Rafaela Carrasco
(Photo: Daniel Muñoz)
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A flamenco style with its roots in the local fandango
of Malaga. This style, one of the most outstanding Levantine
forms (the term given to those from eastern Andalucía),
is characterized by the absence of a compás structure,
affording the cantaor freedom to introduce intricate vocal
work and extend each line of the lyric at will. Distanced
now from its folkloric origins, this cante was popularized
from the late 19th century by cantaores both from Malaga
(Juan
Breva, El Canario and La Trini, for example), and from
elsewhere (such as Antonio Chacón and Enrique el
Mellizo). Out of the above names, Antonio Chacón
deserves a special mention for ‘revolutionizing’
the style, leaving behind five different variants; as does
Enrique
el Mellizo, whose malagueña it is said was inspired
by church songs, and currently boasts great popularity especially
in Jerez and Cadiz. Among contemporary cantaores associated
with this style, Diego Clavel is outstanding for his ‘La
malagueña a través de los tiempos’ which
brings together almost fifty different variants, as does
José Mercé, heavily influenced by El Mellizo,
but bringing his approach up-to-date. And let's not forget
Enrique Morente, who leans more toward Antonio Chacón,
then Fernando Terremoto Jr... And to see dance performed
to this form, a fine example is the current work of bailaora
Rafaela Carrasco.
| Compás pattern: 1
2 3 4 5 6 7
8 9 10 11 12 |
Sample verse:
Del convento las campanas
Si preguntan por quién doblan
Del convento las campanas
Dile que doblando están
A mi muerta esperanza
The bells of the convent
If anyone should ask for whom they ring
The bells of the convent
Tell them they are ringing
In the hope I should be saved from death |
Guide to palos
Back to index:
fandangos, soleá, seguiriya, tangos, de ida y
vuelta, cantes de Levante... |
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