On fame and other things flamenco (second part)

Mario Maya. Jerez, February, 2002

(Second installment of the article presented by the dancer and choreographer from Granada, Mario Maya, at a round table discussion as part of the scheduled programming for the Sixth Festival de Jerez, February 28th, 2002 in the Bodega de San Ginés)

According to don Manuel de Falla, the deeply emotional seguirilla gitana, enriched by the Arabic-based music of Granada, and preserving the purest liturgical chants and Mozarabic and Byzantine elements, offers the option of an interpretation unified by compás, to one of the first gypsy cantes which, together with the liviana and the tonás, is the pain of the genuine tears of the Andalusian-gypsy people.

Mario Maya at the Bodega de San Ginés,
VI Festival de Jerez (Foto Silvia Calado)

As far as dance is concerned, the seguirilla follows the magic ritual outline represented by the circle, and a rhythmic vocal basis is present, carried out with exclamations and natural percussion which serve to stimulate the interpreter and bring him or her into a state of trance. The interpretation of this dance has no set rules, since its greatest difficulty comes from remaining faithful to its most traditional expression.

By contrast, romanticism was established as a cultural guide and dominant criterion, and this spurred the creation of a new kind of music. So flamenco singing is the result of a romantic interpretation of the Andalusian gypsy musical heritage. For this reason it is both a modern art form and a cultural manifestation. Flamenco singing is an artistic rather than folkloric creation although its essence is closely related to the people.

In order to try to understand the phenomenon of flamenco singing and dancing, one must strive to understand its music, which is the language of feeling. The explanatory facet of flamenco is discovered through analysis, as a reflection of the specific relationship between the social reality and the creative subject.

The relationship between ideas about art, and its reality, is required not only because of its scientific nature, but the very nature of art, and the expression of truth to demonstrate this quality through the demonstration of expressed truth.

According to Emmanuel Kant, there are two kinds of art: pleasant art, whose only mission is sensory stimulation, and true art, beautiful art, which is related to the sublime and is always the product of a genius who uses sensuality as a means and an instrument to achieve knowledge.

In the study of flamenco dance, we must start out knowing some basic foundations established over the years. These foundations are related and inseparably linked to the three elements of flamenco: guitar, singing and dance. We have taken these musical components to clarify different styles and rhythms, for example: soleá, seguirillas, alegrías, tangos, bulerías... And as dance steps: llamada, cierre, desplante, marcaje, remate, paseíllo, escobilla...

Llamada: Determines the action of 'calling' and is used as a signal for the cantaor to begin singing. The time value depends on the compás of the dance being interpreted.

Cierre: Determines the action of 'closing' a sequence of movements, and is used as a signal to close out a section of the dance.

Remate: Determines the action of 'finishing off' a movement or combination of movements. Used to give emphasis to the final line of the verse.

Escobilla: Part of the dance devoted to heelwork, a sort of virtuosity of the feet.

Marcaje: Determines the action of 'marking'. Used to interpret and embellish the sung verses and, when it includes moving around the stage, is accompanied by a majestic strutting that incorporates the arms.

Desplante: Attitude or character given to the final pose of a step. Flamenco steps are subject to the measure of the compás of the singing and the guitar accompaniment. The inspiration of the moment of actual interpretation has a great deal to do with this.

But as soon as flamenco dance leaves its habitual ambience to adapt to a theatrical space, it must obey some new rules and adjust to an unfamiliar world.

In this stage context, flamenco becomes secondary to theater where, generally speaking, form takes precedence over content. It is noteworthy that flamenco dance may have enriched some aspects and forms of other types of dancing and music. For example, remember the that flamenco movements have been the most important inspiration in stylized Spanish dance since it is an emotionally powerful type of dancing and therefore connects with the universality of all peoples.

The expression of feelings and passion, together with that emotional frenzy, are integral parts of this dance which attracts all types of people seeking a way to freely express themselves and where the interpreter even employs a touch of acting prowess.

The recognized fact that each dancer is unique presents a certain problem when we want to classify and name different dancers and styles. In an attempt to shed light upon the subject we will go on to define three styles of dance which correspond to three types of expression today recognized in different artists.

(End of the second part. Coming soon, the third and last installment of the article...)

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