FLAMENCO ART AS UNIVERSAL

12 Jun FLAMENCO ART AS UNIVERSAL

Cantando-a-Lorca-300x225Flamenco as a universal art, which is already subject to full cross hybridization is occurring with cultural globalization, and that puts us in the space of twenty-first century. But also in its gestation, it was modeled by all the influences that artists are forced to dive into the creative process.

Not only drank all the existing folk substrate in Andalusia, slowly settled with musical nutrients of all cultures that different civilizations brought when they inhabited our land, but also, came to be influenced by the zarzuela, the song, cabaret, classical music and many other musical expressions prevailing in Europe and Latin America.

 

The validity of flamenco is that music has been a gesture that artists, nineteenth century, that were bold men and women of his time, based on the musical tradition of his time, innovated, influenced by the cultural and political changes of his time. But around the time elapsed of the twentieth century, and walked XXI, creativity flamingos enabled the continued expansion of this great art artists, and therefore its disappearance.

The appeal of the international phenomenon of flamenco, is that without changing the essence of what was its expressive essence of transmitting

Emotions, passions of humans, death, love or hate, injustice, pain, etc. … if it has impregnated and adapted to the new times, new cultural changes that societies are endowed with globalization, not only economic if of all kinds. As sociologists say, the local has become global, and the global has been located, » glocalization «.

Most of the shows created flamenco artistes presented by theaters in the world, returning to Andalusia with valuable stamp that posibilitad release in our land.

Flamenco has connected to the universal values ​​that are present in all artistic expressions of his time such as beauty, the authentic, sublime. Otherwise we could say that flamenco has been adapted from the traditional to the ongoing social changes, which has enabled him to be in force at all times. According to Gerhard Esteingress, postmodern Flamenco has to be able to express the ambivalences and contradictions of our time from its musical tradition and its body expression, to continue to have the right to call flamenco.

Asher Barrett
jasherbarrett@gmail.com


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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