In many cases these songs grew out of more traditional, rhythmic flamenco music, evolving into pure melodies.
#FLAMENCO CANTE JONDO FREE#
#FLAMENCO CANTE JONDO HOW TO#
Our teacher is not going to teach us how to sing, although she teaches us how to maintain ourselves in the compas, which is very important for everyone in flamenco. Because the dancer is front and center in a flamenco performance, foreigners often assume the dance is the most important aspect of the art form – but in fact, it is the cante which is the heart and soul of the genre.Ĭante – Singing, also used to describe the different styles of flamenco when used in context such as: cante chico, cante grande or jondo, and cante intermedio. Cante is one of the three main components of flamenco, along with toque (playing the guitar) and baile (dance). Flamenco’s modern rebirth ultimately had to wait for a second concurso in Córdoba in 1956, and the subsequent rise of more ground-breaking innovators over a decade later.The second thing we learn in flamenco is about the cante. An era of decadence followed, hastened by the onset of the civil war and the repressive Franco dictatorship that followed. While the music gained some short-lived prestige, and sporadic recordings and revivals ensued, its golden age was over. Whether the concurso ultimately ‘saved’ flamenco is open to debate. The complex – observers later reported – seemed to be alive with a magical energy. Gathered beneath the cypress trees in a courtyard filled with the aroma of jasmine and lavender, young men swapped guitar falsetas (riffs), ladies stood up and danced soleares, while others listened to the virtuosity of established stars such as Ramón Montoya and Manuel Torre. A 12-year-old boy named Manolo Ortega, aka ‘El Caracol’ ('The Snail'), so impressed the judges that he walked off with first prize. Another, an old blind woman of Roma stock, hunted down by Lorca, sang an unaccompanied liviana, a flamenco form long thought to be dead. One 72-year-old cantaor (singer) named Tio Bermúdez had walked 100km from his village to be there, and stunned the audience with his interpretations of old-style siguiriyas. On an ethereal summer’s evening in June 1922, a little-known Andalucian poet named Federico García Lorca stood in the Plaza de los Aljibes in Granada’s Alhambra and welcomed 4000 guests to the Concurso de Cante Jondo (competition of 'deep song'), a flamenco singing contest he had organised in collusion with the distinguished Spanish classical composer Manuel de Falla.īetween them, these two great avant-garde artists had struggled relentlessly to elevate flamenco – and in particular cante jondo – into a serious art form, a dynamic cultural genre of half-forgotten Andalucian folkloric traditions, in the face of a growing popular penchant for watered-down forms of flamenco 'opera'.Īmassed inside the atmospheric confines of the Alhambra were an impressive array of intellectuals, writers, performers, musicians and flamenco purists.
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