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Flamenco on the Global Stage
The language of the body is central to the study of flamenco. From the records of the Inquisition, to 16th century literature, to European travel diaries, the Spanish dancer beguiles and fascinates. The word flamenco evokes the image of a sensuous and rebellious woman--the bailaora --whose movements seduce the audience, only to reject their attention with a stomp of defiance. The dancer's body is an agent of ideological resistance, conveying a conflicting desire for subjectivity and autonomy and implying deeply held ideas about history, national identity, femininity and masculinity. This collection of new essays provides an overview of flamenco scholarship, illuminating flamenco's narrative and chronology and addressing some common misconceptions. The contributors offer fresh perspectives on age-old themes and suggest new paradigms for flamenco as a cultural practice. Instructors considering this book for use in a course may request an examination copy here.
Flamenco and Bullfighting
Flamenco dance and bullfighting are parallel arts with shared traditions, performance conventions and vocabularies of movement. This volume introduces readers to an ongoing discussion in Spanish scholarship about the links between these two quintessentially Spanish arts. The author--a dancer and a student of bullfighting--describes the informal practice of both arts in private settings and their emergence as formal public rituals in the bullfighting arena and on the flamenco stage. Key bullfighting techniques and their influence on flamenco dance style are discussed in the context of understanding the worldview and kinesthetic culture of Spain.
Flamenco
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.
Sonidos Negros
"Sonidos Negros traces how, in the span between 1492--the year in which Christian reconquest of the Iberian Peninsula coincided with Christopher Columbus's landing on Hispaniola--and 1933--when Andalusian poet Federico García Lorca published his 'Theory and Play of the Duende'--the Moor became Black, and how the imagined Gitano ("Gypsy," or Roma) embodies the warring images and sounds of this process. By the nineteenth-century nadir of its colonial reach, Spanish identity came to be enacted in terms of a minstrelized Gitano, a hybrid of American and Spanish representations of Blackness. The imagined Gypsy about which flamenco imagery turns dances on a knife's edge delineating Black and Whit...
Nueva Historia del Flamenco
Esta obra es imprescindible por la cantidad ingente de nuevos datos que ofrece para la comprensión del cante, el toque y el baile jondo en su contexto histórico. Pero también por lo novedoso de su enfoque: en ella se pone de manifiesto que el flamenco es una evolución de los cantos y bailes nacionales y de palillos de finales del siglo XVIII y principios del XIX. También aporta la hipótesis, completamente novedosa, de que los bailes boleros y la hoy llamada Escuela Bolera son géneros distintos, tanto en lo cronológico como en el repertorio y la estética. Muestra los hechos flamencos en su entorno estético, social y político y, por vez primera, se dan las claves para una comprensión de la danza española como un solo género: los bailes flamencos, en su dimensión escénica, se presentan como una evolución de las danzas tradicionales hispanas, resolviendo, de esta manera, el cisma que desde hace décadas imperaba en la historia de la danza española.
Renacimiento
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Conocer el flamenco
La intención de este libro es la de exponer de la forma más sencilla posible lo que hoy se conoce de este arte en sus tres manifestaciones: cante, toque y baile. El hecho flamenco en todas sus variedades está aquí presentado tratando de romper con posturas parciales o excluyentes desde el punto de vista racial o geográfico. Tomando el flamenco como un arte contemporáneo, aún con raíces milenarias, pero en permanente ebullición y con vocación universalista. Explicado de forma sencilla pero rigurosa, recurriendo a términos y conceptos concretos y comprobables, como el ritmo de los estilos, la versificación de las coplas o los datos históricos a los que podemos tener acceso;
