Abstract
This chapter focuses on flamenco music, which has so far been defined as urban music of the early twentieth century. Although many flamenco styles and musical forms originated in Andalusia, they also have roots in other neighbouring regions of Spain and subsequently expanded to regions such as Madrid and Catalonia in central and northern Spain. UNESCO recognises flamenco as Intangible Cultural Heritage of Humanity, but there are still many aspects of flamenco, especially urban flamenco, that have not been researched. In Spain, it currently only receives incipient political, economic, educational and social attention. This chapter discusses the appropriate appreciation and recovery of flamenco and of the communities in which it is conveyed orally, as well as the case of flamenco within musical education in Spain in order to consider globally the tensions between teaching mainstream music and aboriginal traditions. I will provide results of in-depth interviews with young, intercultural musicians, which will enable us to establish the essential features of learning in Roma communities analysed through their viewpoints and experiences within and outside the community.
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Notes
- 1.
Bolera School is a type of dance closely related to Andalusia since its origins (eighteenth century). It consists of a set of steps, figures and movements resulting from coding and artistic reinterpretation of folk dances and theatrical repertoire or “on-stage” dances, also at grassroots level. In the eighteenth century they were known as “school dances”, and in the twentieth century, they came to be known as “Bolera School dances.” (Junta de Andalucía 2003).
- 2.
Ida y Vuelta or Round trip, due to the reciprocal influence of Spain on Latin America and vice versa.
- 3.
Payo is the name that members of the Roma community assigned to people who do not belong to it.
- 4.
Nevertheless, in the Dictionary of the Royal Academy of the Spanish Language, the fifth meaning of Gitano/a is still: “Trapacero: as offensive or discriminatory”, which means: “sb. who with craftiness, falsehoods and lies attempts to trick someone in a matter” http://lema.rae.es/drae/?val=gitano (March, 2016).
- 5.
We should note that these three musical learning cultures were chosen for the different degrees of systematization of their representational systems of music; from flamenco oral tradition at one end to western classical with its highly developed notation in scores, on the other, and jazz, with its use of the chart or melodic and harmonic scheme, somewhere in between. We have observed that these notational systems largely determine the ways in which knowledge is conveyed in musical practice (Casas-Mas 2013).
- 6.
Diego Amador: known as Churri, is a Sevillian musician who grew up in the neighbourhood of the 3000, a housing conversion project of the old Roma quarter, Triana. Considered one of the best pianists in flamenco, Amador first learned to play the guitar and has also played other instruments, such as drums, professionally.
- 7.
Falsetas: variations or pieces inherited from teachers or self-composed.
- 8.
In contrast to learners of western classical music, who in their day to day listen to music different from what they practice. (Casas-Mas 2013).
- 9.
Tablao: small, private theatre staging only flamenco shows, with the audience seated around tables at which food and drink are served (UNESCO 2010).
- 10.
Diego del Morao: is a Roma flamenco guitarist born in Jerez de la Frontera (Cádiz). He is the son of the late Moraíto Chico II (known as one of the greatest and most in-demand accompanying guitarists of his generation), whom he learned to play from, and also attended El Carbonero’s school.
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Casas-Mas, A. (2018). Developing an Approach to the Flamenco Learning-Teaching Culture: An Innovative (Traditional) Learning. In: Leung, BW. (eds) Traditional Musics in the Modern World: Transmission, Evolution, and Challenges. Landscapes: the Arts, Aesthetics, and Education, vol 24. Springer, Cham. https://doi.org/10.1007/978-3-319-91599-9_3
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