The verses included in the Encyclopedia have been selected to be the most ......
the guitar chord structure is different, as are the accentuation and emphasis.
PART III
THE ENCYCLOPEDIA OF FLAMENCO
Photo: EIhe Stolzenberg
Merche Esmeraldahas:nade_astudy of the old-time female flamenco dance,which shedanceswell. This photo showsher in an aftiruderypical of ttrai styte.
OF THE VERSESOF THE CA}ITE DISCUSSION
be The versesincludedin the Encyclopediahave been selectedto guardbeen toiii. The Spanishform has the most ,.pr.r.niriiu" of ih. translationt,althonghit was ofl:? n€ces,r portiUl" in "^rh ;e.;;i;*ii versesmore or 1.* fieely.inirder to avoid cloud;il-;;;rtirhtJtrt of.the verseshad to be sacrificedentirelv. ;hft;t id ,o.rning. ing their lose symbolismin Spanish, th;It phrasigs-and Theseverses,i.g."i""r; its and Andalusia of somewhatin trarir^1r;i"":-A;;siderable"knowfedge their of fragance the-true .tpt,tte to otJ.t t" it ohilosophu "...ttu;of-which -s;;;;;1 I haveattemptedto give,durlnqthe course meaning,iomething .*planationiollowsfwhich is intendedto of this boo1,.A ;;1.f of theseverses' Jienificance the further crvstallize ^*^"t"t' tt. d.riu.d from two sources:the poet' who ;;;;;;;; ;;;;;i ,tt.m on to the peoplethrough a publishedwork .r.rr.r1h.* .nd pr*.t-altered to fit the-personalityof eachinterpreter), oi* ur. i;;a-;hdh lna tnor. ,ptingi"jTto- itt. peopletheinselves,cteatedduring inspired ,itiiinodot. The versesof the prbfessional ay ,o"ii)'oiii'i"i ;;;;" oi th. feelingsand piilosophy of the Andapoet, profound..pt.*i""t
ilji,o'iffi"-;fi;ir f;';h.1;;i.;;;i,-;
ani.'ymbg,1ir.tfianthose*.eated ;ore imagery moresrammarically are i, nut,rirt,' invariably
coffect. stemA great maiority of the verses.presentedhere are anonymous' beautifully also poets are although p."pt., ,fr.'.otti""" fio*ine lome
Carlosde-Luna,Fedetico ffi;".r;;,J, i;.ildi;; Mrn'el_'ltaqhaft,Jos6 Gno,-all.Andalusians,as have Manfredi GarcIaLorca, ;J-d";;g; flamencopoets. the widely-hetalded of tnowled'e, bi;,1o,;t 1[ "* the gypsies,which of those aie ,h;-.oti colorful vetses it;il; structufe, grammatical incorrect picturesquely u.. iirring"irt.a ty their generally their of-gypty.words,.and insertion ri.iii"g, ,nd .fiol., *orJ ideas. and emotions of pri.itiuE'expression ;;;; iit.."*a I have left someof the verseswith touchesof incotrect spelling, not which are meantto be a direct reflectionon the mispronunciation several are masses.-Thete Andalusian the all b"1 ;;'ly';f ;[J;yp;L;; 9f unwritten rules iot rttiuing from CastilianSpanishto the Andalusian: l* oir.r, b..o-.Jr; iin.l"v's and s's are eai-en;s's in the middleof a the become!r's;.1'-s.at r.."iii* ;;r[;y ili.n,but will more often ot-tyiirbl.r often becomer's; v's becomeharclb's; the il;|-oiotdr 99
endings of words, becoming ,and in some d is eaten in all beother instances ( granadina-granaina;uestida-uestia); the word and become simply and words like >and comes ,>, ;the ll becomesy, or more often yi (calle -caye or cayie); and so fo rth (1) .
GENEALOGYOF CANTE FLAMENCO t
Examples: ANoelustnN
CesrrlreN El dia que til naciste ;qu6 triste estaria el sol en aer que otro sol salia con mucho mds resplandor!
Er dia que til nasihte ;qu6 trihte ehtaria er sd en be que otro s6 salia con mucho md rehpland6!
La muchachaque yo quiero esth llenita de lunares basta las puntas del pelo.
La gachioque yo cameloo ehtd yienita e lunare iahta la punta der pelo, " Gypty uords.
Generally speaking, however, for the sake of clarity I have stuck more to Castilian than Andalusian Spanish, sprinkling iust enough andaluz about to remind the reader of the vast difference between reality and the printed page. The overwhelming majority of flamenco versesdeal with all aspects of love (2). Death is perhaps a distant second,followed by many topics, depending largely on the general theme and geographic location of each cante. Apart from the grammatical considerationsalready discussed,the verses arcby no means sung exactly as they appear on the printed page. Lines are often repeated,words prolonged, long wails of. aaay interjected (3). \fhen actually heard and seeninterpreted, the versesare infinitely more meaningful. That is another adventure that awaits the aficionado! (1) Alonso Zamora Vicente has made a complete Espaffolar, Ed. Gredos, Madrid, 1967, pps. 287-331.
study of this
in his rDialectologfa
The followins genealogvis the result of extensivestudies of the otigint-oi A. .oirfon.tttt"of present-dayflamenco.Th9 chart only atalong with a few t" ttr.. ihe basicorigins of thesecomponents,;#il; the subtle cossof all If influences. r..oidmy important more ;atl; th. t.rult would be an incoherentmuddle.It will *rr.16 *rtr.lirtt.J, t"ifice t."pi"g io *ind that the Andalusianinfluenge-pr.9dqn-rinently gfpry ot piyoiependingon rhe particularcante(seeAppendixNo. 1)in"U oi theseiompon;nts as v/e know them today, regardless iJ;;G of their origins. Regardingthe charton the next page,I wish to clarifythat.in ttuth which was tfie originatlngcanteoor even-ifthe originating no *.irowi iirii it JtU t r"." rnd rong lod.y. Therg is a large schoolthat believes cafia andpolo sharethis honor, largely to ;;;;:;f ;il;L;;;n "',ihe that are so t9 their unique-passages and them, to J". ,o earlyreferences to be tonds the Eelieves school Another chants. t.lijio,rs ;A;y ;tt"tt* that say and (we arbitrate ;il fttrt*tti.itt is c?rtainlya po_ssibility could easily which.. simultanegusJy, l.s oi -orl ;-[; rh;. J.u.lop.d Tight. i;;. t.;; the case).Othersinsiston the sole6,alsoa possibility,but, in of being a less l.rt likely, as it has all of the characteristics 111u of the "pi"ir", influences, religious from f,rtih.t removed .ri.i.i, "fl*pting, polo. cafia and As ali but three (danza /?tord,zapateado,rondefrat9q4e) of the .h.it.d .o.p"n.nts are believedto have been first conceivedas songs' ih.-.t rrt hasbeenentitledGenealogyof.Flamenco.
(2') One folklorist, Francisco Rodrlguez Marln, in his rEl llTade Andaluclar (The.Soul of Andalusia), had to limit himself io choosing only 1,316 of the 22,0(X) verses dealing with love that he had gathered. (3)
Take the example
of this
Siguiriya
Son tan grandes mis penas que no caben mds. Ilo muero loco, sin cal6 de nailie, en el Hospitd... In the actual singing
Manuel
Torre:
of anvone,
of this verse, it may be changed thus:
Son tan grandes mis penas que no caben mds iayy!... que no caben mds. Dios mio, que yo flruero loco, sin cal6 de nadie, en el Hospitd...
100
of the legendary
My sultering is so great I can bear no more. I am dying insane, without warmth in the hospital (insane asylum)...
My suf'fering is so grent I can bear no mote i ayyy!... I can bear no more. My God, I am dying insane, without in the hospital...
warmth
of anyone,
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intetchanot name many cantaoresandafici.onados general category. that fall under still they g.rbly1, although Q li"Cadiz t-odayi cantifra is any miscellaneousmelody sung-with and rhvthm of the alegria.r,oftentimesextremely similat to the the uaditional alegrias,and as often asnot utilizing alegriasverses.The song)>to a certain spontaneous cantifras,therefore]are still ,rvhich could also account for its name, once introduced into Cridiz. Its name could also have stemmed from another of its dictionary definitions: , an accuratedescription of the dance rvhen danced well. Thd,conpis of the larruca is identical to that of the tangos,although the guitar chord structure is different, as are the accentuationand emphasis. There exist two or three recorded versions of the farnrca. but in general its cante has nearly disappeared. GARROTIN.-Cante,
baile, and toque chico.
Until recently consideredfolklore, the garrotin is slowy but surely being accepted into flamenco circles, as are the seaillanas, milongas, tanguillos, carupanillercs, and the uito. There are two schools of thought concerning the origin of the garrotin. One states that it has taken the same road as the farruca; that is, from Asturias to flamenco via the port of Cddiz. The other
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