Mario Maya. Jerez, February, 2002

The diversity of influences in flamenco today causes us to stop and consider the very definition of flamenco. How can we define a flamenco artist nowadays? By means of classical references, the innovative urge, maturity and experience, or the creative risk-taking of youth? The accepted fact that each dancer is unique, makes it difficult when you have to classify and label different dancers and styles. In an effort to shed some light on the subject, we have defined three styles of dance which correspond to three forms of expression that can today be distinguished among various artists.

Mario Maya expone 'La fama y otras cuestiones del flamenco'
(Photo Silvia Calado)

Primitive style: That which follows the teaching of flamenco within the confines of the family.

Traditional style: That which results from daily practice, working in a diversity of venues in traditional shows, and through the study of the dances and collective experience of artists who brought flamenco to the stage.

Academic style: That which is taught in dance schools and makes use of another person's choreographies as a teaching tool.

We must also name the most authentic forms of the styles or 'palos' of flamenco:

Jondo flamenco. Artistic manifestation of autoctonous flamenco. Soleá, seguiriya, tangos and derivatives.

Festive flamenco. This is an artistic manifestation characterized by the rhythm of its compás, or measures, in the dance and cante of bulerías, alegrías, rumbas...

Popular flamenco. Interpreted with gay dances such as sevillanas, fandangos de Huelva...

Flamenco dance is not simply an incoherent series of steps. Rather it has a sense of musical aesthetics and good taste. For that sense to flow, expression must be achieved through the language of the body, with rigorous discipline of basic exercises which lend clarity and flexibility of synchronization of movement in order to thus achieve the necessary full range of expression, as if it were a voice.

It is important that the male or female dancer devote his or her time to exploring the study of traditional cante and guitar-playing in order to distinguish the peculiarities of the accents and interpret a given dance in its varying styles, and in this way be able to capture the essence and personality of each interpretation.

It must also be said that technique is a means, not an end. It must not become an obstacle which impedes the eruption of the passionate volcano. The professional must make subtle use of technique because the higher the level of technique, the more assuredness when it comes time to interpret a dance. For example: The verse of cante which at a given moment is being interpreted by the singer to accompany the dance corresponds to the action of traditional dance marking. The dancer must never interrupt under any circumstances, but rather respect the climate established between the guitarist and singer because at that point the dancer is the accompanist and has the obligation of knowing the music and measure of the style in order to close out that part of the action.

Nowadays there is more ignorance than ever of that which is genuine, perhaps because the genuine thing is becoming progressively more hidden and more and more distanced from the original. Each generation has less chance to obtain that knowledge which can only be transmitted on the spot and which is acquired by working in flamenco ambiences with traditional artists.

But we must also take into account that reducing cante to a casual interest is to reduce it to "rhythm and shouting" or "shouting in rhythm", the abstract synthesis of man and his emotions. For this reason the art of flamenco is committed and resigned to rebellious action, in joy and in lament. An expression of the profound alienation of men and women in a society which accepts them for their art and rejects them because of their social background.

Critical thought is always the starting point for acquiring new awareness. Because there is no art without reflection upon reality, and no reflection without criticism. An anecdote: after seeing his favorite dancer a flamenco-lover says: "What incredible strength!" But I can assure you that the people stomping grapes in Jerez are also very strong. Art is not brute force but sensibility; it is not gratuitous virtuosity but unexpected grace. The hard thing about art is making it look easy, inexplicable...and indefinable.

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