Flamenco, an edging of flamenco, an edging hondo.
Edging hondo (cante jondo) is the most ancient kernel of flamenco, its fundamental principle. " The essence of difference an edging хондо from an edging of flamenco consists that an edging hondo goes back to the most ancient musical systems of India, prototypes singing, and flamenco, it later an echo, is certain and has finally developed in the eighteenth century. An edging hondo - mysterious reflection, an edging of flamenco - art feelings almost modern and strongly conceding on depth. Spiritual colour and local colour - here in what their radical difference ". (Federiko Garcia Lorca) the Edging hondo is the most universal and ancient voice Andalusia. A voice which is capable to express both personal tragedy, and a drama of whole people.
" Cante jondo " it is translated as "deep", "deep" singing. As well as specifies a word, an edging hondo is something so deep and ancient, that existed already in those days when all andalusits, gipsy and that we name flamenco, only arose, and, perhaps, also did not exist.
Fuller name of flamenco is " an edging of flamenco " (cante flamenco). In spite of the fact that in a literal translation from Spanish "cante" means "singing", this name includes both singing, and dances, and game on a guitar and covers all private displays of style of flamenco.
Dance of flamenco - features and suits
Characteristic feature of dance of flamenco traditionally considers "sapateado" - beat time a rhythm heels, a rhythmical drum-type sound of impacts by a heel and a sole of a boot on a floor. Nevertheless, in the beginning of existence of dance of flamenco sapateado it was executed only by dancers-men. As such technics of execution demands expenses of considerable physical strength, sapateado long associated with courage. For female dance smooth movements of hands, wrists and shoulders were more characteristic.
Now distinction between female and man's dance not so is bright, though movements of hands, flexibility and smoothness still distinguish dance of the woman. Movements of hands of the dancer wavy, "caressing" and even sensual. Lines of hands soft, neither elbows nor shoulders do not break a smooth bend. Even it is difficult to believe how much smoothness and flexibility of lines of hands subconsciously influences the general perception of dance bailaors. Movements of brushes extraordinary mobile, compare them to a revealing and closed fan. More geometric, constrained and strict, them it is possible to compare movements of hands of the dancer-man " to two swords cutting air " more likely.
Besides sapateado dancers use "peetos" (snap fingers), "palmas" (rhythmical claps the crossed palms) which often sound in beat, twice exceeding the basic rhythm of a song. In traditional flamenco of a hand should not be borrowed by any subjects and should be free for movements during dance. Considered traditional castanets all over again were used only in the Spanish classical dance and traditional andalussian the dances executed at once by several dancers. Nevertheless, because of approval of an audience now castanets - an integral part of any " show of flamenco ".
The important element of an image bailaor - the traditional dress named " bata de cola " - the dress typical for flamenco, is usual up to a floor, is frequent from a multi-coloured material in a peas, decorated by frills and flounces. A prototype of this dress became a traditional attire Gipsy. The Integral part of dance is graceful game with a hem of a dress.
Traditional clothes of the dancer-man - dark trousers, a wide belt and a white shirt with wide sleeves. Sometimes edges of a shirt are fastened in front on a belt. The short vest-bolero named chaleco, is sometimes put on atop of a shirt. When the woman executes the dance, traditionally considered man's, - sapateado or farruk, - it also dresses such suit.
Duande - Mystical Spirit Flamenco
Duande is soul of execution of flamenco without which this art becomes impossible. This word of the Spanish origin, literally it is translated as "spirit", "invisible being", "house", but with reference to art it has got other sense, and could be translated, more likely, as "feeling", "fire" or "magic". At us speak " In it there is no fire ", in Spain " No tiene duende ".
Actors of flamenco well know, that their art will not reach soul if in it there is no this fire. The one who saw true flamenco, never will confuse it with a fake. The executor should be inspired, should have a special condition of soul, on its emotional condition depends, whether the song of soul of listeners will reach. Besides flamenco - improvisation a genre, and without inspiration improvisation is impossible. For this reason in many records made in studio, this "feeling" for it cannot be repeated or imitationly is lost. One kantaor flamenco Jose de los Reyes El Negro spoke that it is necessary to feel the moment when will be possible to sing in the best way, giving a song the best part of. It has somehow admitted, that being in studio during record of the album, could not " enter into a situation " in any way so, could not sing " in the pleasure " only for the reason that it have warned: " When the red bulb will light up, start to sing! " Another prominent kantaor " old school " Antonio Majrena, spoke, that its records " no valen na " - cost nothing, because it " morning records ", and the especial inspiration to it came only at night.
Great kantaor Manuel Torres has somehow told to one singer: " you have a voice, you are able to sing, but you will reach nothing, because at you are not present duende. "
If an edging of flamenco is expression of that it is possible to feel, but it is impossible to explain, duande is that force which helps to inform this art up to listeners. This concept can concern not only to flamenco, but also to any other art. Goethe so has defined duande, speaking about Paganini: " Mysterious force which everyone feel also any philosopher will not explain. " Spanish poet Federiko Garcia Lorca creates the whole theory duande, personifying it and allocating with demonic features. It speaks, that duande is possible in any art, but " to it is more spacious in music, dance and oral poetry for which the embodiment in an alive human body is necessary. "
The concept "duande" long since existed in Spain. Duande is a demon which transforms a song into magic, and dance in shamanism. It is soul of flamenco without which it does not exist. Lorca speaks, that the Spanish art " initially corrects tart duande, unrestrained and lonely ".
" Once andalussca the singer of Pastor Pavon, the Girl with crests, the gloomy Spanish spirit with imagination under to become Goie or Rafael Ale Galio, sang in one of taverns of Cadiz. It played the dark voice, mossy, flickering, fusible as tin, muffled up its locks of hair, bathed in mansanilia, the ringleader in a distant deaf jungle. And all is vain. Around were silent...
... Only malicious little man, like those elastic that jump out from a bottle, has in a low voice said: " Long live Paris! " - and in it sounded: " it is not necessary to Us neither deposits, nor training. Another is necessary ". And then the girl with crests has jumped, feral as ancient weeper, a volley has drunk a glass fiery casalie and has started singing, the singed throat, without breath, without a voice, without anything, but... With duande. It has beaten out at a song all support to give road violent burning duande, to the brother of a simoom, and it has compelled spectators to tear on itself(himself) clothes as the antilles Negros before image of sacred Barbara tear them in a trance. "
Lorca distinguishes in art three beginnings, personifying them in images of "angel", "muse" and "duande". The angel lights up, shade good fortune, and the person creates without efforts. The muse dictates, inspires. Duande is not easier inspiration, it is force - from which it is necessary to enter a duel. The muse and an angel descend, duande it is necessary to awake most. " Approach duande marks breaking a canon and unknown, inconceivable freshness - it as abloom the rose, similarly to a miracle and awakes almost religious delight. Duande will sweep away cosy geometry, breaks style; it has forced it Goio, masters silvery, grey and pink tints English school, knee and fists to rub in canvases black вар... "
Comparing flamenco with ballet, Spanish dancer Sjuzana spoke that unlike ballet, in flamenco nobody stops to dance early, in this art there is no age qualification. And in flamenco dance not because the curtain is lifted or have declared number that is why, that " I want now! ", because there is an internal need.
Duende transforms dance more likely into shamanism, in magic, in it there is something primitive, going from ancient ritual dances. " Once at dancing competition in the Sherry-de-la-Fronter the first prize at young beauties with vigorous as water, a body has pulled out the eighty-year-old old woman - only one how it raised hands, showered a head and beat a heel on a stage. But these muses and angels that smiled and captivated all, should concede and have conceded half-dead duande, hardly dragged rusty blade the wings. "
" Only to one duande it is not capable - to recurrence. Duande does not repeat, as shape of the storm sea. "
It is dance which serves for mass entertainment and it is executed by pair or a lot of participants on dancing evenings (balls). Ball dance often name also household dance. Process of differentiation of primitive, folklore dance on country, household (city and court) and scenic (ritual - temple, dance of the feudal nobility, national clowns) went simultaneously with development of a society and its social stratification on antagonistic classes. This process proceeded is similar in the countries Zap., West, The Europe, Asia and Africa. National sources. Have provided its viability and a wide circulation. They promoted becoming and creatively impregnated development of democratic genres and forms of household dance at various people.