De como impartir el flamenco en la educación

14 Jun De como impartir el flamenco en la educación

DSC012461-300x168It is not necessary to justify the importance of flamenco in the education on the development of the Andalusian culture at this point because it is obvious and noticeable that it is present in the inner workings of multiple activities and manifestations of the Andalusian people. Flamenco is, by law, to culture and to the memory of Andalusia. It is an already universal art that has not only helped draw a sound and sentimental landscape over time but also has formed the characteristic elements of Andalusian popular culture.

The Statute of Andalusia flamenco is one of the greatest exponents of the Andalusian cultural identity defines it as “singular element of Andalusian cultural heritage”, and gives exclusive competence in the field of knowledge, conservation, research, training, promotion and dissemination of flamenco to the Junta de Andalucía.

On the occasion of the third solidarity Symposium, held on 16, 17 and 18 February 2011, we visit Mr. Federico Mayor Zaragoza (former Presidents of Unesco) and he delivered a lecture that focused on “culture of peace”, “Sustainable development” and “Human rights”… In farewell told us that it was very possible considering international Flamenco as heritage of humanity, as it was a year later, definitely recognizing the worth of this art and the recognition of some artistic, linguistic, musical and emotional values flamenco that runs itself and which is necessary to preserve and transmit.

At that time the Committee on culture of the Congress of Deputies approved an initiative, through a proposición no de ley, which demanded the Government that support to the UNESCO Declaration of flamenco as Intangible Cultural heritage of humanity. The result of all these initiatives, Government, Junta de Andalucia and flamenco world, we can already say that finally the flamenco is today intangible heritage of humanity. This means that your treatment at all levels should be with the utmost respect and rigour, i.e. as musical art that is should not only listen but taught and transmitted in every space possible in the public or private sphere and of course – the most important-, taught at all levels of the educational process, especially on the subjects of music and Andalusian culture and even history of cultures with attractive programmes Advanced and practical.


How to teach flamenco in education? Get make it attractive to students? Here is essential so that this musical art remains fully and is a good pedagogical means to contribute to the purposes of educational training. Through the study of flamenco should promote creativity, imagination, curiosity and sociability, and ultimately everything will serve as stimulus to improve coexistence, learning and the relationship between people, any is his age, so revert to society their knowledge and skills in the form of innovations that generate new cultural proposals or other.

We propose to study it as music, and will teach all the subjects that are given musical knowledge. In the conservatories so much higher, as secondary. Schools and institutes from an early age, as well as other cultural services of the various institutions are municipal or regional.

This knowledge should teach from the rigor that music requires, but fleeing methods which have certainty of low suitability. We can not impose the teaching of solfège as first introduction, Sol-FA will come when needed, but if we can teach the palms, accompaniments, the arrangement of the letters to situations with students, the simple composition of a few rhythms that students take as their own…

With new technologies, we have an instrument that fits very well to the new approaches to pedagogy is developing in order to overcome the anachronistic aspects that have been detected in the education system not only Spanish, but global.

Study in depth the history, the origins of this music and folk art will bring abundant surprises and new knowledge, the sociology and anthropology we placed transversely in the background of the other general knowledge necessary in the training of students. That should take care of all aspects that address flamenco in education, as a heritage not only musical but also historical so they provoke a cross-cultural hybridization in the continuous learning that over time each individual must undertake.

So not confuse us, we must know cultural keys that split and was in its treatment. Music aims to thrill, transmit feelings, emotions, moods… It is capable of providing it with flamenco.

Between traditionalism and the merchantability, flamenco needs to expand his way, from romantic improvisation to the careful study, as any other music that is respected, this it will enable it to further musical development, ensure its survival at the time and his understanding and expanding beyond our borders.

For all this we propose joining the musical subjects of the school curriculum from primary to secondary.

Its introduction as a subject of study at the conservatories of the community, not only, as at present, the flamenco dance or guitar, but the song par excellence, the teaching of interpretation to the voice of this art. And programming of workshops, courses etc. in local, County and regional institutions.

We propose the creation of an Observatory of flamenco, which could be merged associations until now existing scattered and lack of a common motivating element in which to coordinate ideas, projects and curriculum plans for its adaptation to the curriculum. This Observatory would have as one of its immediate priorities the historical, sociological, anthropological, and musicological research. And the elaboration of a programme suitable to the medium for the teaching of this music as it is made in different States of the world with their unique or specific music, New Orleans jazz or Aboriginal music in Australia, for example.

Flamenco in education

Fernando Barros Lirola

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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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