'La gitanilla' original
front cover, by Cervantes
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The little written
evidence found in folklore from Andalusia during this dilated
period lies scattered around the Spanish literature of the
16th and 18th centuries. "La Gitanilla", one of
the stories in the "Novelas Ejemplares " (1613)
by Miguel de Cervantes, portrays "Preciosa", who
although having a minstrel's touch, could nevertheless be
defined as the prototype of the flamenco's bailaora and
cantaora.
The "Cartas Marruecas" from José Cadalso
brings, in the second half of the 18th century, something
many scholars consider as the first written testimony about
flamenco.
Although ignored by theoreticians, it is also worth reviewing
the work of Juan Antonio de Iza Zamacola from Biscay, servant
of José I, and published in 1788 entitled "Colección
de las mejores coplas de Seguidillas, Tiranas y Polos que
se han compuesto para cantar en la guitarra". The consanguineous
relationship between flamenco and Spanish folklore is then
sealed.
