FLAMENCO IN EDUCATION

02 Feb FLAMENCO IN EDUCATION

Course at the University of Granada, Faculty of Education

Course at the University of Granada, Faculty of Education

AS THE FLAMENCO TAUGHT IN EDUCATION.

The importance of flamenco in the evolution of Andalusian culture, it is not necessary to justify because it is present in the intricacies of multiple activities and manifestations of the Andalusian people. Flamenco belongs by right to culture and the memory of Andalusia. It is a universal art and emerged in Andalusia that has given him a solid and robust identity as a people.

The Statute of Andalusia considers that flamenco is one of the greatest exponents of Andalusian cultural identity and defines it as «unique element of the Andalusian cultural heritage», and gives wing Juntade Andalusia exclusive competence in knowledge, conservation, research, training promotion and dissemination of flamenco.

On the occasion of the solidarity days third, held on 16, 17 and 18 February 2011, visited us D. Federico Mayor Zaragoza and gave a speech which focused on «the Culturadela Peace», «Sustainable Development» and «Human Rights «. In the farewell we commented that it was quite possible the appointment of flamenco as World Heritage.

 

 

The Culture Committee of the Congress of Deputies has approved an initiative by a proposition of law, requesting the government to support antela UNESCOla declaration of flamenco as Intangible Cultural Heritage dela humanity. Frutode all initiatives, dela Board of Andalusia and flamenco already been declared world heritage. This implies that treatment in all areas to the maximum extent must, that is, as a musical art should be taught in all subjects Andalusian music and culture.

TREATMENT OF FLAMENCO IN EDUCATION.-

– Like music.

– AS CULTURE.

As music should be taught in all subjects are taught musical knowledge. At both conservatories, as secondary.

These skills should be taught from the rigor that the music demands.

 

As culture and heritage, as a phenomenon of cross hybridization.

For make no mistake, in their treatment must know the cultural codes which he left, what it is the current and because we thrilling.

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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Email: barroslirola@gmail.com