The short focuses on why Flamencos' sing, and the phenomenon of "cantiñear", a common term in Lebrija referring to remember and carry a tune in a low voice. Furthermore, in the words of contributor Lebrija, this audiovisual work "is a journey through the social reality of Gypsy Lebrija, which is much richer than one might think." Done in no time - one day, it was constructed with the constraint of time and what we offered in the moment. Still following this thread, the question is: "Why do you sing?"
Welcome to the Vida Flamenca Blog featuring the latest flamenco documentaries and videos from our local, national and international communities.
Bienvenidos al Blog 'Vida Flamenca' para la comunidad flamenca, con lo último en documentales y videos flamencos a nivel local, nacional e internacional.
Sunday, September 29, 2013
MAS FUERTE CANTABA YO.mpg
The short focuses on why Flamencos' sing, and the phenomenon of "cantiñear", a common term in Lebrija referring to remember and carry a tune in a low voice. Furthermore, in the words of contributor Lebrija, this audiovisual work "is a journey through the social reality of Gypsy Lebrija, which is much richer than one might think." Done in no time - one day, it was constructed with the constraint of time and what we offered in the moment. Still following this thread, the question is: "Why do you sing?"
Wednesday, September 25, 2013
Francisco Moreno Galván - La Fuente De Lo Jondo
Sinopsis -- Conocer a Francisco Moreno Galván es imprescindible para comprender una etapa crucial en el desarrollo del flamenco. Hasta él, no se encontró en una misma persona semejante conjunción de expresiones artísticas, variadas y ricas, unidas para generar tal labor de enriquecimiento y dignificación en el flamenco. Este arte, aun gozando ya del merecido reconocimiento, en aquel momento necesitaba convertirse en el instrumento que alzase la voz del pueblo. En Francisco, como podemos imaginar, su vida y obra se vio condicionada por la pasión desbordante que el arte jondo despertó en él, atrayéndolo irremediablemente...{más aqui}
Saturday, September 14, 2013
Antonio Mairena _ Rito y Geografïa del cante Flamenco _ English subtitles
Rito y Geografïa del cante Flamenco, vol. 10, chapter 1
broadcast 84 : "ANTONIO MAIRENA" - 2 July 1973
Antonio Mairena (vcl) & Manuel Morao (gtr)
1. Soleá
2. Malagueña
3. Bulerías
4. Seguiriya
5. Corridos o Romances
~~~
Antonio Cruz García, known as Antonio Mairena (Mairena del Alcor, Seville Province, Spain, 1909 – Seville, 1983) was a famous flamenco singer. He led the movement towards the revival of traditional flamenco in the fifties and subsequent decades. García was born in a Gypsy family of blacksmiths and learned to sing in the family environment. An important personality of flamenco, he was the main leader of a movement of flamenco artists and intellectuals who tried to rescue a type of flamenco, which they considered to be pure or authentic. He rescued or recreated a high number of songs that had been almost lost, and also published several books and articles to divulge his views on flamenco and flamenco history. He considered himself as heir to the art of Manuel Torre, the most classic flamenco singer from Jerez, and also acknowledged the influence of other masters like Tomás Pavón or Joaquín el de la Paula. {more}
broadcast 84 : "ANTONIO MAIRENA" - 2 July 1973
Antonio Mairena (vcl) & Manuel Morao (gtr)
1. Soleá
2. Malagueña
3. Bulerías
4. Seguiriya
5. Corridos o Romances
~~~
Antonio Cruz García, known as Antonio Mairena (Mairena del Alcor, Seville Province, Spain, 1909 – Seville, 1983) was a famous flamenco singer. He led the movement towards the revival of traditional flamenco in the fifties and subsequent decades. García was born in a Gypsy family of blacksmiths and learned to sing in the family environment. An important personality of flamenco, he was the main leader of a movement of flamenco artists and intellectuals who tried to rescue a type of flamenco, which they considered to be pure or authentic. He rescued or recreated a high number of songs that had been almost lost, and also published several books and articles to divulge his views on flamenco and flamenco history. He considered himself as heir to the art of Manuel Torre, the most classic flamenco singer from Jerez, and also acknowledged the influence of other masters like Tomás Pavón or Joaquín el de la Paula. {more}
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