Flamenco
Stylistic origins	Andalusian and Romani
Cultural origins	Andalusia (Spain)
Typical instruments	Flamenco guitar, Classical guitar, palillos, palmas and cajón
Mainstream popularity	worldwide, most popular in Spain
Subgenres
Nuevo Flamenco
Other topics
Music of Spain - Music of Andalusia Cante Chico - Cante Jondo - Cante Intermedio - Falseta Belén Maya, flamenco dancer

Flamenco (Spanish pronunciation: [flaˈmeŋko]) is a genre of music, song and dance from Andalusia in southern Spain, noted for its energetic, staccato style. It grew from Andalusian and Romani music and dance styles.^[1][2][3]

The cante (singing), toque (guitar playing), baile (dance) and palmas (handclaps) are the principal facets of flamenco.

In recent years flamenco has become popular all over the world and is taught in many countries; in Japan flamenco is so popular that there are more academies than in Spain.^[4][5] On November 16, 2010, UNESCO declared Flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.^[6]

Etymology[link]

There are questions not only about the origins of flamenco, but also about the origins of the word itself. There are many theories (summarized below), but no solid evidence for any of them. The word was not recorded until the late 18th century. The Spanish word Flamenco literally means flamingo. The dance does resemble the form of the elegant bird which is not only native to Southern Spain but can be found all along the migratory routes of the Romani people across moorish North Africa even to their origin in India. Since the dance style of Flamenco may well have originated in (or been strongly influenced by) the expressive Kathak dance of north-western India the term flamenco may have originally been a Spanish colloquialism to label the dance.

George Borrow asserted the word flemenc [sic] is synonymous with "gypsy".^{[citation needed]} Blas Infante, in his book Orígenes de lo flamenco y secreto del cante jondo, suggests the word may derive from Andalusian Arabic fellah mengu, "Escapee Peasant", referring to the Muslim Andalusians (Moriscos) who stayed in Spain and mixed with the Romani newcomers when the Spanish reclaimed their land.

Other hypotheses include "Fleming, native of Flanders" (Dutch Vlaming). Spain ruled Flanders for many years, and Charles I of Spain and V of Germany^{[disambiguation needed ]} is said to have brought to Toledo an entire Flemish court.^{[citation needed]} The Spanish wife of his father, Felipe de Austria, brought Andalusian musicians to Court and the Habsburg Spanish troops in their Netherlands domains were accompanied by musicians and, on their return to Spain, these became known to other Europeans, including the players of more sober traditional Andalusian music as 'Flamenco', the flemish style.

The entry for "Flamenco" in the 1786 Diccionario español e ingles (Volume 1), gives the following definition: "f.m. a bird that has a red breast and pinions". "Flama"^[7] in Spanish means flame or fire, and "enco" or "endo", is a suffix which means a quality-of, or having a-similarity-to, or pertaining-to.^[8]

Flamenco today[link]

From its roots in eighteenth century popular theatre, most flamenco performers were professionals. Originally they learned from other performers in the manner of an apprenticeship, not in conservatoriums or dance schools as is usually the way now. Today, most guitarists undergo rigorous professional training and often can read and play music in other styles like classical guitar or jazz and many dancers take courses in ballet and contemporary dance as well as flamenco.

Flamenco occurs in four settings - the juerga, in small-scale cabaret, concert venues and in the theatre.

The juerga is an informal, spontaneous gitano gathering (rather like a jazz "jam session"). This can include dancing, singing, palmas (hand clapping), or simply pounding in rhythm on an old orange crate or a table. Flamenco, in this context, is organic and dynamic: it adapts to the local talent, instrumentation, and mood of the audience. This context invites comparison with that other creation of a dispossessed class, the blues. The Gypsy Blues, or even the European Blues as a means of providing a frame of reference to those new to the genre.

One tradition remains firmly in place: the cantaores (singers) are the heart and soul of the performance. A Peña Flamenca is a meeting place or grouping of Flamenco musicians or artists. There are also "tablaos", establishments that developed during the 1960s throughout Spain replacing the "café cantante". The tablaos may have their own company of performers for each show. Many internationally renowned artists have started their careers in "tablaos flamencos", like the famous singer Miguel Poveda who began in El Cordobés, Barcelona.

The professional concert is more formal. A traditional singing performance has only a singer and one guitar, while a dance concert usually includes two or three guitars, one or more singers (singing in turns, as flamenco cantaors sing solo), and one or more dancers. One of the singers may play the cajon (a wooden box drum played with the hands) if there is no dedicated cajon player, and all performers will play palmas even if there are dedicated palmeros. The so-called Nuevo Flamenco New flamenco may include flutes or saxophones, piano or other keyboards, or even the bass guitar and the electric guitar. Camarón de la Isla was one artist who popularized this style.

Finally, there is the theatrical presentation of flamenco. However, it is now an extended and sophisticated performance in its own right, comparable to a performance of ballet by such ensembles as the Maria Pagès Company.

Palos[link]

Flamenco music styles are called palos. Songs are classified into palos based on criteria such as basic rhythmic pattern, mode, chord progression, form of the stanza, and geographic origin. There are over 50 different palos flamenco, although some are rarely performed. For a complete explanation, see the main Wikipedia entry on Palo (flamenco).

There are traditions associated with each palo. Some of the forms are sung unaccompanied, while others usually have guitar or other accompaniment. Some forms are danced while others are not. Some are the reserve of men and others of women, while some may be performed by either. Many of these traditional distinctions are breaking down; for example, the Farruca is now commonly performed by women too.

Palos are traditionally classified into three groups. The most serious forms are known as cante jondo (or cante grande), while lighter, frivolous forms are called cante chico. Other considerations factor into classification, such as whether the palo is considered to be of gypsy origin or not. Forms which do not fit either category are classified as cante intermedio.

Music[link]

Harmony[link]

Whereas in modern western music, it is usually only the major and minor scales which are commonly used by composers, flamenco also uses the Modern Phrygian mode or Phrygian mode (modo frigio in Spanish).

The Phrygian mode occurs in palos such as soleá, most bulerías, siguiriyas, tangos and tientos. The harmonic version of the scale requires the 3rd degree of the scale to be sharpened: For instance, if the scale is E Phrygian the tonic chord will contain G#.

Based on the Phrygian scale, a typical cadence is formed, usually called "Andalusian cadence". The chords in E Phrygian are Am–G–F–E. According to Manolo Sanlúcar, in this mode, E is the tonic, F would take the harmonic function of dominant, while Am and G assume the functions of subdominant and mediant respectively.^[9]

When playing using the Phrygian mode, guitarists traditionally use only two basic positions for the tonic chord (music): E and A. However, they often transpose these basic tones by using a capo. Modern guitarists such as Ramón Montoya, have introduced other positions. Montoya himself started to use other chords for the tonic in the doric sections of several palos: F sharp for tarantas, B for granaína, A flat for the minera, and he also created a new palo as solo piece for the guitar, the rondeña, in C sharp with scordatura. Later guitarists have further extended the repertoire of tonalities, chord positions and scordatura.^[10]

There are also palos in major mode, e.g. most cantiñas and alegrías, guajiras, some bulerías and tonás, and the cabales (a major type of siguiriyas). The minor mode is restricted to the Farruca, the milongas (among cantes de ida y vuelta), and some styles of tangos, bulerías, etc. In general, traditional palos in major and minor mode are limited harmonically to the typical two-chord (tonic–dominant) or three-chord structure (tonic–subdominant–dominant) (Rossy 1998:92). However, modern guitarists have increased the traditional harmony by introducing chord substitution, transition chords, and even modulation.

Fandangos and the palos derived from it (e.g. malagueñas, tarantas, cartageneras) are bimodal. Guitar introductions are in Phrygian mode, while the singing develops in major mode, modulating to Phrygian mode at the end of the stanza. (Rossy 1998:92)

Traditionally, flamenco guitarists did not receive any formal training. This led them to interesting harmonic findings, with unusual unresolved dissonances (Rossy 1998:88). Examples of this are the use of minor 9th chords for the tonic, the tonic chord of tarantas, or the use of the 1st 'unstopped' string as a kind of pedal tone.

Melody[link]

Dionisio Preciado, quoted by Sabas de Hoces ^[11] established the following characteristics for the melodies of flamenco singing:

1. Microtonality: presence of intervals smaller than the semitone.
2. Portamento: frequently, the change from one note to another is done in a smooth transition, rather than using discrete intervals.
3. Short tessitura or range: Most traditional flamenco songs are limited to a range of a sixth (four tones and a half). The impression of vocal effort is the result of using different timbres, and variety is accomplished by the use of microtones.
4. Use of enharmonic scale. While in equal temperament scales, enharmonics are notes with identical pitch but different spellings (e.g. A flat and G sharp); in flamenco, as in unequal temperament scales, there is a microtonal intervalic difference between enharmonic notes.
5. Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency.
6. Baroque ornamentation, with an expressive, rather than merely aesthetic function.
7. Apparent lack of regular rhythm, especially in the siguiriyas: the melodic rhythm of the sung line is different from the metric rhythm of the accompaniment.
8. Most styles express sad and bitter feelings.
9. Melodic improvisation. flamenco singing is not, strictly speaking, improvised, but based on a relatively small number of traditional songs, singers add variations on the spur of the moment.

Musicologist Hipólito Rossy adds the following characteristics (Rossy 1998: 94):

• Flamenco melodies are characterized by a descending tendency, as opposed to, for example, a typical opera aria, they usually go from the higher pitches to the lower ones, and from forte to piano, as was usual in ancient Greek scales.
• In many styles, such as soléa or siguiriya, the melody tends to proceed in contiguous degrees of the scale. Skips of a third or a fourth are rarer. However, in fandangos and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this is proof of the more recent creation of this type of songs,influenced by Castilian jota.

Compás[link]

Compás is the Spanish word for metre and time signature in classical music theory. It also refers to the rhythmic cycle, or layout, of a palo.

The compás is fundamental to flamenco. Without it, there is no flamenco. Compás is most often translated as rhythm but it demands far more precise interpretation than other Western styles of music. If there is no guitarist available, the compás is rendered through hand clapping (palmas) or by hitting a table with the knuckles. The guitarist uses techniques like strumming (rasgueado) or tapping the soundboard. Changes of chords emphasize the most important downbeats.

Flamenco uses three basic counts or measures: Binary, Ternary and the (unique to flamenco) twelve-beat cycle. There are also free-form styles including, among others, the tonás, saetas, malagueñas, tarantos, and some types of fandangos.

• Rhythms in 2/4 or 4/4. These metres are used in forms like tangos, tientos, gypsy rumba, zambra and tanguillos.^[12]
• Rhythms in 3/4. These are typical of fandangos and sevillanas, suggesting their origin as non-Gypsy styles, since the 3/4 and 4/4 measures are not common in ethnic Gypsy or Hindi music.
• 12-beat rhythms usually rendered in amalgams of 6/8 + 3/4 and sometimes 12/8. The 12 beat cycle is the most common in flamenco, differentiated by the accentuation of the beats in different palos. The accents do not correspond to the classic concept of the downbeat. The alternating of groups of 2 and 3 beats is also common in Spanish folk dances of the 16th Century such as the zarabanda, jácara and canarios.

There are three types of 12-beat rhythms, which vary in their layouts, or use of accentuations: soleá, seguiriya and bulería.

1. peteneras and guajiras: 1 2 3 4 5 6 7 8 9 10 11 12 Both palos start with the strong accent on 12. Hence the meter is 12 1 2 3 4 5 6 7 8 9 10 11...
2. The seguiriya, liviana, serrana^{[disambiguation needed ]}, toná liviana, cabales: 1 2 3 4 5 6 7 8 9 10 11 12 The seguiriya is the same as the soleá but starting on the 8th beat
3. soleá, within the cantiñas group of palos which includes the alegrías, cantiñas, mirabras, romera, caracoles and soleá por bulería (also " bulería por soleá"): 1 2 3 4 5 6 7 8 9 10 11 12. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular 3/4.

The Bulerías is the emblematic palo of flamenco: today its 12 beat cycle is most often played with accents on the 3, 7, 8, 10 and 12th beats. The accompanying palmas are played in groups of 6 beats, giving rise to a multitude of counter rhythms and percussive voices within the 12 beat compás

Forms of flamenco expression[link]

Toque (guitar)[link]

The origins, use and technique of the flamenco guitar are fully covered in the main Wikipedia entry for flamenco guitar.

Cante (song)[link]

Flamenco performance by the La Primavera^{[disambiguation needed ]} group

The origins, history and importance of the cante is covered in the main Wikipedia entry for the cante flamenco. The singer is very passionate.

Baile (dance)[link]

El baile flamenco is known for its emotional intensity, proud carriage, expressive use of the arms and rhythmic stamping of the feet. As with any dance form, many different styles of flamenco have developed.

In its most authentic form, flamenco can be seen danced informally at gitano (Gypsy) weddings and celebrations in Spain. There is less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same. The arms are noticeably different to classical flamenco, curving around the head and body rather than extending, often with a bent elbow.

"Flamenco puro" is considered the form of performance flamenco closest to its gitano origins. In this style, the dance is always performed solo, and is improvised rather than choreographed. Some purists frown on castanets (even though they can be seen in many early 20th century photos of flamenco dancers).

The type of dance most Europeans would call "flamenco" is a commercialized style, developed as a spectacle for tourists. To add variety, group dances are included, and even solos are more likely to be choreographed. The frilly, voluminous spotted dresses are derived from a style of dress worn for the annual Feria in Seville (the original is actually too tight to dance in!).

"Classical flamenco" is the style used in modern Spanish flamenco dance companies. It is characterized by a proud, upright carriage - for the women, the back is often held in a marked back bend. Unlike gitano flamenco, there is little movement of the hips, the body is tightly held and the arms are long, like a ballet dancer. In fact many of the dancers in these companies have trained in ballet as well as flamenco.

Modern flamenco is a highly technical dance style requiring years of study. The emphasis for both male and female performers is on lightning-fast footwork performed with absolute precision. In addition, the dancer may have to dance while using props such as castanets, shawls and fans.

"Flamenco nuevo" is the new wave in flamenco, characterized by pared-down costumes (the men often dance bare-chested, and the women in plain jersey dresses). Props such as castanets, fans and shawls are rarely, if ever, used. Dances are choreographed and include influences from other dance styles.

In traditional flamenco, young people are not considered to have the emotional maturity to adequately convey the "duende" (soul) of the genre. Therefore unlike other dance forms, where dancers turn professional early to take advantage of youth and strength, many flamenco dancers do not hit their peak until their thirties and will continue to perform into their fifties and beyond.

See also[link]

Guitar portal

• Andalusian Centre of Flamenco
• Camarón de la Isla
• Concurso de Cante Jondo
• Festival Bienal Flamenco
• Flamenco shoes
• New Flamenco
• Paco Peña
• Paco de Lucía
• Palo
• Picados
• Silverio Franconetti

References[link]

1. ^ Ruiz, Ríos. "Nowadays, we know that there are hundreds and hundreds of data which allow us to know in detail what flamenco was from 1760 until 1860...the theatre movement of sainetes (one-act plays) and tonadillas, the popular songbooks and song sheets, the narrations and descriptions from travelers describing customs, the technical studies of dances and toques, the musical scores, the newspapers, the graphic documents in paintings and engravings;...in continuous evolution together with the rhythm, the poetic stanzas, and the ambiance." 1997
2. ^ See the third definition for "flamenco" in the Dictionary of Real Academia Española.
3. ^ The first known mention of flamenco in literature is in 1774, in the book Cartas Marruecas by José Cadalso.
4. ^ Mendoza, Gabriela, "Ser flamenco no es una música, es un estilo de vida", El Diario de Hoy: p. 52, http://www.elsalvador.com/mwedh/nota/nota_completa.asp?idCat=8615&idArt=5620732 
5. ^ En El Salvador la agrupación Alma Flamenca es considerada la máxima representante y pionera de este movimiento musical. Mendoza, Gabriela (2011), "Ser flamenco no es una música, es un estilo de vida", El Diario de Hoy: p. 52, http://www.elsalvador.com/mwedh/nota/nota_completa.asp?idCat=8615&idArt=5620732 
6. ^ El flamenco es declarado Patrimonio Cultural Inmaterial de la Humanidad por la Unesco, Yahoo Noticias, 16 de noviembre de 2010, consultado el mismo día.
7. ^ RAE:flama
8. ^ RAE:-enco
9. ^ http://www.tristeyazul.com/cronicas/ntc14.htm
10. ^ http://www.deflamenco.com/articulos/LA_GUITARRA_FLAMENCA_ACTUAL.rtf
11. ^ http://www.funjdiaz.net/folklore/07ficha.cfm?id=201
12. ^ http://www.esflamenco.com/palos/entanguillos.html

Sources[link]

• ÁLVAREZ CABALLERO, Ángel: El cante flamenco, Alianza Editorial, Madrid, Second edition, 1998. ISBN 84-206-9682-X (First edition: 1994)
• ÁLVAREZ CABALLERO, Ángel: La Discografía ideal del cante flamenco, Planeta, Barcelona, 1995. ISBN 84-08-01602-4
• BANZI, JULIA LYNN (Ph.D.): "Flamenco Guitar Innovation and the Circumscription of Tradition" 2007, 382 pages; AAT 328581, DAI-A 68/10, University of California, Santa Barbara.
• COELHO, Víctor Anand (Editor): "Flamenco Guitar: History, Style, and Context", in The Cambridge Companion to the Guitar, Cambridge University Press, 2003, pp. 13–32.
• MAIRENA, Antonio & MOLINA, Ricardo: Mundo y formas del cante flamenco, Librería Al-Ándalus, Third Edition, 1979 (First Edition: Revista de Occidente, 1963)
• MARTÍN SALAZAR, Jorge: Los cantes flamencos, Diputación Provincial de Granada, Granada, 1991 ISBN 84-7807-041-9
• MANUEL, Peter. "Flamenco in Focus: An Analysis of a Performance of Soleares." In Analytical Studies in World Music, edited by Michael Tenzer. New York: Oxford University Press, 2006, pp. 92–119.
• ORTIZ NUEVO, José Luis: Alegato contra la pureza, Libros PM, Barcelona, 1996. ISBN 84-88944-07-1
• RÍOS RUIZ, Ayer y hoy del cante flamenco, Ediciones ISTMO, Tres Cantos (Madrid), 1997, ISBN 84-7090-311-X
• ROSSY, Hipólito: Teoría del Cante Jondo, CREDSA, Barcelona, 1998. ISBN 84-7056-354-8 (First edition: 1966)
• CABA LANDA, Pedro y Carlos CABA LANDA, Carlos. Andalucía, su comunismo y su cante jondo. 1ª Ed Editorial Atlántico 1933 . 3ª Edición, Editorial Renacimiento 2008. ISBN 978-84-8472-348-6

Historical flamenco recordings[link]

• Flamencologia (Planet Records)
• Grabaciones Históricas; Centro de Documentación Musical de Andalucía (1)

External links[link]

Wikimedia Commons has media related to: Flamenco

• The Flamenco Metronome
• World Class Flamenco
• Online Flamenco Guitar Lessons by Adam del Monte
• José Greco Foundation for Spanish Dance
• FlamencoBeat Radio on FLAMENCO.CA ♯♭ 24-hour Authentic Flamenco Music Online by Pirouz de Caspio
• Flamenco Forum
• Flamenco has been proposed for Intangible Cultural Heritage of Humanity by UNESCO vote for it!
• Hot Flamenco in Havana By Irina Echarry, Havana Times June 9, 2009
• Flamenco - Its Origin and evolution
• La Tana, singer discover by Paco de Lucía, singing a soleá in Barcelona
• Flamenco dance at the Open Directory Project
• Flamenco music at the Open Directory Project
• Flamenco dancing photos at Fiesta Day in Tampa
• Almacenes del Pilar
• http://www.soniagarcia.co.il
• http://www.flamenco.com

Carlos Montoya

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Carlos Montoya (13 December 1903 – 3 March 1993) was a prominent Flamenco guitarist and a founder of the modern-day popular Flamenco style of music.^[1]

His unique style and successful career, despite all odds, have left a great legacy for modern day Flamenco. It is because of his pioneering work in popular Flamenco music that have allowed other great modern groups such as the Gipsy Kings to take hold in all parts of the world. A few of his video recordings can still be found on YouTube.

Biography[link]

Carlos Montoya was born in Madrid, Spain, on December 13, 1903. As the nephew of renowned flamenco guitarist Ramón Montoya he seemed to have been born to play Flamenco, but it was his uncle who would be his biggest obstacle, as he refused to teach Carlos the tricks of the trade. He began studying the guitar with his mother and a neighboring barber, Pepe el Barbero, a.k.a. Pepe the Barber. By the time he was 14 years old he was accompanying dancers and singers in the cafes of Madrid, Spain.

In the 1920s and 1930s he performed extensively in Europe, North America, and Asia with the likes of La Teresina. The outbreak of World War II brought him to the United States where he began his most successful days as a musician, and frequently toured with the dancer La Argentina. Settling in New York City during World War II (circa 1941), he began touring on his own, bringing his fiery style to concert halls, universities, and orchestras. During this period he made a few recordings for several major and independent labels including RCA Victor, Everest and Folkways.

Montoya toured year round but always returned to his homeland, Spain, to spend the Christmas holidays with his family.

His style was not particularly appreciated by serious flamenco students, who considered it less brilliant than many others, including that of Montoya's uncle Ramón. Carlos's own favorite flamenco guitarist, it was reported by Zern, was the obscure Currito de la Geroma. That he was unpopular among aficionados owes largely to the fact that Montoya learned in a non-traditional way and that he abandoned the compás which has evolved within flamenco over hundreds of years. Many of his works do not even keep perfect tempo, increasing and decreasing in speed almost whimsically. He was admired for the speed of his picados and undoubtedly found popularity on the international stage as a result of this technically impressive pace. However, Montoya's playing is often criticized by flamenco traditionalists^[who?] for having more flash than musical substance. He was known to play with a capo on the 3rd fret and on really loose strings. It is suspected he tuned down and then compensated with the capo to increase his ability to apply picado.

Montoya died on March 3, 1993 at the age of 89 of heart failure in the tiny Long Island, New York town of Wainscott, New York.

Discography[link]

Filmography[link]

• Carmen, la de Triana (1938)

References[link]

External links[link]

• Some photos of LP covers (Oviatt Library Digital Collections)

Paco de Lucía
Paco de Lucía in 2007
Background information
Birth name	Francisco Gustavo Sánchez Gómez
Born	(1947-12-21) December 21, 1947 (age 64)
Origin	Algeciras, Andalusia Spain
Genres	Flamenco music, classical music, jazz
Occupations	Composer, Guitarist
Instruments	Guitar
Years active	1958–present
Associated acts	Joaquín Rodrigo, John McLaughlin, Al Di Meola, Larry Coryell, Paco de Lucía Sextet, Ricardo Modrego, Camaron de la Isla
Website	Paco de Lucía

Paco de Lucía, born Francisco Gustavo Sánchez Gómez (in Algeciras, Cádiz on December 21, 1947), is a Spanish flamenco guitarist and composer. Author Dorien Ross claims in his book "Return to "A" that de Lucía is one of the finest guitarists in the world and the greatest guitarist of the flamenco genre.^[1][2] He is noted in particular for his dexterity, technique and strength in his right hand, capable of executing extremely fast and fluent picados.

He is a leading proponent of the Modern Flamenco style, and is one of the very few flamenco guitarists who has also successfully crossed over into other genres of music such as classical and jazz. He is the winner of the 2004 Prince of Asturias Awards in Arts and in 2010 was awarded an honorary doctorate by Berklee College of Music in Boston.^[3]

Biography[link]

Paco de Lucía was born Francisco Gustavo Sánchez Gómez in Algeciras,^[4] a city in the province of Cádiz, at the southernmost tip of Spain directly in front of the Rock of Gibraltar. The youngest of the five children of flamenco guitarist Antonio Sánchez, and brother of flamenco singer Pepe de Lucía and flamenco guitarist Ramón de Algeciras. In the documentary Paco de Lucía-Light and Shade: A Portrait he tells how, when he was playing in the streets as a young boy, there were many Pacos and Pablos so in order to distinguish them people would add the name of the boy's mother. This is how he came to have the name Paco de Lucia. (Paco de Lucía album)|Luzia]] .^[5]

Paco de Lucía and Camarón de la Isla.

His father introduced him to the guitar at a very young age and was extremely strict in his upbringing, forcing him to practice up to 12 hours a day, every day.^[1] At one point his father took him out of school to concentrate solely on his guitar development. Combined with natural talent, he soon excelled and in 1958, at age 11, he made his first public appearance on Radio Algeciras. A year later he was awarded a special prize in the Jerez flamenco competition. In 1961, he toured with the flamenco troupe of dancer José Greco. In 1964, he met Madrileño guitarist Ricardo Modrego with whom he recorded three albums: Dos guitarras flamencas, Dos guitarras flamencas en stereo, and Doce canciones de Federico García Lorca para guitarra. Between 1968 and 1977, he enjoyed a fruitful collaboration with fellow New Flamenco cantaor (Flamenco singer) Camarón de la Isla. The two recorded 10 albums together.

De Lucía made a cameo appearance, dressed as a Mexican guitarist, in the 1971 western Hannie Caulder, playing the melody of Ken Thorne's main theme over a string section.

His 1976 album Almoraima was a success and featured notable tracks such as "Almoraima" and "Río Ancho", the latter track of which has been covered by other guitarists such as Al Di Meola. In 1979, de Lucía, John McLaughlin, and Larry Coryell formed The Guitar Trio and together made a brief tour of Europe and released a video recorded at London's Royal Albert Hall entitled Meeting of the Spirits. Coryell was later replaced by Al Di Meola, and since 1981, the trio has recorded three albums. De Lucía's own band, the Paco de Lucía Sextet (which includes his brothers Ramón and Pepe) released the first of its three albums that same year. He has released several albums encompassing both traditional and modern flamenco styles.

L to R: Al Di Meola, John McLaughlin, and Paco de Lucía

In 1995, he recorded with Bryan Adams the hit song and video "Have You Ever Really Loved A Woman" on the soundtrack for the movie Don Juan DeMarco. Through his wide discography he has advanced the technical and musical boundaries of his instrument. The University of Cadiz recognized de Lucía's musical and cultural contributions by conferring on him the title of Doctor Honoris Causa on March 23, 2007.

Until asked to perform and interpret Joaquín Rodrigo's Concierto de Aranjuez in 1991, de Lucía was not proficient at reading musical notation. As a flamenco guitarist, he claimed in Paco de Lucía-Light and Shade: A Portrait that he gave greater emphasis to rhythmical accuracy in his interpretation of the Concierto at the expense of the perfect tone preferred by classical guitarists. Joaquín Rodrigo has apparently said that the performance was "beautiful, exotic and inspired".^[6]

Lucía performing in 1983

Discography[link]

Studio albums[link]

• Dos guitarras flamencas en stereo (1964) with Ricardo Modrego
• 12 canciones de García Lorca para guitarra (1965) with Ricardo Modrego
• 12 éxitos para 2 guitarras flamencas (1965) with Ricardo Modrego
• La fabulosa guitarra de Paco de Lucía (1967)
• Canciones andaluzas para 2 guitarras (1967) with Ramón de Algeciras
• Dos guitarras flamencas en América Latina (1967) with Ramón de Algeciras
• Fantasía flamenca de Paco de Lucía (1969)
• Paco de Lucía y Ramón de Algeciras en Hispanoamérica (1969) with Ramón de Algeciras
• 12 Hits para 2 guitarras flamencas y orquesta de cuerda (1969) with Ramón de Algeciras
• El mundo del flamenco (1971)
• Recital de guitarra de Paco de Lucía (1971)
• El duende flamenco de Paco de Lucía (1972)
• Fuente y caudal (1973)
• Almoraima (1976)
• Interpreta a Manuel de Falla (1978)
• Castro Marín (1981) with Larry Coryell and John McLaughlin
• Sólo quiero caminar (1981) The Paco de Lucía Sextet
• Passion, Grace and Fire (1983) with Al Di Meola and John McLaughlin
• Siroco (1987)
• Zyryab (1990)
• Concierto de Aranjuez (1991)
• The Guitar Trio (1996) with Al Di Meola and John McLaughlin
• Luzia (1998)
• Cositas buenas (2004)

Live albums[link]

• En vivo desde el Teatro Real (1975)
• Friday Night in San Francisco (1981) with Al Di Meola and John McLaughlin
• Live... One Summer Night (1984) The Paco de Lucía Sextet
• Live recordings (1987) with George Dalaras
• Live in América (1993) The Paco de Lucía Sextet

Compilations[link]

• Entre dos aguas (1975)
• Antología (1995) - 2 cd
• Integral (2003) 26 CD Limited Edition Box Set
• Por Descubrir (2003)

Other contributions[link]

• Composed or contributed to the soundtracks for
  • La Sabina
  • The Hit by Stephen Frears
  • Flamenco, Flamenco (2011), Carmen and Sevillanas by Carlos Saura
  • Montoyas y Tarantos
  • Vicky Cristina Barcelona

• One song contributed to Life Aquatic With Steve Zissou Soundtrack (La Nina de Puerta Oscura) (2004)

• Elegant Gypsy by Al Di Meola (1977) - de Lucía plays a duet with Di Meola on the track "Mediterranean Sundance".

• Shpongle sampled his track "Introduccion y Pantomima" in their song "Around the World in a Tea Daze" from the album Tales of the Inexpressible.

References[link]

External links[link]

Wikimedia Commons has media related to: Paco de Lucia

Sara Baras

Sara Pereyra Baras (born April 25, 1971) is a female flamenco dancer, born in San Fernando, Cadiz, Spain

She is internationally famous and regularly tours the world. She was taught to dance by her mother, Concha Baras, who ran a dance school in Spain. She was gaining a reputation when she joined guitarist Manuel Morao's company in 1989.^[1] She has won a number of awards including the Madroño Flamenco of Montellano (Seville) in 1993,^[2] and in 1999 and 2001, she received a prize for the Best Female Spanish Dance Performer.^[3][4]

She collaborated with Javier Barón, and Merche Esmeralda included her in her show Mujeres. She worked with Antonio Canales on Gitano, and with El Güito at the Théâtre du Châtelet in Paris.^[5] She danced with Manuel Morao at the Seville Expo in 1992 and later in New York.

As a solo dancer, she took part in several tributes to Camarón de la Isla. In 1997, she started her own company, with which she closed the Festival Nacional de Cante de las Minas. The company's first shows included Sensaciones (1998) and Sueños (1999). Sara Baras appeared in other shows including Juana la Loca (2001) and Mariana Pineda (2002).

She has increasingly worked across all forms of media including television, film and the fashion catwalks. In 1998 she presented the programme Algo Más Que Flamenco on TVE. In July 1999, on the Patio of the Casa Pilatos in Seville, she was filmed for Mission: Impossible II. As a model, she has appeared in the shows of Amaya Arzuaga at Fashion Week in London and for Francis Montesinos Madrid and Lisbon.

She also promoted an underwear collection by Triumph with other members of her dance company, and she was featured in a catalogue for Cartier.

References[link]

1. ^ Sara Baras bio at Es Flamenco
2. ^ Sara Baras bio at Don Quijote
3. ^ 1999 Premios Max
4. ^ 2001 Premios Max
5. ^ Metropole Paris

External links[link]

• Official website
• IMDB entry
• Golden Heart Award 2005 granted by Spanish Heart Foundation

.

Carlos Saura
Carlos Saura in Calanda (2008)
Born	(1932-01-04) 4 January 1932 (age 80) Huesca, Spain
Occupation	Film director and screenwriter
Years active	1955–present
Influenced by	Luis Buñuel, Sigmund Freud, Baltasar Gracián, Satyajit Ray[1], Michelangelo Antonioni, Antonio Saura, Antonio Gades, Vittorio Storaro
Spouse	Eulalia Ramón (2006-present)
Partner	Geraldine Chaplin (1967–1979)

Carlos Saura Atarés (born 4 January 1932, Huesca) is a Spanish film director and photographer.

Early life[link]

Born into a family of artists (his mother was a pianist and his brother, Antonio Saura, a painter), he developed his artistic sense in childhood as a photography enthusiast.

He obtained his directing diploma in Madrid in 1957 at the Institute of Cinema Research and Studies. He also taught there until 1963.

Career[link]

In 1957-1958, Saura created his first film (Cuenca). In 1966, he was honored at the 16th Berlin International Film Festival, where he received the Silver Bear for Best Director for his film La caza.^[2] In 1967, his film Peppermint Frappé also received the Silver Bear for Best Director at the 18th Berlin International Film Festival.^[3] He won the Golden Bear in 1981 at the 31st Berlin International Film Festival for his film Deprisa, Deprisa.^[4]

The movies La prima Angélica (Cousin Angélica) of 1973 and Cría cuervos (Raising Ravens [from the Spanish phrase: Cria cuervos y te sacaran los ojos (Raise ravens and they will peck out your eyes)]) of 1975 received the special prize of the jury at the Cannes Film Festival. His movie Mama cumple 100 años"(Mom is celebrating her 100 years) was nominated in 1979 for the best foreign film at the Oscar Awards .

Saura has become known for making movies featuring traditional flamenco and other Spanish dances. His Flamenco Trilogy of the 1980s includes Bodas de Sangre (Blood Wedding), Carmen, and El amor brujo featuring the work of Spanish flamenco dancer Maria Pagès. He later made the movies Flamenco (1995), Tango (1998), and Fados (2007).

His 1989 film La noche oscura was entered into the 39th Berlin International Film Festival.^[5]

Saura considers his film on surrealist master Luis Buñuel to be his best cinematic work. In an interview to an online film magazine, DearCinema.com[1], he says about Buñuel y la mesa del rey Salomón (Buñuel and the table of King Solomon -2001): “That’s the greatest film I’ve ever made. I like the film but nobody else seems to like it. I’m sure Buñuel would have loved this film. But perhaps only he would have loved it. Everything you see in the film is actually based on conversations I had with him.”

In 1990, he received the Goya Award for the best director and best script for ¡Ay, Carmela!. He was chosen as director for the official film of the 1992 Olympic Games of Barcelona, Marathon (1993).

In 2008, Carlos Saura was honoured with a Global Life Time Achievement Award at the 10th Mumbai International Film Festival, organized by the Mumbai Academy of the Moving Image (MAMI)[2]

Personal life[link]

Carlos Saura was married twice. He first married Adela Medrano in Barcelona in 1957. They had two sons, Carlos (b. 1958) and Antonio (b. 1960). On 27 December 1982 he married Mercedes Pérez. They had three sons, Manuel (b. 1980), Adrián (b. 1984) and Diego (b. 1987).

Between marriages, Saura had at least one known son, Shane (b. 1974), by the actress Geraldine Chaplin. His relationship history led some to believe he may have fathered more children. After his second marriage, he was also the father of a daughter named Ana (b. December 1994) by Eulalia Ramón.

Filmography[link]

Selected Awards[link]

• 1958 - Special Mention at the 1958 San Sebastián International Film Festival for his film Cuenca.
• 1966 - Silver Bear for Best Director at the 16th Berlin International Film Festival for his film La caza.
• 1967 - Sant Jordi - Best Film at the Sant Jordi Awards for his film La caza.
• 1968 - Silver Bear for Best Director at the 18th Berlin International Film Festival for his film Peppermint Frappé.
• 1968 - Sant Jordi - Best Film at the Sant Jordi Awards for his film Peppermint Frappé.
• 1970 - CEC Award - Best Director at the Cinema Writers Circle Awards, Spain, for his film La madriguera.
• 1972 - Sant Jordi - Best Film at the Sant Jordi Awards for his film El jardín de las delicias.
• 1974 - Jury Prize at the 1974 Cannes Film Festival for his film La prima Angélica.
• 1975 - Sant Jordi - Best Film at the Sant Jordi Awards for his film La prima Angélica.
• 1976 - Grand Prix of the Jury at the 1976 Cannes Film Festival for his film Cría cuervos...
• 1977 - CEC Award - Best Director at the Cinema Writers Circle Awards, Spain, for his film Cría cuervos....
• 1977 - Prix Léon Moussinac - Best Foreign Film at the French Syndicate of Cinema Critics for his film Cría cuervos...
• 1978 - CEC Award - Best Director at the Cinema Writers Circle Awards, Spain, for his film Elisa, vida mía.
• 1979 - Special Prize of the Jury at the 1979 San Sebastián International Film Festival for his film Mamá cumple cien años.
• 1981 - Golden Bear at the 31st Berlin International Film Festival for his film Deprisa, deprisa.
• 1982 - Special Prize of the Jury at the Karlovy Vary International Film Festival for his film Bodas de sangre.
• 1983 - Technical Grand Prize and the Award for Best Artistic Contribution at the 1983 Cannes Film Festival for his film Carmen.
• 1983 - BAFTA Award for Best Foreign Language Film for his film Carmen.
• 1984 - CEC Award - Best Director at the Cinema Writers Circle Awards, Spain, for his film Carmen.
• 1984 - Best European Film at the 1984 Bodil Awards for his film Carmen.
• 1985 - Guild Film Award - Silver: Foreign Film at the Guild of German Art House Cinemas for his film Carmen.
• 1991 - Goya Award for Best Director at the 1991 Goya Awards for his film ¡Ay, Carmela!.
• 1995 - Grand Prix Special des Amériques ("On the occasion of the centennial of cinema, for his exceptional contribution to the cinematographic art") at the Montréal World Film Festival.
• 1997 - Best Director at the 1997 Montréal World Film Festival for his film Pajarico.
• 1998 - Special Award (Film Direction with a Special Visual Sensitivity) at the Camerimage.
• 1999 - Jules Verne Award at the Nantes Spanish Film Festival for his film Pajarico.
• 1999 - SDFCS Award - Best Foreign Language Film at the San Diego Film Critics Society Awards for his film Tango.
• 1999 - Prize of the Ecumenical Jury and Best Artistic Contribution at the 1999 Montréal World Film Festival for his film Goya en Burdeos.
• 1999 - Lifetime Achievement Award at the Los Angeles Latino International Film Festival.
• 2000 - Sant Jordi - Best Film at the Sant Jordi Awards for his film Goya en Burdeos.
• 2000 - Special Prize for Outstanding Contribution to World Cinema at the Karlovy Vary International Film Festival.
• 2002 - Best Artistic Contribution at the 2002 Montréal World Film Festival for his film Salomé.
• 2002 - Lifetime Achievement Award at the Istanbul International Film Festival.
• 2002 - Special Career Award at the Fantasporto.
• 2004 - Best Director at the 2004 Montréal World Film Festival for his film El séptimo día.
• 2004 - Lifetime Achievement Award at the European Film Awards.
• 2007 - International Award at the Barcelona Film Awards.
• 2011 - Special Award for Lifetime Achievement at the Fotogramas de Plata.

References[link]

External links[link]

• IMDb profile (IMDb)
• Official Webpage in Spanish
• Carlos Saura biography and flamenco-related films
• Interview: Camera is My Memory: Carlos Saura
• Carlos Saura, cineasta - Escritos de José Antonio Bielsa / Carlos Saura - El poder de la palabra (Spanish)

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