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What remains then ? We are all well aware that the new political identities recede back to former cultural concepts, justified by criteria that associate individuals in more basic religious, ethnic or historical units.
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At the end of the 20th-century, the trend is reversed and we are witnessing many disconstructions.
![antonia del canto jondo antonia del canto jondo](https://i.ebayimg.com/images/g/AZYAAOSwTfFbRggo/s-l300.jpg)
The 19th-century saw the construction of many genres and of many concepts. The mystery and the myth continue, even nowadays, for the delight and benefit of many, used by some politically in the past (Washabaugh: 1996), and by others economically in the present. Spain-Andalusia, romanticism-present time become a unit whose unfathomable resistance to analysis is attributed to its mysterious and arcane origins in the life side by side of Arabs and Gypsies. On the contrary with flamenco the first thing that strikes the eye is its accepted indivisibility as a concept. However, when dealing with musical genres, that like flamenco have gone on for more than a hundred years, it is not an easy task for responsible research to determine its features without defining other space-time categories. In the first pages of How musical is man ?, John Blacking (1973) stated that, above every ethnocentric and arbitrary classification made between "classical" and "popular" music, there are the constructions built within the cultures by what is musical, always irresistibly "popular", for only in community can the musical element get its meaning.Īs a concept, flamenco is a selective construction, directed at and arisen in the convergence of a great number of specific determinants that are not static as a genre, it stereotypes and simplifies a multiple reality. How musicological and ethnomusicological is Spanish Flamenco? En esta breve reflexión trataré de señalar la compleja dinámica que desde dentro y fuera de España ha colaborado a la construcción del género y de los principales pilares que, en mi opinión, sostienen y alimentan lo que podríamos denominar, -en términos algo exóticos- su "heroica resistencia" al análisis musicológico. Uno de los modos posibles de acercarnos hoy al estudio del flamenco, como medio de prospección de las dinámicas de cambio e intercambio que tienen lugar entre culturas, es intentar su deconstrucción. Como género, estereotipa y simplifica una realidad diversa. He died on 13 December 2010.How musicological and ethnomusicological is Spanish Flamenco? Joaquina LabajoĬomo concepto, el flamenco es una construcción selectiva, dirigida y levantada en la convergencia de un gran número de circunstancias singulares pero no estáticas como lo son el concepto de nacionalismo o el de pueblo. Flamencologist Balbino Gutiérrez published his biography in 1996. He created a dark and poetic vision of the Alhambra with his record “Morente sueña la Alhambra” (Morente Dreams of the Alhambra) (2005), with Tomatito, his daughter Estrella Morente and Juan Habichuela, among others. He constantly looked for common ground between different folklores and traditions. In 1986 he created the “Fantasía del cante jondo para flamenco y orquesta” (Jondo flamenco music Fantasy for flamenco and orchestra) along with Antonio Robledo at the Royal Theatre of Madrid. When he was 18 years old, he moved to Madrid, where he was known as Enrique el Granaíno. He was born in Granada in 1942, and was a choirboy in Granada cathedral.