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.
Cristina Hoyos and Manolo Sanlúcar at the Biennial of SevilleInstituto Andaluz del Flamenco
Flamenco is an artistic expression that brings together the dialogue between vocal music, the art of dance, and musical accompaniment, known respectively as cante (singing), baile (dancing), and toque (guitar playing). In this report, we'll focus on flamenco guitar, or toque.
Paco de LucíaInstituto Andaluz del Flamenco
Flamenco guitar playing has long transcended its original role of merely accompanying the cante. This vocal art is also accompanied by other instruments like castanets, or by handclaps (palmas) and footwork (taconeos).
"Paco de Lucía interpreta a Manuel de Falla" (1992) by Paco de LucíaInstituto Andaluz del Flamenco
The flamenco guitar originated from a blend of Moorish and Castilian influences. These, in turn, derived from the Mediterranean cithara, the Arabic plectrum, or the vihuela de mano. It eventually inherited the classical capo but features distinct, more percussive woods like cypress, rosewood, or caviuna, which give it a unique sound.
The flamenco guitar, a sibling of the classical Spanish guitar, now boasts its own distinct personality. While its origin was solely to accompany the cante, a countless list of brilliant performers have introduced successive innovations, endowing it with an incredibly original range of expressive techniques. Today, these techniques have made the flamenco guitar a regular protagonist in the world's most important concert halls. The electrifying picaos (fast, percussive runs), frantic alzapúas (downstroke-upstroke strumming), and dramatic percussive accents have made the sound of the flamenco guitar truly unique and unmistakable.
Manolo Franco and Niño de Pura at the Cordoba Guitar FestivalInstituto Andaluz del Flamenco
Flamenco toque has been enriched by the individual contributions of a significant roster of artists who have played and continue to play an important role in its preservation and dissemination.
Carmen Linares sings poems by Juan Ramón Jiménez at the Seville BiennialInstituto Andaluz del Flamenco
The Moorish string-by-string playing, from which punteado (plucking) may have emerged, combines with Castilian strumming (rasgueado), its trémolos, and falsetas (melodic variations), whether inherited or original.
Manolo Sanlúcar by Carlos ArbelosInstituto Andaluz del Flamenco
The flamenco guitar is modal, as affirmed by Manolo Sanlúcar and other contemporary masters. This is evident in its descending cadence of A, G, F, E, which characterizes the Phrygian mode and captivated classical musicians.
Camarón de la Isla by Carlos ArbelosInstituto Andaluz del Flamenco
In flamenco, the guitar first appeared in barber shops and was wielded by cantaores like El Planeta and Camarón.
Paco de Lucía with a scarf around his neckInstituto Andaluz del Flamenco
Despite formidable masters such as Javier Molina, Ramón Montoya, Niño Ricardo, and Sabicas, guitarists were generally considered mere "squires" to the cante. However, Paco de Lucía managed to transform the instrument, making it the driving force behind the greatest innovations in this art form.
Paco de Lucía with John Mclaughlin and Al Di MeolaInstituto Andaluz del Flamenco
Flamenco guitarists were also the ones who, with more glory than sorrow, pioneered the integration of flamenco with other musical cultures like jazz, classical music, rock, and ethnic music.
Juan Diego Mateos "Dieguito"Instituto Andaluz del Flamenco
Paco de LucíaInstituto 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).
This story closes with the piece "Dieguito," composed by Juan Diego Mateos. It features Juan Diego on guitar, Guillermo McGill on drums, Macano, Keko Baldomero, and Juan Diego on palmas (handclaps), Juan Peña "Chispa" on percussion, Jorge Pardo on flute, and Marcelino Fernández on backing vocals.
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