The Politics of Dance

starts as people singing and dancing in a group

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Unformatted text preview: and designers and traveled o Manuel de Falla wrote ballets based on Spanish folk tales o Russians were orientalists but also oriental themselves • - 1921, de Falla wants to go back to origin of flamenco o put together performing contest (contest of cante jondo) depth of love for land and homeland o flamenco had already undergone transformation where lowly status becomes used as a nationalism tool, then someone tries to revive it o flamenco had come to be a very particular dance, so his contest was a way of putting voice back into flamenco • - idea of flamenco coming from the soul, body • - flamenco was a family product, Romani lived in tribes • - starts as people singing and dancing in a group, usually in a circle o people gather around but also participate in dancing o blurry line between musicians and performers • - flamenco guitar: means to have a dance element, joint kind of music - inarticulate cry in the beginning (sound is “ie”) - in colonialism, music often exchanged o music between Caribbean and Latin America brought back to Spain • - blurring between who is the audience • - syncopation is very familiar to us • - don’t need to tell difference between styles of flamenco • • “Bulerias” (Traditional) Juan Amaya, Carlos Lomas (guitars), Manolo de Cordoba, Liliana Lomas (dancers), Manolo Correa (palmas [handclaps]), Pepe de Malaga (singer) Andalusian Flamenco Song & Dance [Lyrichord, 1984] o Most flamenco forms are determined by their metric structure. The bulerias is in 12/8 meter with accents on the third, sixth, eighth, tenth, and twelfth eighth notes (3+3+2+2+2). This rhythm is most easily divined in the palmas,...
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This document was uploaded on 03/03/2014 for the course MUSC 115 at Georgetown.

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