Cante flamenco

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The cante flamenco (flamenco song) is one of the three main components within the expression of flamenco, along with toque (playing the flamenco guitar) and baile (dance). Foreigners generally mistake the flamenco dance as being the essence of flamenco, however it is the cante which actuates the soul of this complex musical and cultural tradition. Originally flamenco was composed purely of cante with the accompaniment of palmas (hand clapping) and knuckle-rapping percussion, and it was not until the 19th century that the toque had been gradually added to the cante.

The cante flamenco is part of the musical tradition in the Andalusian region of Spain, and traces its roots back to east Indian, Arabic and European Gypsy music. The stongest influences that are widely viewed as being most evident within the evolution of the cante flamenco include: the Punjabi singing of northern India, the Persian Zyriab song form, the Classical Andalusian Orchestras of the Islamic Empire, the Jewish Synagogue Chants, Mozarabic forms such as Zarchyas and Zambra, Arabic zayal (the foundation for the Fandango), Andalusian regional folk forms, as well as West African influences as seen in the cantes de ida y vuelta (songs that were brought back from Latin America) which include the Rumbas, Garotin and Colombianas.

Flamenco was born towards the end of the 800-year Arab rule in Spain and during the Spanish inquisition, serving as a voice of protest and hope for the populations that were being subjugated at the time, including Christians, Arabs, Jews and the Gypsies. Flamenco thrived as a cultural and emotional expression, traditionally harnessing the deep sadness and suffering of a people who had been repressed for centuries. Many of the earliest flamenco songs are said to have been dark and profound in nature, concentrating on events such as bloody encounters, violent death, love and love betrayed, displacement, incarceration, sickness and loss. The cantaores (singers) would voice these experiences through cante, concentrating on communicating and evoking the same experiences and emotions within the listener.

Flamenco developed into its definitive form during its Golden Age (1869-1910) with heavy development occurring in the abundant flamenco cafes (cafe cantantes) of the epoch. Beginning in 1910, cante flamenco was popularized by the opera flamenca which included the lighter forms of flamenco such as fandangos and cantes de ida y vuelta, including the rumba and garotin. Flamenco shows blossomed, and its influnces began spreading around the world beginning in 1915. In order to maintain the lesser known and "authentic" cante jondo (deep song), acclaimed Spanish poet Federico Garcia Lorca and intellectual Manuel de Falla together organized the First Competition of Cante Jondo in Granada, in 1922. Their high hopes of reviving the cante jondo was met with an unprecedented success, with singers from all over Andalusia traveling to join in on the competition. The first two prizes of this momentous new ceremony went to El Tenazas and El Caracol.

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[edit] Types of Cante

There are many variants of cantes or palos (song forms), each expressing a unique emotion (which shares noticeable resemblance to the raga music of Northeastern India - one of flameco's distant relatives). The flamenco songs of today may be classified into one of three categories: cante grande, cante intermedio or cante chico.

[edit] Cante Grande (also known as cante jondo)

Meaning "profound" and "deep," this intensely sad form of cante deals with themes of death, anguish, despair, or religious sentiments and is sung a palo seco (without guitar accompaniment. Major forms of cante grande include forms such as the tona, martiniete, siguiriya, solea, and carcelera. It is said that cante jondo (deep song) is the heart and soul of flamenco, which survives and is fed by the deepest needs of the heart. The following quote by Angel Alvarez Caballero describes the emotional depths reached by true singers of the cante jondo:

The singer who sings siguiriyas leaves in each line of the copla (verse of cante) a piece of his soul; and, if not, he is deceiving the listener, perhaps even himself. If there is one style to which the singer has to give everything, has to give every bit of himself, it is the siguiriya. I have seen Jose Menese completely overcome, broken, a literal wreck after doing this song and I believe that if the singer sometimes reaches the kind of state of grace that the Gypsies call duende - and I don't know yet what that is - it is in these unique and unrepeatable moments.

– Angel Alvaro Caballero, Historia del Cante Flamenco

Sample Siguiria describing anguish in Calo, Spanish and English:

Calo Andalusian English
Ducas tenela min dai Penas tiene mi mare My mother has her troubles
ducas tenelo yo penas tengo yo and I have mine
las de min dai yo sieno y las que siento son las de mi mare my mother's are the ones I feel
las de mangue no. que las mis no. not my own.

[edit] Cante Intermedio

Meaning "intermediate," this form is less profound but also moving, sometimes containing an oriental cast to the music. The term (between cante chico and cante grande that is) varies according who is singing and describing the "cante intermedio".

[edit] Cante Chico

Literally meaning "little song," this form of cante sings of lighter subjects including love, bawdy humor and happiness to the accompaniment of the flamenco guitar. Festive forms of cante chico include forms such as the alegrias, bulerias and tangos.

[edit] Varying forms of cante flamenco

There are two leading pure forms of cante flamenco, including: cante flamenco gitano and cante flamenco andaluz.

[edit] Cante Flamenco Gitano

Cante gitano (or the "Gypsy song") consists entirely of the original songs developed by Gypsies who immigrated in the 15th century, and which continuously developed isolated from outside influences. These type of cantes include the tona, solea, siguiriya, tango and buleria.

[edit] Cante Flamenco Andaluz

Cante andaluz began to spread during the middle of the 19th century, and is a combination of other forms of folkloric music from Andalusia which demonstrate a definite influence of Gypsy flamenco music. Cante andaluz genres include the many variations of the fandango and cantinas.

[edit] Cantes Folkloricos Aflamencados

The styles of cantes folkloricos aflamencados are forms of cante that are not considered to be true forms of flamenco by the purists. Examples of these styles include the sevillanas, Farruca, Garotin, and the Cuban Rumba. These music forms are the folk song and dances from Andalusia, other Spanish provinces including Galicia and Asturias, as well as South America which have been slightly influenced by traditional flamenco forms.

[edit] Famous Singers of Cante

By the dawn of professional flamenco in 1842, numerous cante performers had already gained fame for their unique styles of cante repertoire. One of the oldest records of flamenco performances indicate two master cante performers: El Planeta and his disciple, El Fillo. Their influence within the universe of flamenco cante are immortal, and are passed on through the flamenco generations.

[edit] Antonio Fernandez a/k/a El Planeta

Although concrete information about El Planeta is scarce, it is thought that he was born around 1770 in the Andalusian town of Cadiz. It is widely acknowledged that El Planeta is the first within a long line of famous performers of the cante flamenco. Originally working as a Gypsy blacksmith, El Planeta soon became a renowned leader within the Gypsy community, and had been given the honorary title of "Count and Prince of the Fraternity." It is believed that he sometimes accompanied himself on the guitar, yet most often sang with no musical accompaniment at all. The oldest siguiriyas in recorded flamenco history are those of El Planeta. El Planeta died around 1850 (the exact date in unrecorded), most likely in or around the Andalucian city of Seville.

[edit] Francisco Ortega Vargas a/k/a El Fillo

Born approximately in the year 1820 in the Spanish town of Villa Real, El Fillo was the chosen disciple of La Planeta. The duo remain in the heart of modern flamenco as the true cataores (singers of flamenco song) of early flamenco. El Fillo was able to perform all forms of cante, and has thus been known as "the father of cante." It is said that eL Fillo sang with a hoarse and harsh voice. These characteristics have remained to this day within the art of cante, and describes a voice of this type called afilla (taken from the singer's nickname). It is believed that El Fillo died in the year 1878 in Seville.

[edit] Silverio Franconetti Aguilar a/k/a Silverio Franconetti

Born in 1829, Silverio Franaconnetti was (and still is) known as the legend of flamenco's Golden Age. Franaconnetti was born in the Spanish town of Moron de la Frontera and was groomed to enter into the family business of tailoring from a young age. However, the young boy's heart was with the Gypsy cante, and at every opportunity he would escape from his home to visit and listen to the songs of the Gypsies at the nearbye blacksmith establishment. This is where Franconnetti first met El Fillo and was subsequently encouraged to engage his talents for the Gypsy cante. His latter life was spent in Argentina and Uruguay working as a picador within the bullrinks there, and also served as an officer in the Uruguay Army. Franconnetti was arguably the best non-Gypsy singer of the Nineteenth Century, and left a highly influential legacy of being the only flamenco singer who was capable of singing every cante exceptionally well. Franconnetti died during the year of 1889.

[edit] Pastora Maria Pavon Cruz a/k/a La Nina De Los Peines

Born in Seville in 1890, La Nina de Los Peines is considered quite possibly as the most exceptional and innovative female flamenco singer of all time. Affectionately called "La Nina," she was commanded for her capacity and expression of the tangos, and was also often requested to sing siguiriyas at a time when women did not customarily perform in that style of cante. She is often accredited with standing alone and a distinctiveness among the other female singers of her era.

[edit] Manuel Ortega Juarez a/k/a Manolo Caracol

Manolo Caracol was the final genius coming from an exalted Gypsy dynasty which to this day remains legendary in the arenas of both flamenco and bullfighting. Born in Seville in 1909, it is commonly believed that his ancetral lineage included both El Planete and El Fillo. At the very young age of 13, Caracol had won the prestigious first prize at the celebrated and honored First Cante Jondo Competition, which took place in Granada in 1922. During the Spanish Civil War he worked in theaters as means of survival, and thus had appeared the first staged version of flamenco. Caracol emphasized his unique cante style, openly expressing that he had copied it from nobody. His style is remembered for having the unyielding capacity and power to evoke overwhelming passions from all of his listeners. Caracol innovated flamenco by performing frequently with full orchestras or pianos (much to the harsh remarks made by the purists). Caracol died at the age of fifty-four in 1973 in the capital, Madrid.

[edit] Jose Monje Cruz a/k/a Camaron de la Isla

Camaron de la Isla was born in San Fernando in 1950, and was the second child of eight to a Gypsy blacksmith and basketweaver parents. He had received his nickname early on due to his light complexion and blond hair, and began performing cantes at the age of eight. In 1969 he had made his first album in collaboration with the legendary flamenco guitar player, Paco de Lucia. Camaron de la Isla was known as the "Living legend of cante," and had revitalized the art of cante and flamenco almost single-handedly. The charisma of this social phenomenon attracted new listeners by flocks of thousands. Trained as a traditional flamenco singer, Camaron went on to break this conventional mold and found the Nuevo Flamenco. Camaron incorporated new musical instruments into the music of flamenco, including: the drums, zither, flute, moog, and the keyboards to name a few. In his comparatively short career of 20 years, and with the partnership with Paco de Lucia, this "Prince of the Island" revolutionized the art of cante. He had set flamenco on a new path and attracted vast new audiences who previous to Camaron had not heard of flamenco. Camaron met his untimely death at the age of forty-one, in the Catalonian city of Barcelona.

[edit] Other Famous Singers of Cante

There are many more famous and very influential flamenco singers, including:

[edit] Sources

ALVAREZ CABALLERO, Angel: Historia del Cante Flamenco, Alianza Editorial, Madrid, 1981.

GARCIA LORCA, Federico: In Search of Duende. Edition by Christopher Maurer. New Direction Books, New York, 1998.

TOTTEN, Robin: Song of the Outcast - An Introduction to Flamenco, Amadeus Press, Oregon, 2003.

[edit] See also

[edit] External links

[edit] English links

[edit] Spanish links

[edit] Flamenco Terms

aflamencao flamencoized
a golpe sung to the rhythm of only a stick, or knuckles on the table.
alborea the Gypsy wedding song sung in the solea compas
alegrias compas of the cantinas group
alzapua guitar-playing technique that uses the back of the thumbnail
angel see duende
a palo seco without accompaniment
apodo nicknames that Gypsies receive for life
a seco playing the guitar rasgueado, with the fingers of the left hand damping the strings
atravesarse for the guitarist - cutting corners and rhythm during a falseta, making the dancer's job difficult
babeo repeated meaningless sounds such as bababa in the middle of words
bailaor, -ora flamenco dancer, as opposed to bailarin, which is any other dancer.
baile flamenco dance; other forms are referred to as danza
baile de manton a dance with a shawl
balanceo y vaiven swaying of the body and hips. Balanceo is gentle; vaiven is violent
bamberas song form for swings
bata de cola dress with a train
bonito "pretty"; in other words, not good flamenco
braceo the dancer's use of the arms
bulerias song form. An evolving rhythm that started about the turn of the 20th centuray
bullanguero festive; adjectival form of bulerias
cabal final version of the siguiriya; literally, honest, exact, complete.
cambio change of key and lightening of a song to a song
campanilleras songs that are originally of a religious brotherhood who went to prayers to the sound of handbells - hence the name, which means "bellringers"
cantor, -ora flamenco singer; any kind of other singer is called a 'cantante
cante flamenco song; any other song is canto
cante pa'adelante literally, "singing from in front"; singing not done for dancers, with the singer seated
cante pa'atras literally, "singing from behind"; singing for dancers, with the singer standing
cantes de ida y vuelta songs brought back from Latin America
cantes de levante songs from the eastern province of Grandada, Jaen, Almeria, and Murcia
caracoles s song form that started in a zarzula (popular Spanish form of operetta) as a street snail-vendor's song
cartageneras song form derived ffom the taranta, with a florid vocal line, more "artistic" and decorative than forceful and rough
castanuelas castanets
cejillo capodaster or capo, used by guitars
chufla any festive and frivolous song
cierre close of a series of steps or a line of song
compas a measure or bar; flamencos use the word to mean both (a) the twelve-count and (b) the rhythmic skill of a performer
contratiempo cross-rhythms; including syncopation and rubato
copla verse of (flamenco) cante, as against the cuple of (non-flamenco) canto
corrido ballad, nowadays a romance
corte the way the singer ends a musical phrase
crotalo Phoenician and Roman form of castanets
cuadro a flamenco troups
debla a form of tona. It is old song form, now seldom used
dejes the way the singer ends a phrase
desgarro literally "tear, rip"; wilderness, heartbreak
desplante technically, apoint in the dance that marks the end of a section. In fact, a high point, a climax, in the dance at which the dancer pauses and the audience applauds
diapason the neck or fingerboard of the guitar
duende literally, "spirit" of "demon" ; suggesting possession. Flamencos prefer the word angel
escobilla literally "broom"; the section of the dance in which
escuela bolera a graceful and balletic form of the old bolero; dance in 3/4 time popular in the last century
falsetas solo passages on the guitar at start and between verses of the song
fandangos a family of song forms; thought to be of Moorish in origin
farruca folk song adopted from northern Spain (Galicia); above all a dance only performed by men
figura a star; a performer who has achieved name and fame
gancho literally a "hook"; by extension, anything that gets to you, that "hooks" you.
garra literally "claws"; guts, force
garrotin song adopted from northern Spain (Asturias)
gesto tapping the face of the guitar with the second and/or third finger while playing
granaina form of Fandango in free rhythm that in many ways stands apart
guajira an ida y vuelta song; meaning "girl" in Yucateca, the native language of Cuba
jaberas form of Fandango from Malaga
jalear to encourage with words and/or palmas
jaleo vocal encouragement given to performers when the audience calls out such phrases as ezo!, arsa!, ole!, toma!
jipio a cry (such as ay) used by the singer to find his pitch or to put into the middle of a song
jondo the Gypsy pronunciation on hondo (deep); formerly applied to the song forms but nowadays is used more to describe a manner of singing.
juerga a lively flamenco party, usually with only cante a golpe.
ligado in guitar, sounding the note with the fingers of the left hand only
llamada literally "call"; the opening of a dance
macho usually a three-line verse used as remete to the siguiriya; usually in a major key
malaguenas characterized by its sad, elegiac tone. The city and province of Malaga are virtually the home of the flamenco fandango
maritinetes songs of the smithy - performed to the sound of hammers on anvil beating a siguiriyarhythm
melisma series of notes sung on one syllable. It is the part of the song that, to the ears unaccustomed to it, may sound like unmusical wailing
milonga a type of folk song from the Plate River area in Argentina, where it is still very popular
mineras best described as watered-down tarantas
mote see apodo
mudanza see punteado
nanas lullabyes
oposicion refers to the asymmetry of flamenco; in other words, if the arms are going one way the face will look the other.
Palillos flamenco name for castanets
palmas clapping. It is an art, requiring skill and knowledge of compas.
palmas altas percussive effect performed with the fingers of the right hand on the left palm, resulting in a sharp sound
palmas sordas muted clapping done with cupped hands (usually by the singer)
palmero performer of palmas
palo song form; literally, a suit of cards. They fall into two main categories: those done in free rhythm (sin compas) and those done in rhythm (con compas)
paso step or a series of steps
payo commonly thought to be the Gypsy word for non-Gypsy, but in fact prison slang for an easy mark, a sucker. The Calo word for non-Gypsy is gacho
pellisco literally, "nip, pinch"; that quality (usually in a dancer) that turns you on
pena flamenco club
pateneras Legendary or real, la Patenera was a girl from Cadiz, notorious for her beauty and hardness of heart. A 19th century writer mentions hearing pateneras sung in a voice that conveyed "inexplicable sadness."
picar to pluck on a guitar
pitos finger snapping
playero lamenting
por arriba on guitar - in the hand position for the key of E
por medio on guitar - in the hand of the position for the key of A
punteando steps and movements that are not part of the zapateado
rasquado on guitar, a drumroll effect created by using the backs of the fingers - that is, the nails - one after another
remate way of ending a song, either by raising a pitch, changing to the major, or simply speeding up
roas Sacromente form of the albordea
romances songs (ballads) in a form of tona, nowadays when done with a guitar it is usually played in a solea rhythm
romeras sings of a girl on a pilgrimage
rumbas song form from Cuba
Sacromonte a hillside in Granada with cave dwellings, in which Gypsies used to live. It was one of the heartlands of Gypsy flamenco, with a style all of its own
saeta a song of passionate devotion to Christ or the Virgin
sevillanas non-flamenco song that has been flamencoized in various ways due to its popularity, including the dancers' hand and arm movements
siguiriyas heart of deep song. It expresses anguish, lament and despair, and as been described as an outcry against fate and the quintessence of tragic song.
soleares As song, the solea lies at the heart of flamenco, together with siguiria and tona. As dance, it stands alone -at least for women
son all sound accompanying the flamenco song (guitar, clapping, finger snappin, knuckle tapping)
sonanta flamenco slang for guitar
soniquete literally, "droning"; it is applied to performers being what jazz players call "in the groove"
tablao the venue for a tourist-oriented flamenco show
tablas literally, "boards"; the stage on which the dance is performed; tiene tablas means "to be [an] experienced [performer]
tangos probably the oldest flamenco song form in a simple rhythm of 2/4 time, as reflected in the time beaten by the palmeros
tanguillos songs of Cadiz; festive, light, sometimes mocking, and always suitable for Carnival
tapa the face of the guitar
tarantas a mining song of free rhythm and by far the hardest to sing, demanding tragic intensity as well as unusual control, both vocal and artistic, in the melismas
templar to tune
temple tuning or temperament
temporeas songs of the farm - harvesting and threshing songs
tercio section; a line of a verse; a musical phrase
tientos similar to the tango
tocaor guitarist
toque guitar playing
torsion y convlusion stages, usually in the solea, wherein the dancer reaches a more or less acstatic stage
tremolo on guitar, playing a bass note with thumb and high notes with fingers in quick succession to make a continuous sound
Triana the traditional Gypsy quarter of Seville, now yuppified
vibrato repeated meaningless sounds uttered during the song, such as jajaja, but unlike babeo, not within a word
vito Andalucian folk song and dance (non-flamenco)
voz affila hoarse voice like that of El Fillo, a 19th century singer; this quality is also known as rajo
zambra (a) a form of Sacromente tango (b) a noisy fiesta originally of the Moors
zapateo, zapateado the form of tap dancing peculiar to flamenco
zorongo an old song anddance in 2/4 time (not flamenco), revived by Federico Garcia Lorca; also called zorongo