned from the cuarto de los cabales (a private, intimate setting) and family gatherings to cafés cantantes (flamenco cafés) and the theater. Its styles have continued to grow over time, as a result of cross-pollination with other popular songs.
"Cuarto de cabales"
Historically, a reunión de cabales refers to a private, intimate musical gathering among flamenco enthusiasts and connoisseurs. By extension, the location where these events took place also came to be known as a cuarto de cabales.
Arcángel performing in the Parliament of AndalusiaInstituto Andaluz del Flamenco
Early and foundational flamenco songs (which today include seguiriyas, soleares, tangos, bulerías, and cantiñas) largely evolved from the rich pluralism of the fandango. This development spanned a geographical area from Malaga to Huelva and extended to the eastern coast of the peninsula, encompassing the world of mining songs (cantes de las minas).
Performance by El Cabrero at the La Unión Festival, MurciaInstituto Andaluz del Flamenco
According to José Blas Vega and other researchers, this evolution ultimately led to palos (flamenco styles) derived from other musical traditions. These include elements from Andalusian folklore itself, such as saetas, campanilleros, bamberas, and pregones; to the Castilian-Manchegan seguidillas that shaped the sevillanas...
Enrique Morente by Carlos ArbelosInstituto Andaluz del Flamenco
...or certain overseas melodies like guajiras, milongas, colombianas, and rumbas. Not to mention composer-created songs like the canastera, galera, or ferreña.
Carmen Linares sings poems by Juan Ramón Jiménez at the Seville BiennialInstituto Andaluz del Flamenco
Keep Discovering Flamenco
Flamenco, recognised as an Intangible Cultural Heritage of Humanity, is a unique, living, and evolving cultural element that goes beyond just music. It presents a wide variety of styles across its three core elements: singing (cante), dancing (baile), and guitar playing (toque).
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