History of flamenco
The history of flamenco
Flamenco comes from a living tradition that goes back to the earliest antiquity. It is built around three pillars: singing (cante), dance (baile) and the guitar (toques). Flamenco is not a single genre; there are hundreds of different kinds of pieces. Each of them has its own atmosphere and many are regional variants from Spain. Although widely open to personal composition, the genres of flamenco are governed by rules as strict as those of classical composition. This art of the people is shaped by joy and by suffering. Flamenco is constantly influenced and modified by the social context in which it finds its roots.
The origins of flamenco
The origins of flamenco are very blurred and hazy. Even the origin of the word flamenco remains unknown. Some believe the word could come from a corruption of "Felag mengu" (fugitive peasant in Arabic), applied to the Gypsies after their proscription following the expulsion of the Moors from Spain. Other theories rely on the literal meaning of the word flamenco (Flemish) and suggest a connection with the servants from Flanders who were part of the retinue at the coronation of Charles V in the 16th century. As this figure was the object of resentment, it is suggested that flamenco became a general term of insult later applied to the Gypsies. But in fact, nobody is really certain of anything. Very varied cultural influences, present in Spain, left their mark on flamenco. In 711 the Moors conquered "Al-Andalus" and maintained their rule until their final expulsion from Granada by King Ferdinand and Queen Isabella in 1492. Throughout those centuries, the Islamic invaders did not destroy: they assimilated. The conquered nations were allowed to keep their own religions. Spain drew an immense musical benefit from this, and the Arab influence can still be heard in flamenco (enharmonic techniques, using intervals smaller than the semitone).
The Gypsies and flamenco
During the period of Islamic rule in Spain (711-1492), the Gypsies, originally from India, reached Spain and were allowed to stay. After the Muslims left, the cultural tolerance practised by the Moors did not survive their departure. Thus in 1499 the first laws against the Gypsies appeared, and nomadism was outlawed. The Gypsies left the towns and took refuge in the hills and caves. Their isolation from society confined them to a separate artistic development. Flamenco was finally created by the fusion of the cante gitano with traditional Andalusian music. It was towards the end of the 18th century that the official attitude towards the Gypsies began to soften. But the Gypsies still remained very discreet about their music, which was performed in private, in closed circles, out of the hearing of outsiders.
The evolution of flamenco
It was only in the second half of the 19th century that flamenco became democratic and turned into an art presented to the public. The advent of the cafés cantantes (the bar-concerts of the time), from 1842 onwards, triggered this phenomenon of flamenco's expansion. It was also thanks to these cafés cantantes that artists appeared with far more diversified repertoires. Indeed, these cafés cantantes also helped bring together the Andalusian tradition (malagueñas, verdiales, granadinas, tarantas) and the Gypsy tradition (seguiriyas, soleares, martinetes, bulerías, tangos...). The singer remained the main figure, but over time the guitarist grew more and more important. The general level of skill improved and guitarists invented new techniques. By 1910 the great era of the cafés cantantes was over; public taste turned towards a more refined vocal style. This was the era of the theatrical presentation of flamenco, of the "Flamenco Opera" and the "Flamenco Ballet". After flamenco's incursion into the theatre and the growing popularity of classical guitar concerts, it might have seemed inevitable that sooner or later the flamenco guitar would make its solo debut in concert halls. Many musicians were convinced that the guitar should be limited to a simple accompanying role, which delayed that event.
Flamenco today
In the 1950s, interest in true flamenco reappeared. Abroad, interest in flamenco keeps growing. Solo concerts are seeing their popularity increase in an astonishing way. The recent changes that have taken place in the world of flamenco are still too close for us to draw conclusions. However, two trends can be noted in reaction to this change: on the one hand, the traditionalists who keep to well-established styles; on the other, a modern school, formed of artists who adopt new elements in order to modernise their art without betraying its essence (some are inspired by jazz and Latin American music). There are signs that flamenco could become an international art, without however losing its Spanish roots. Its expansion is not over.