MANUAL for UNDERSTANDING FLAMENCO

20 Nov MANUAL for UNDERSTANDING FLAMENCO

Posted at 16:34h in Studies, Understand flamenco art, Writings by Fernando Barros
0 Likes

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 neuroscience knowledge that we have at our disposal today?

– With the tools offered by the new technologies and methods that are used for music in the most modern conservatories in the world?

POTENTIALITIES          

The means to achieve prosperous and healthy flamenco is by aligning with the attributes of innovation, rich cultural diversity, and creative energy. By assuring its authenticity in relation to its dissemination and promotion, we can generate a cultural activity that results in economic well-being for its practitioners and hosts.

We start by creating excellent conditions for the diffusion and teaching of flamenco through our very specific sequence of courses. Multiple pedagogical programs that complement each other also allow students to discover flamenco,  as an art, to its fullest. This wonderful musical journey will increase the degree of enjoyment and satisfaction of the people who choose to pursue its history and methodology. According to current cultural anthropology thought, the local is reflected at a global level, and the local responds to global demand.

FERNANDO BARROS   

 MELISSA MOORE

Tags:
Fernando Barros Lirola
barroslirola@gmail.com

Fernando Barros Lirola was born in Spain in 1952 and has performed in concerts and at Andalusian flamenco festivals around the world since 1980. He is a singer, composer, writer and historian who specializes in the unique cadences and rhythms that are the foundation of flamenco music. He has gained international recognition as an innovator whose voice and compositions reveal the “melody” inherent in Spanish literature and poetry. On the vanguard of integrating the traditions of flamenco with new approaches to teaching, Fernando is the author of “Flamenco en las Aulas.” He has contributed to dozens of periodicals, social media and websites. Fernando is a cultural ambassador from Andalusia, now based in Santa Fe, New Mexico. As an invited member of the International Dance Council of UNESCO, he actively promotes the preservation of dance around the world. In exemplifying the rhythms and music that give life to culture, he performs, leads workshops, participates on panel discussions, and offers master classes nationally and internationally.



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.

Follow us: studyflamenco.com & queeselflamenco.com

Multimedia:
Follow Us On LinkedIn
Follow Us on Facebook
Email: barroslirola@gmail.com