Studies

MANUAL for UNDERSTANDING FLAMENCO

IF WE WANT TO LEARN AND UNDERSTAND FLAMENCO, HOW WILL WE DO IT? WHAT DO WE NEED TO KNOW ABOUT ITS AUTHENTICITY? HOW CAN WE HELP FLAMENCO DEVELOP ITS FULLEST POTENTIAL? - Anachronistically or disruptively? Academically or emotionally? - By incorporating all the principles, pedagogical, didactical and...

MUSIC of the OPPRESSED: FLAMENCO in its HISTORICAL CONTEXT

From our sustained curiosity about “THE ART of FLAMENCO,” we have developed this course. In this series we will offer historical and food-for-thought information to enhance your discovery of the uniqueness of flamenco music, whose genesis can be significantly sourced from the laudable values -...

METAMORPHIC REFLECTIONS

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed...

FERNANDO BARROS & COMPANY

flamenco-in-new-voice-fernando-barros-company Authentic FLAMENCO: Ancient & New ...

FLAMENCO- & ARABIC- ANDALUSIAN MUSIC
FLAMENCO- & ARABIC- ANDALUSIAN MUSIC

FERNANDO BARROS ILLUMINATES FLAMENCO'S MUSICAL HERITAGE AND ITS TEXTS  [caption id="attachment_17213" align="aligncenter" width="225"]         Andalusia's Alhambra[/caption] To explain the origin of the Arabo-Andalusian style and the rise of Andalusian music, we must go back to the dawn of the Muslim era when the Visigoth-Hispanic...

Allen Ruttenberg
NEW PARADIGM: THE TEACHING OF DANCE FROM EMOTION

NEW PARADIGM: THE TEACHING OF DANCE FROM EMOTION "All children are dancers." Dance is "the art of expressing emotions with the help of body movements rhymed." Jacques Dalcroze Notes for the script of the conference: We will give a brief welcome and introduction of ourselves...

World Congress on Dance Research

42nd World Congress on Dance Research Hallandale Beach - Miami, Florida. September 16th - 20th, 2015 The World Congress on Dance Research is organized by a section of CID-UNESCO, in collaboration with the International Dance Council CID. CID congresses meet at an average of about 400...

2019 PERFORMANCES

                 

Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

«Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem «Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

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