{"id":12087,"date":"2019-05-03T01:37:13","date_gmt":"2019-05-02T23:37:13","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=12087"},"modified":"2019-05-03T01:43:57","modified_gmt":"2019-05-02T23:43:57","slug":"what-is-and-isnt-flamenco","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/what-is-and-isnt-flamenco\/","title":{"rendered":"What is and isn\u2019t flamenco?"},"content":{"rendered":"<p>We can say with certainty that flamenco is an art form from Andalusia with almost two centuries of history, yet we don\u2019t quite know what is and what isn\u2019t flamenco. The legendary <strong>El Planeta<\/strong>\u00a0was more a tenor from Andalusia than a flamenco <em>cantaor<\/em>.\u00a0 A well-known opera promoter, director of the <strong>Salzburg Theater<\/strong> in Austria, came to hire him in the mid 1800s, together with <strong>Mar\u00eda Borrico<\/strong>, <em>cantaora <\/em>from San Fernando, as tenor and soprano of Andalusian songs, as can be attested in the Madrid press of those days.<\/p>\n<p>At the time, El Planeta was already sixty years old, and it\u2019s almost certain that he declined the invitation. There isn\u2019t any evidence that Mar\u00eda Borrico ever performed in that country, although she was much younger, about 20 years old. What is certain is that this promoter from Austria came to take Andalusian singers to that city, Mozart\u2019s birthplace, when the Andalusian art form wasn\u2019t yet known as \u201cflamenco\u201d. When the newspapers of Madrid in the mid 19<sup>th<\/sup> century announced that a \u201c<em>cantante flamenco<\/em>\u201d had arrived in the capital of Spain, they didn\u2019t say he was a \u201c<em>cantaor de flamenco<\/em>\u201d (\u201csinger of flamenco\u201d), but a \u201c<em>cantante flamenco<\/em>\u201d (\u201cflamenco singer\u201d). That is, a \u201cGypsy singer\u201d. How would have sung <strong>L\u00e1zaro<\/strong>, a nephew of El Planeta, who wasn\u2019t even a Gypsy or was at most a quarter Gypsy?<\/p>\n<p>When we seek to find the origins of this art, we can go as far back in time as we want, be we shouldn\u2019t go overboard. On the other hand, all we know about Andalusian <em>cante<\/em>, for example, is from early wax cylinder recordings, and we can attest from those recordings that the voices of the <em>cantaores<\/em> and <em>cantaoras<\/em> back then weren\u2019t what we would consider today as \u201cflamenco voices\u201d, with lots of melismas, <em>quej\u00edos<\/em>, unbelievable melodic turns and a particular sound that eventually became known as <em>jondo<\/em>.<\/p>\n<blockquote><p><em>How would El Planeta have sung, then? We would have an unpleasant surprise, without any doubt, because he was a singer of Andalusian songs.<\/em><\/p><\/blockquote>\n<p>Is it the same to sing a <em>sole\u00e1<\/em>, with whatever type of voice, than to sing a regular song? It\u2019s not the same. When a <em>cantaora<\/em> who sings flamenco <em>palos<\/em> then starts singing regular songs and is criticized for it, the critics always get in trouble. If a singer can sing flamenco, they can sing anything else, because to be able to sing flamenco is necessary to have a great ability, and not just a strong voice. To give an example, <strong>Mayte Mart\u00edn <\/strong>can sing anything she wants, and it will always be great, due to the combination of abilities she possesses. Yet, if she sings boleros or melodic songs, that\u2019s not flamenco, and it shouldn\u2019t be considered as such by the critics or by the aficionados. Yet, this is what happens, sadly.<\/p>\n<p>Likewise, just because someone sings <em>soleares<\/em>, <em>tangos<\/em> or <em>buler\u00edas<\/em>, doesn\u2019t mean they sing flamenco, no matter with how much theatrics or <em>ojana<\/em> they try to fake it. A good example of this would be <strong>Rosal\u00eda<\/strong>, who in my opinion doesn\u2019t sing flamenco. Perhaps some years from now what she sings will end up being categorized as flamenco. Nowadays people refer to sopranos and folk singers of the 19<sup>th<\/sup> century as \u201c<em>cantaoras<\/em>\u201d and flamenco-ish songs as \u201c<em>cante jondo<\/em>\u201d. Yet, I don\u2019t think it\u2019s that hard to call all things by their proper name. If classical guitarists play a piece of <strong>T\u00e1rrega<\/strong>\u00a0or\u00a0<strong>Turina<\/strong>, that\u2019s not flamenco, but if they play <strong>Montoya<\/strong>\u2019s <em>ronde\u00f1a<\/em>, that\u2019s flamenco, because that\u2019s a piece created by a flamenco guitarist, one of the great ones, actually. Ram\u00f3n Montoya created his own <em>ronde\u00f1a<\/em>, not the <em>palo<\/em> of the same name. His <em>ronde\u00f1a<\/em> was <em>flamenca<\/em> from the day he created it, and it was not necessary for years to go by until it was considered as such.<\/p>\n<p>Some people try to justify Rosal\u00eda\u2019s flamenco credentials arguing that the same happened with <strong>Ni\u00f1a de los Peines<\/strong>\u00a0and\u00a0<strong>Camar\u00f3n<\/strong>, which is a gross barbarity. It\u2019s trying to compare two geniuses of <em>cante<\/em> with a girl who has succeeded to create something unique by mixing some elements of flamenco with other musical genres.<\/p>\n<p>I\u2019ve listened to Rosal\u00eda singing <em>por seguiriyas<\/em> and <em>por buler\u00edas<\/em>, and all she manages is to sing are parodies without any essence. Maybe that will be considered flamenco half a century from now, I can\u2019t argue about this, but, as of now, that\u2019s not flamenco. If that\u2019s her personal interpretation of flamenco, fair enough. Yet, I\u2019m not interested about it at all, because it doesn\u2019t move me, it doesn\u2019t bring joy to my soul, it doesn\u2019t pierce my heart. Thus, I must act accordingly and not accept it as flamenco.<\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>If that\u2019s her personal interpretation of flamenco, fair enough. Yet, I\u2019m not interested about it at all, because it doesn\u2019t move me, it doesn\u2019t bring joy to my soul, it doesn\u2019t pierce my heart. <\/p>\n","protected":false},"author":6,"featured_media":12081,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-12087","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>What is and isn\u2019t flamenco? - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/what-is-and-isnt-flamenco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What is and isn\u2019t flamenco? - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"If that\u2019s her personal interpretation of flamenco, fair enough. 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