{"id":16783,"date":"2019-12-04T13:58:10","date_gmt":"2019-12-04T12:58:10","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=16783"},"modified":"2019-12-04T13:58:10","modified_gmt":"2019-12-04T12:58:10","slug":"flamenco-dance-perspectives-in-spain-and-abroad","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/flamenco-dance-perspectives-in-spain-and-abroad\/","title":{"rendered":"Flamenco dance perspectives in Spain and abroad"},"content":{"rendered":"<p>A couple of years ago, Marina Haars, then dance critic for the <em>New York Times<\/em>, wishing to enhance her understanding of the American interest in flamenco, privately interviewed me via email regarding followers in the United States as compared to those in Spain.<span class=\"Apple-converted-space\">\u00a0<\/span>Here are some excerpts from the unpublished interview:<\/p>\n<p><b>Would you say that the taste in flamenco shows, specifically, is different in the US than in Europe or elsewhere? Do Americans seem to prefer less flash, more purity of form, or has taste become globalized?<\/b><\/p>\n<p>The taste in shows outside Spain has many levels.<span class=\"Apple-converted-space\">\u00a0 <\/span>There are the savvy fans, many of whom dance or play guitar \u2013 these people usually prefer less theatrics.<span class=\"Apple-converted-space\">\u00a0<\/span>The younger generation appreciates the modern-dance influence and overall hipness, while older followers go for the more intense traditional approach to flamenco.<span class=\"Apple-converted-space\">\u00a0<\/span>Then there are the theater-goers.<span class=\"Apple-converted-space\">\u00a0 <\/span>People who attend opera, classic ballet, flamenco or whatever is coming through town.<span class=\"Apple-converted-space\">\u00a0 <\/span>These are individuals who appreciate classy staging, lighting and an overall good show, including a good level of dance and music.<\/p>\n<p><b>You recently wrote that flamenco in Spain has become &#8220;Disneyfied&#8221; in the last few years.<span class=\"Apple-converted-space\">\u00a0<\/span>Could you elaborate?<\/b><\/p>\n<p>It\u2019s been a long, slow process that began fairly abruptly in the early 1970s with the genius of guitarist Paco de Luc\u00eda who literally set out to rework flamenco.<span class=\"Apple-converted-space\">\u00a0 <\/span>His desire to open new paths, and his ability to do so, went well with singer Camar\u00f3n\u2019s [Jos\u00e9 Monge Cruz, 1950-1992] creativity, and by the 1980s the experimental spirit began to affect or infect dance as well.<span class=\"Apple-converted-space\">\u00a0 <\/span>By 1990, Spanish public institutions, for whom flamenco had formerly been little more than a minor embarrassment, began to take an interest in the market potential of the genre, and thus flamenco entered a brave new mainstream world of funding, proposals, press conferences and grant applications.<span class=\"Apple-converted-space\">\u00a0 <\/span>Competing for financing, works came to be overwrought and over-conceptualized.<span class=\"Apple-converted-space\">\u00a0 <\/span>We\u2019ve all seen some of the more unfortunate contrivances that have not enhanced flamenco in any way.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p><b>Have you seen a backlash against the flashier concept shows from the public in the last few years or do audiences tend to prefer these shows? What do critics in Spain think of them?<\/b><\/p>\n<p>The shows are not so much \u201cflashy\u201d as heavily and self-consciously conceptual: \u201c<i>I wear black, therefore I am profound\u201d.<\/i><span class=\"Apple-converted-space\">\u00a0 <\/span>It makes for an odd marriage with the passionate-fiery stock image of flamenco most people have in their heads.<span class=\"Apple-converted-space\">\u00a0 <\/span>I make no secret of my distaste for shows advertised as \u201cflamenco\u201d (a very powerful draw, even when people may not know what to expect from it), but which offer dark, depressing, post-modern posturing, with the occasional absence of guitar, voice or rhythm. It\u2019s deceitful and self-important to do these things in the name of \u201cflamenco\u201d, and then take refuge in \u201cfreedom of expression\u201d.<span class=\"Apple-converted-space\">\u00a0 <\/span>Possibly good theater, but not what I expect from flamenco.<\/p>\n<p>Other critics have made no bones about their distaste either, but some accept these contrivances at face value, and I detect a certain syndrome of the Emperor\u2019s New Clothes: critics who are reluctant to stand up and call fowl.<span class=\"Apple-converted-space\">\u00a0 <\/span>The philosophy of \u201cif you can\u2019t beat \u2018em, join \u2018em\u201d is turning flamenco into just another fish in the great sea of international pop culture.<\/p>\n<p><b>What do you think of the Saura\/Gades flamenco films like Bodas de Sangre? Did they help or hinder the cause of flamenco?<\/b><\/p>\n<p>There\u2019s a stark perspective that is at odds with flamenco as I came to know it.<span class=\"Apple-converted-space\">\u00a0 <\/span>Saura is a film director, not a flamenco authority.<span class=\"Apple-converted-space\">\u00a0<\/span>His take on flamenco has all the frigid glamour of Robert Palmer\u2019s girls in <i>Addicted to Love.<\/i><\/p>\n<p><b>Do you think that traditional dancers sometimes suffer in a theatrical context? I&#8217;ve often felt that large venues weaken the effect of really good flamenco music\/dance.<\/b><\/p>\n<p>In my opinion, flamenco is an intimate art-form that is best communicated at close range.<span class=\"Apple-converted-space\">\u00a0 <\/span>The abundance of large format flamenco shows, and the disappearance of smaller venues such as night-clubs, is an element which has diluted the intensity.<\/p>\n<p><b>Is flamenco still part of people&#8217;s lives in Spain, the way tango is in Argentina? Do people gather to dance and play and sing, informally? Does it have a life outside of the theatre?<\/b><\/p>\n<p>Yes, flamenco still exists apart from commercial presentations, but it\u2019s on the wane and has to be sought out.<span class=\"Apple-converted-space\">\u00a0 <\/span>Some of us diehards try to cultivate and encourage what ethnomusicologists call \u201cflamenco de uso\u201d, the kind which is practiced for personal satisfaction and tradition, as opposed to \u201cflamenco de cambio\u201d which is a product for sale.<span class=\"Apple-converted-space\">\u00a0 <\/span>When flamenco de uso ceases to exist, I think that will be the beginning of the end for flamenco, and it will morph into something else.<span class=\"Apple-converted-space\">\u00a0 <\/span>The word is sure to endure, what\u2019s in danger of extinction is the music and dance it represents.<\/p>\n<h6 style=\"text-align: right;\"><b>Image of the Mar\u00eda Pag\u00e9s Company is from the official website<\/b><\/h6>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A couple of years ago, Marina Haars, then dance critic for the New York Times, wishing to enhance her understanding of the American interest in flamenco, privately interviewed me via email regarding followers in the United States as compared to those in Spain.<\/p>\n","protected":false},"author":9,"featured_media":16781,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[],"class_list":["post-16783","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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