Flamenco evolution
By Angela García March 21, 2008 San Miguel de Allende

Flamenco show
Junta Flamenca
Fri, Mar 21, 5pm
Fri, Mar 28, 5pm
Teatro Santa Ana
200 pesos

Flamenco history has been documented only for the past 200 years. Before this time, much of what we know comes from stories and legends passed down through family dynasties. 

Originally flamenco was only voice, a primitive cry or chant accompanied by rhythms beaten out on the floor by a wooden staff or cane. These Palo Secos, or dry styles, are the oldest forms of song known today. 

The toñas are the family of songs which represent these styles and they include the toña, one of the oldest known styles; the martinetes, which are the songs of the blacksmiths (rhythm supplied by the hammer beating on the anvil); the carceleras or prison songs; and the debla, which at one time had connections with gypsy religious rites. 

The saeta is a song of ardent devotion, which is sung during Semana Santa and is thought to have Jewish origins. Although the saeta is not strictly flamenco, it has all the spontaneity of flamenco and has been added to the repertoire of many cante jondo (deep song) singers. 

Flamenco is made up of four elements: cante (voice), baile (dance), toque (guitar) and jaleo, which roughly means “hell rising” and involves handclapping, foot stomping and shouts of encouragement performed by the audience as well as the artists.

The handclapping or palmas weaves intricate rhythms around the bases of the song. 

The zapateado is the tap-dance style of footwork which demonstrates the dancer’s skill with his feet and joins with the palmeros to create the rhythm. 

The guitar was introduced at a later date as an accompanying instrument.

Another important component of flamenco is known as duende. Writers and poets over the years have given duende a magical and mysterious meaning, a spiritual significance that goes beyond human understanding. The poet Federico Garcia Lorca said, “Duende could only be present when one sensed that death is possible.” Many say duende can be experienced only in certain surroundings like an intimate flamenco session where a singer is possessed by the dark tones of the song and the spirit enters the mind and soul of anyone who opens up to it.

Many believe gypsies invented flamenco. Though they have been the main practitioners of the art, they are not its sole creators. Flamenco song has two categories: cante gitano (gypsy songs) and cante andaluz (andalusian songs). 

When the gypsies arrived in Andalusia from India around 1425, they brought with them many song and dance styles that have strong Indian connections. Andalusía was still under Arab rule and, along with the Jews and the Moors, the gypsies were soon to be persecuted by the Catholic monarchs and the Inquisition. 

Jews and Moors were forced to convert to Christianity and failure to do so resulted in expulsion from Spain. Gypsies were subjected to some of the worst atrocities in an attempt to exterminate them as a race. They were forbidden to wear their style of dress, speak in Romany or wander to seek employment in horse dealing, trading at fairs and sorcery. 

Bands of gypsies, Moors and Jews took refuge in treacherous mountainous areas too desolate for the authorities to pursue them. They lived in relative harmony for many years and the fusion of their music and dance is what we know today as flamenco. 

At first gypsy music was not considered worthy of attention and was only performed in homes at private get-togethers. Their mysterious music and stimulating dances were soon to catch the attention of the romantic writers of the eighteenth and nineteenth centuries. 

Stories abound of these strange people performing their wild and erotic dances and of the harsh, unusual tones of their songs. It wasn’t long before the gachó, those not of gypsy lineage, became intrigued by this music and gypsy singers were hired to entertain the señoritos or “toffs” at private parties, where the rich would entertain themselves with prostitutes, alcohol and flamenco.