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Carmen Amaya (2 November 1918 – 19 November 1963) occasionally known by the stage name La Capitana, was a Spanish Romani flamenco dancer and singer, born in the Somorrostro district of Barcelona, Catalonia, Spain.
Flamenco (Spanish pronunciation: [flaˈmeŋko]) is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia.
Vicente Escudero (1933) Vicente Escudero (27 October 1888 in Valladolid, Spain – 4 December 1980 in Barcelona) was a Spanish flamenco dancer.He was closely associated with the avant-garde of his time and brought modernist aesthetics to bear on his theory of dance.
[3] [7] In Flamenco, being mostly an oral tradition, the lyrics often give valuable hints about their origins, and Farruca lyrics undoubtedly allude to the Galicia region. [3] Further proof can be established from the descending melody that is performed on the vowel 'a' at the end of each couplet and to close the "cante" (Spanish for song or ...
Tomatito performs a bulerías in 1980 - one of the web's more popular bulerías videos; This is a Cuadro por Bulerías, a very festive palo flamenco; Get to know the flamenco forms: the Bulerías at the Wayback Machine (archived July 23, 2011)
Ana Morales Moreno (born 1982, in Barcelona, Spain), known as Ana Morales, is a Spanish flamenco dancer and choreographer, who has established her own dance company. [1] She began her dance studies at the Conservatory in Barcelona. Her father was from Seville and her mother was from Melilla. When she was 16 she was awarded a three-year ...
The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone. One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section ...
The typical flamenco progression iv, III, II, I (an altered Phrygian cadence) is heard several times during the development of the song. In E altered Phrygian, the progression would be Am, G, F, E (the E chord should be Em in a diatonic Phrygian cadence, but its diatonic third – G – is altered to a G ♯ ).