Juan José Téllez
 |
| TonoCano Photo / SecretOlivo |
occasion of the hundredth twentieth anniversary of the birth of Blas Infante, the Andalusian has reissued Sources flamenco and flamenco singing secret , a substantial work in shaping the political mind of the father of Andalusian country. This title had already earned a first edition by the regional government in 1980, by Manuel Barrios, obviously exhausted 30 years later, which caused some controversy by some alterations on the original manuscript, in two of its pages.
Written from 1929 to 1931, after his famous trip to Morocco, Blas Infante in this paper offers an approach to the study of flamenquismo and Andalusian song, based on the work of previous authors such as Antonio Machado Demófilo, but certainly suggestive own contributions.
There is nothing innocent, however, the notary's musicological desire Casares. His ideal Andalusian not only claims based on purely political or social or territorial claims, but sought to set the fee for an identity cultural to the Andalusian village to allow him to be proud of their roots and build on them the national reality and the boards he wanted liberalists.
All nationalism is based on an allegedly Arcadia happy on poetic legends, often false and sometimes rightly criticize the critics of peripheral nationalisms against the already established. In the case of Andalucia, beyond legendary resources, there was an anthropological fact that dialogues with the cultural diversity of this country who tried to abolish the Catholic Monarchs and their successors, determined to unify the different kingdoms of Spain under one religion, one language and one custom.
The flagrant breach of the capitulations of Santa Fe with the active persecution against the Moors, until the expulsion of the same after the defeat of Aben Humeya in La Alpujarra around 1610, the diaspora or Sephardic conversion that gave rise to the old controversy about the purity of English blood of old Castile and the pragmatics of the Jewish people were the most determined milestones of cultural genocide that lived in the Peninsula and that also affected other groups much more fragile, as maragatos or mercheros.
If this new order was able to expel Jews and Muslims, why not also ended up with the gypsies? That is the million dollar question. They tried to take it to great effect during the raid, the general prison of Roma, which took place in the eighteenth century but could not end the resistance of the people. Perhaps the answer to their survival in the peninsula has to be found precisely in the fact that the Egyptian-like at times they were called, lacked usurp properties, unlike the Moors and pigs, as came to describe them-which might well have found its place in the nomadic tribes of the basket weavers.
why Roma are dispersed over half of Europe but only participated in the creation of flamenco in Andalusia? Perhaps, at least that's the conclusion we would advise the reading of Blas Infante and others, because here benefited from other contributions rhythm, which he thought he had found among the Nuba arábigoandaluzas he discovered in Morocco, or the old songs synagogue them that sometimes the letters referred to in Flemish: " Like Jews, / Although meat burn me, / I deny what I have yes or ", a song comes to pride. And say a petenera: "Where are you beautiful Jewish / as composed as untimely? / I'm in search of Chamois / that is in the synagogue." Of course I like flamenco has never been politically correct, we can also run into lyrics like the following: "If the Inquisition knew / how much they wanted t'he / underpaid and have you given me, / you burned by Jewish .
"As a child of his age and the type of social extraction belonging, effectively Blas Infante had studied piano and basic music studies but which served largely to talk about flamenco, not only from the perspective that was the fundamental social, but also the musicological perspective, in that sense makes notes very important in their work to some key technical aspects of flamenco, as the issue of overcrowding in the presentation of the sounds, the influence of the return to the tonic, made specific studies on Malagueñas Juan Breva, or on Tonás of pliers, mentioned some interesting ideas that have to do with a music studio aflamencado such as a theory that is now virtually in place. In that sense, Blas Infante was a cultivator of musical knowledge but in its cultural and social dimension, "explains anthropologist Cristina Cruces in the early sequences of the chapter on flamenco series of Blas Infante Mediasure produced under the direction of Antonio Ramos Canal Sur and released in late 2010.
anthropologist He adds: "The Flamenco is basically a social product, even when running individually, Blas Infante himself said that when a Demiurge, he said that a singer was a Demiurge-expressed and sings, is singing the reality of a people. It is true that certain songs can only be achieved by an individual, no doubt, but the flamenco is a music socialized, can not be explained from the perspective of the individual but the family environment, neighborhood or profession in which that individual operates. And the subject expresses a series of contents that are not privately, but they are also social form. Flamenco can speak of love, hunger, disease, homelessness, injustice, work and not the experiences of those who sing the dominating running those letters are the experiences of a people who wrote about his experiences so a people who could not write more than with the lines of the music community tragic history. "
Source: http://secretolivo.wordpress.com/2011/03/21/blas-infante-en-busca-del-flamenco-perdido-blas-infante-origenes / # more-559
0 comments:
Post a Comment