In all branches of art, whatever they be, from any time or place, performers must constantly navigate a wide range of possibilities, from meticulously rehearsed to total and absolute improvisation. Both paths, and all those in between, are accessible to the most creative and best-prepared artists, as long as that person’s brain has fully internalized them both physically and mentally. This is when the words of maestro Paco de Lucía shine with perfect relevance: "Technique gives you the freedom to improvise." Indeed, amen.
But wait a second… what does it mean to improvise, how is it defined? Since the genre we are discussing is flamenco, we’re talking about singing, dancing, and guitar, each with its own range of possibilities. A simple dictionary definition says: “To improvise means to perform an action without having planned it in advance.”
In an art-form that relies on rigid rules, starting with the rhythm or compás above all else, talking about improvisation might seem out of place. But it is precisely that unbreakable rhythmic guide, shared by all, embracing music, voice, footwork, guitar variations, strumming, and more, that delivers the emotion and sends shivers down the spine when mastered by the most skilled performers.
Generally speaking, the artist improvises using pre-constructed and well-worn units or modules, movable segments of two, three, four, or more measures or beats. As brief as a "pellizco" (a small flourish), or as long as the guitar variation that every guitarist from Jerez plays for siguiriyas, you know the one I mean, each performer adds their own variable interpretation.
«Improvisation likely occurs least in guitar playing due to the technical skill required to produce clean, luminous sounds. Next, in terms of technical difficulty, is dance, with its hours of footwork combinations and other techniques that demand rehearsal. Finally, there’s singing, not because it’s easy, but because the voice invites creativity and doesn’t necessarily require technical showmanship to move an audience with freshness and spontaneity»
And this, in turn, made me think: what artists truly improvise in flamenco? Naturally, it depends on the setting… a tablao, a theater, a baptism… and the performer’s background… academy classes, neighborhood patio, the bar on the corner. It takes considerable courage to stand in front of people you know little or not at all and let the emotions of the moment flow without losing the thread of inspiration.
The nature of flamenco enables freedom that leads to successful improvisation delivered by inspired performers, especially in bulerías due to its spontaneous nature. Thus, the great fiesta artists, whether historical, such as Orillo del Puerto (or Chiclana), Paco Valdepeñas, Anzonini del Puerto, or el Brillantina, and current veterans like Miguel Funi, Marsellés, or Nano de Jerez, as well as younger artists like Javier Heredia and Luis Peña, are the ones who get the most out of improvisation. One flamenco artist, great at improvising, and there are few women in this niche, is the much-admired Cañeta de Málaga, now retired, who always brought something new and rarely repeated herself, whether in singing or dancing.
Improvisation likely occurs least in guitar playing due to the technical skill required to produce clean, luminous sounds. Next, in terms of technical difficulty, is dance, with its hours of footwork combinations and other techniques that demand rehearsal. Finally, there’s singing, not because it’s easy, but because the voice invites creativity and doesn’t necessarily require technical showmanship to move an audience with freshness and spontaneity.
