The most important element of flamenco music is undeniably the singing, "Cante". In fact, originally flamenco was comprised purely of Cante, with handclapping "Palmas" or knuckle rapping percussive accompaniment. The guitar, a variation of the Arabic Oud, was gradually incorporated in the 19th century. The strongest influences evident in the evolution of Flamenco singing and music can be traced from:
* Punjabi singing of India * Persian Zyriab song form * Classical Andalusian Orchestras of the Islamic Empire * Jewish Synagogue Chants * Mozarabic forms such as Zarchyas and Zambra * Arabic Zayal which themselves are the foundation for Fandangos * Andalusian regional folk forms Western African influences via the slaves of the New World Caribbean, Central South American colonies. These include Rumba, Garotin, Guajiras, Columbianas, etc.
percussive foot movements are evident in flamenco dance!
/ LEFT: Kathak is one of the classical dance forms of India (originally from Nort India ). It is a narrative dance form characterized by fast footwork (tatkar), spins (chakkar) and innovative use of bhav in abhinaya. On te right: Spanish flamenco dancers
Flamenco Dance
Although much less research has been undertaken in the field of flamenco dance than music, it has been documented that during the Phoenician empire, in the city of Cadiz, Hindu dancers were hired as entertainers for the festivals, aspects of which were incorporated into local processions and religious festivals.
This very strong resemblance to East Indian dance is seen in the Katak, NianiPuri, Kathakal and Bharatanatyam forms. Elements such as the deep-seated plie, outturned leg position, sharp angles of the body and arms, splayed fingers, rapid barrel turns and, most certainly, the percussive foot movements are all evident in flamenco dance.
As previously mentioned, the Mozarabic "Zambra" was occasionally performed for a very brief time during the late 19th to early 20th centuries, although its role in the development of flamenco dance is minimal. This dance, in 2/4 time, combined elements of Andalusian folk dance with Arabic elements, such as finger cymbals, tambourines and atypical theatrical costuming. However, this bears no resemblance to the performances of Sevillanas, Tangos and Bulerias by the commercial, touristic band of gypsies in the caves of Granada, which Amaya identifies as Zambra in her video "Gypsy Fire". In fact, apart from some of the percussive foot movements found in the Moroccan Shikhate, there is almost no similarity between flamenco and Middle Eastern dance. Even the open-knee hip movements of flamenco are attributed to the African influence from the colonies and/or Indian dance. Absent to flamenco dance are the torso undulations, pelvic oscillations, hip shimmies and rotations, all of which are fundamental components of Oriental. Finally, the soft, fluid, feminine, sweet and joyful external nature of Middle Eastern dance is the complete antithesis of the internal, spring-loaded, strong, defiant, explosive, masculine character of Flamenco. Watch flamenco on "you tube" if you like......it's amazing and you will know, why I like it soo much!
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PAINTING FLAMENCO 6
