All About Flamenco Music

Flamenco is an art form that was developed in Andalusia (southern Spain). It is generally found in three disciplines: cante (song), toque (guitar playing) and baile (dance).

A wide range of feelings and moods (heartache, joy, tragedy, jubilation and fear) are communicated by Flamenco artists through genuine, expressive lyrics characterized by brevity and simplicity.

Cante

Cante is the vocal expression of flamenco, sung by men and women, preferably seated, with no backing singers.

Baile

Flamenco baile (dance) is a dance of desire and courtship, articulating a wide range of circumstances ranging from sadness to happiness. As Flamenco became more popular, some top dancers incorporated modern dance techniques. In contrast, the traditional technique is intricate, differing depending on whether the performer is male (heavier use of the feet) or female (gentler, more sensual movements).

Toque

Toque or the art of guitar playing has long exceeded its original role as accompaniment, especially since the 1970s thanks to tralblazers like Paco de Lucía. Manolo Sanlucar and other soloists.

Additionally, other instruments, including castanets (primarily in dance), palmas (hand clapping) and foot-stomping are traditionally used as well. Moreover, various additional instruments have been added to Flamenco throughout the past decades such as the cajón (percussion instrument), electric and acoustic bass, piano, flute, cello, violin and saxophone.

Flamenco is performed at regular music venues, fan clubs called peñas, nightclubs called tablaos, festivals, religious celebrations such as Holy Week processions, rituals, church ceremonies and at private events.

Transmission traditionally occurred through dynasties, families, social groups and Flamenco clubs, all of which played, and still play, a key role in its preservation and dissemination.

Curiously, some Flamenco performers have unusual artistic nicknames that make reference to their looks, family clan, geographical origin, profession, or some other circumstance. For instance: Terremoto (earthquake), Tomatito (small tomato), Camarón (shrimp), El Cabrero (the goatherder), Habichuela (bean), etc.

Flamenco History

Andalusia (Andalucía in Spanish) in southern Spain is a crossroads of cultures. Indeed, in ancient times, Phoenicians and Greeks opened coastal trading posts. Later, the region was invaded by Carthaginians, Romans, Vandals, Alans, Visigoths, Byzantines, Arabs, and North African Berbers (Almoravids and Almohads). There was also the peaceful arrival of the Gitanos (Gypsies or Roma) to Spain around the 16th century. And, lastly, in the 20th century, Andalusia welcomed thousands of immigrants from Latin America, Morocco and Romania as well as hundreds of thousands of foreign tourists; some purchased summer homes in or near coastal areas.

Many Spanish scholars believe that Flamenco is the combination of several musical influences: the musical traditions of Spanish Christians, the folk music of the Gitanos (Spanish gypsies), the chants of the Moors, and Sephardic songs. In the essential book, “El Cante Flamenco,” one of Spain’s leading Flamenco experts, Ángel Álvarez Caballero, cites research by Pedro Camacho which indicates that Castilian romances are the main root of Flamenco. The first Flamenco songs are known as tonás and they gave way to the martinete, carcelera, debla, seguiriya (or siguiriya) and saeta.

Flamenco and the Gitano community are closely linked. Certainly, many of the first Flamenco performers were Gitanos who passed down the tradition from generation to generation.

Geographically, most Spanish Flamenco historians have determined that Flamenco was born in Lower Andalusia, which includes the entire Cadiz province, southern Seville province and the Ronda area of Malaga province. In detail, key towns and cities in this area include Flamenco cradles such as Cadiz, Jerez de la Frontera (Cadiz province), Morón de la Frontera (Seville province), and Ronda (Malaga province).

From Lower Andalusia, Flamenco spread to the rest of current Andalusia’s provinces: Huelva, Granada, Cordoba, Jaen and Almeria, as well as the neighboring province of Badajoz in the Extremadura region (western Spain) and the province of Murcia in southeastern Spain. Additionally, in the 20th century, Spain’s capital, Madrid became a focal center for Flamenco artists.

Early Flamenco masters of Cádiz province include mythical singer Tío Luis el de la Juliana, born in Jerez around 1752. He was allegedly an “aguaor”, a water deliverty man; El Planeta born in Cádiz in 1790, he was the first great patriarch of Flamenco singing and quoted by Malaga writer Serafín Estébanez Calderón in Una fiesta en Triana (A party in Triana) with a young accompanist named El Fillo, a great singer from Puerto Real who was 30 years younger than El Planeta.

By the early 19th century, Flamenco was part of the entertainment at Andalusian inns (posadas) and taverns (tabernas). The early Flamenco artists were mostly poor Gitanos and Payos (a name given by Gitanos to non-gypsies in caló, the Spanish Gypsy language) who performed as a pastime. As the popularity of Flamenco grew, some of the artists became professional performers.

Indeed, the experienced cantaores (singers), who accompanied themselves on guitar, were hired sometimes with dancers to perform at private parties, town fairs and at Flamenco festivals for foreign visitors seeking a glimpse of Spanish culture.

In the second half of the 19th Century, the cafés cantantes appeared in Seville and other locations. Notably, these were night bars, where the audience had drinks and watched a good music show. As a result, these venues became the foundation of the professional Flamenco artist. Markedly, one of the most famous was Silverio Franconetti, who was very competitive and challenged all the other top singers.

Leading artists from Cadiz province in the 19^th Century included Tomás el Nitri, cantaor from El Puerto de Santa María and holder of the 1ª Llave de Oro del Cante (1st Golden Key of Cante; and from Cádiz city, Curro Durse and the iconic Enrique el Mellizo.

Marchenismo

In the 1920s, singer Pepe Marchena created a controversial revolution in Flamenco. Significantly, he “sweetened” the songs; made them easier to listen to. Thereupon, he selected certain palos (styles) that were more accessible and appealed to a broad range of listeners. Eventually, Pepe Marchena also added orchestral arrangements to Flamenco.

Uncommonly, Pepe Marchena wore flamboyant outfits and was one of the first to stand up on stage to perform, instead of sitting down, which was the tradition up to that point. Certainly, Marchena became the most popular Flamenco performer of his time in the 1920s, 1930s and 1940s; the first Flamenco star, and was criticized by purists for diluting traditional Flamenco. As a result, Marchena’s success led to many imitators.

The Marchena-style left out traditional Flamenco. Indeed, for over two decades, the majority of the gigs available were allocated to performers who followed the Marchena style of Flamenco.

Opera Flamenca

Opera Flamenca were shows featuring performers specialized in the lighter side of Flamenco. Some of them were former traditional singers who were forced to adapt in order to continue to make a living. Ordinarily, the shows were meant to be affordable so they were held in large bullfighting rings and other high capacity venues.

Flamenco Renaissance and Newfound Appreciation

In the mid-1950s, a confluence of events marked the return of traditional Flamenco art and new fans. Chiefly, the series of events included the recording of the first Flamenco Anthology; the rise of the first tablaos (Flamenco nightclubs); the publication of the book Flamencología by Anselmo González Climent; and the Concurso de Córdoba Flamenco contest.

Interestingly, the “Antología del Cante Flamenco” was originally released in France. It was a three-volume set plus a booklet by Tomás Andrade de Silva. Initially, it was ignored in Spain but after France’s Charles Cross Academy gave it its Grand Award, people in Spain reacted with interest. Newspaper articles about the collection were published in Spanish media and Madrid-based record label Hispavox released the anthology in Spain in 1954. Some of the artists featured included Pepe el de la Matrona; Niño Almadén; Rafael Romero; Jarrito; Bernardo el de la Lobitos; and Pericón de Cádiz.

González Climent’s book Flamencología was published in 1955. He was an Argentine author, the son of Andalusian parents, and the book was one of the first scientific studies of Flamenco. The book’s title also coined a new scientific term, Flamencología (Flamencology).

In 1956, the first Concurso Nacional de Cante Jondo took place in Córdoba. This was yet another step in recovering the essence of the purest Flamenco. The contest was a success and launched the career of one of Flamenco’s stars of that era, Antonio Fernández Díaz, better known as “Fosforito.”

Madrid, Spain’s capital, became the most influential city for Flamenco thanks to the opening of some of the most important tablaos in Spain. This led to many top Flamenco performers moving to Madrid permanently or seasonally as their main base of operation.

The second half of the 20th century gave rise to highly influential cantaores, some of the best singers of all times. These include legends like Manolo Caracol, Antonio Mairena and Camarón de la Isla. Other noteworthy singers include Chocolate, Fernanda de Utrera, Bernarda de Utrera, Chano Lobato, José Menese, María Vargas, Carmen Linares, and El Pele, among others.

Rise of the Guitar Masters

Although Spain invented the guitar and produced excellent classical guitar soloists, the initial role of Flamenco guitarists was to accompany singers.

In the 19^th century, several guitarists led the way in guitar innovation. Maestro Patiño is credited as the inventor or innovator of the Flamenco cejilla (guitar capo); singer, guitarist and dancer Paquirri el Guanté; and Juan Gandulla “Habichuela” disciple of Maestro Patiño and accompanist of masterful Jerez singer Don Antonio Chacón and Manuel Torre.

In the 20th century, A handful of high profile early Flamenco guitar pioneers like Ramón Montoya, Niño Ricardo and Sabicas, elevated the guitar to solo status. However, the biggest breakthrough happened in the 1970s.

In the 1970s, guitarist Paco de Lucia revolutionized Flamenco by playing instrumental music using the guitar as a lead instrument and adding non-Flamenco percussion and jazz elements. His Brazilian percussionist, Rubem Dantas, introduced the Peruvian cajón to Flamenco, and ever since the cajón has become a standard instrument used by many Flamenco performers. Variations of the Peruvian cajón are now manufactured in Spain under the name of cajón flamenco.

Paco de Lucía’s acclaimed colleagues, Manolo Sanlúcar and Victor Monge “Serranito“ were also part of the early wave of Flamenco guitar innovators. Guitarist Paco Peña became very well known abroad thanks to his numerous tours. He helped introduce Flamenco to international audiences.

The 1980s, Young Flamencos

In the 1980s, young entrepreneurs in Madrid created independent record labels such as Mario Pacheco’s Nuevos Medios and Grabaciones Accidentales’ (GASA) Flamenco imprint Flamencos Accidentales. These indie labels approached Flamenco under a new perspective, producing innovative Flamenco artists using modern marketing tools and photography that appealed to wider audiences and hipsters. Consequently, new and rising artists who grew up listening to Flamenco, rock, blues, and salsa as well, were marketed as Jóvenes flamencos (young flamencos) or Nuevo Flamenco (new flamenco).

The impressive 1980s wave of Young Flamencos included:

Vocalists (Cantaores/Cantaoras):

Ramón El Portugués, Ray Heredia, Aurora, La Macanita, José El Francés, Enrique Morente, Diego Carrasco, Duquende , José Soto Sorderita, José Mercé, Guadiana, Pepe De Lucía, El Potito, Miguel El Rubio, Pepe Luis Carmona, and Dieguito (now known as Diego) El Cigala.

Guitarists:

Leading guitarists from the Young Flamencos generation include Rafael Riqueni, Pepe Habichuela, Tomatito, Gerardo Núñez, El Viejín, Moraito, Juan Manuel Cañizares, Óscar Herrero, Niño de Pura, and Emilio Caracafé.

Bands:

A wave of bands primarily based in Madrid and southern Spain that combined Flamenco with other forms introduced Flamenco to new audiences, including young people and college students who were into rock, pop, jazz, etc. In particular, leading acts included Pata Negra (Flamenco blues), Ketama (Flamenco rock, world music), La Barbería del Sur (Flamenco rock), Willy Giménez y Chanela (Gypsy rumba), Tabletom (Flamenco rock), and Flamenco Jazz/Fusion artists such as Jorge Pardo, Joan Albert Amargós, Carles Benavent, Tino Di Geraldo, Karakatamba, Chano Domínguez, and Pedro Ojesto.

Flamenco as Intangible Cultural Heritage of Humanity

Flamenco was inscribed in 2010 (5.COM) on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.

Moreover, the Statute of Autonomy of the Andalusian region of Spain regards Flamenco as one of the greatest exponents of the Andalusian cultural identity. The Andalusian Institute of Flamenco reinforces this character since it refers to “exclusive competence in matters of knowledge, conservation, research, training, promotion and dissemination of Flamenco as a unique element of the Andalusian cultural heritage“, Statute of Autonomy for Andalusia (Chapter II, Competencies, Article 68. Culture and Heritage).

2020, COVID-19 Devastates Flamenco

The COVID-19 pandemic in 2020 had a devastating effect on Flamenco. Thousands of performers lost their livelihood after tablaos (Flamenco nightclubs), live venues and festivals shut down for months. Since most of the audiences in tablaos were foreign tourists, the travel restrictions, social distancing and lockdowns in most countries unfortunately meant a catastrophic drop in the number of tourists visiting Spain. As a consequence, many tablao owners suffered an unsustainable loss of revenue. Madrid, which has the largest number of Flamenco nightclubs, saw the loss of iconic venues such as Casa Patas, Café de Chinitas, La Fragua, and Villa Rosa, which shut down permanently.

The Asociación Nacional Tablaos Flamencos de España (ANTFES) was formed to advocate for the owners of tablaos and the artists that work there, requesting government support during the pandemic.

One the best tablaos in Madrid, Torres Bermejas reopened in October 2020 under strict safety guidelines. The most famous tablao in Spain, Madrid’s Corral de la Morería reopened in May 20, 2021, after a 14-month shutdown. Other well known Madrid tablaos, Cardamomo and Las Carboneras also reopened in May 2021. Meanwhile, famous tablaos in southern Spain like Puro Arte (Jerez), La Soleá (Granada) and El Patio Sevillano (seville) remained closed during most of 2021.

The World of Flamenco percussionists

The list of Flamenco percussionists has increased throughout the years. The leading Flamenco percussionists include Rubem Dantas, Antonio Carmona, Agustín Henke, Agustín Diassera, Paquito González, Chico Fargas, Javi Ruibal, Manuel Soler, José A Galicia “El Gali“, Tino Di Geraldo, Ramón Porrina, Israel Suárez “Piraña“, Julio Jiménez “Chaboli“, Horacio “El Negro” Hernández, Paquito González, Antonio Coronel, José Manuel Ruiz Motos “Bandolero“, Guillermo McGill, Guillermo García Garrote “El Guille”, Amador Lozana, Sergio Martinez, Juan Heredia Cortés, Manuel Flores, and Luis Fernández Salazar “Lucky Losada.”

There is also an increasing number of female Flamenco percussionists, including Eli Maya, Noelia Heredia González “La Negri” and Marta Orive “La Niña del Cala“.

Flamenco Pianists:

Although guitar and percussion are the traditional instruments used in flamenco, the piano has surfaced as another successful musical tool used by Flamenco musicians. Most of the time, pianists combine Flamenco with jazz or classical music.

The leading “piano flamenco” artists include pioneer Felipe Campuzano and the new generations of highly skilled pianists: Dorantes, Chano Domínguez, Sergio Monroy, Diego Amador, Pedro Ricardo Miño, Pablo Rubén Maldonado, Laura de los Ángeles, Alex Conde and Andrés Barrios Navarro.

Flamenco Bassists:

Bassists have also become a regular element in many modern Flamenco ensembles. Flamenco bass has distinct style, adapted to flamenco’s peculiarities. Leading bass players include pioneer Carles Benavent, Pepe Bao, Javier Colina, Mariano Martos, Spain-based Cuban bassists Yelsy Heredia and Alain Pérez, Antonio Ramos “El Maca“, Manuel Nieto, Josep Cucurella, Javi Martin, Joan Rectoret, Ricardo Piñero, David Carnicer, Sergio Di Finizio, Xavi Grau, and Agustín Espín.

New Wave of Singers

Some of the leading singers born in the 1980s and 1990s include Estrella Morente Carbonell (Granada, 1980), Marina Heredia Ríos (Granada, 1980), Juan Pinilla Martín (Huétor-Tájar, Granada, 1981), Rafita de Madrid (Madrid, 1981), Ana García Caro “Ana García” (Huelva, 1983), Isabel Guerrero (Málaga, 1983), Argentina Maria López Tristancho “Argentina” (Huelva, 1984), Rocío Márquez Limón “Rocío Márquez” (Huelva, 1985), María José Pérez (Almeria, 1985), María Lucía Borreguero Leiva “Lucía Leiva” (Montoro, Córdoba, 1986), María Antonia Fernández Fernández “Toni Fernandez” (Huércal, Almería, 1986), Jesús Corbacho Vázquez “Jesús Corbacho” (Huelva, 1986), Antonio Castillo Sarabia “El Gaditano” (Albudeite, 1986), Gema Jiménez Triguero (Jódar, Jaén, 1986), Marta García “La Niña” (Granada, 1986), Marcos Martínez (Barcelona, 1986), Inmaculada Mellado Dorado “Inma De La Vega” Córdoba (Madrid, 1987), Cristina Álvarez (Huelva, 1987), Sonia León (Calañas, Huelva, 1988), Rocío Crespillo “Rocío Luna” (Cañada de Rabadán, Córdoba, 1988), Alfonso León (Córdoba, 1988), Rancapino Chico (Chiclana de la Frontera, 1988) , Fina Colmenero (Torredelcampo, Jaén, 1989), Rocío Belén Cuesta (Huelva, 1989), María Cristina Soler Gago, “Cristina Soler” (Huelva, 1989), Silvia Reina Algeciras “Silvia Reina” (Seville, 1989), José Enrique Morente Carbonell “Kiki Morente” (Granada, 1989), Marta González Sevillano (Cádiz, 1990), Yaraví Serrano Diana “Yaraví Serrano” (Albacete, 1990), Amparo Ramos (Almodóvar del Río, Córdoba, 1990), Manuel Jesús García Hurtado “Niño de Gines” (Gines, Sevilla, 1991), Lela Soto (Jerez de la Frontera, 1992), Chano Gutiérrez (Jaén, 1992), Gregorio Moya (Argamasilla de Alba, Ciudad Real, 1984), Víctor Palacios Pedregosa (Barcelona), Cristina Pareja (Cordoba, 1991), Alba Bazán (Sanlúcar de Barrameda, Cádiz, 1992), Rosalía Vila Tobella “Rosalía” (San Esteban de Sasroviras, 1993), Belén Vega (Linares, Jaén, 1993), Alba Martos Garrido “Alba Martos” (Baeza, 1994), Roberto Lorente (Madrid), Araceli Campillos (Lucena, Córdoba, 1994), Alba Martos Garrido (Linares, Jaén, 1994), rising star María José Llergo (Cordoba, 1994), María de los Ángeles Martínez Toledano “Ángeles Toledano” (Villanueva de la Reina, Jaén, 1995), María Carrasco Jiménez “María Carrasco” (Torrecera, Cádiz, 1995), Celia Romero (Herrera del Duque, Badajoz, 1995), Antonio Mena (Jaen, 1995), Francisco Javier Peña García de Soria “Kiko Peña” (Écija, Sevilla, 1995), Francisco Blanco Burgos “El Calerito” (Cala de Mijas, Málaga, 1998), Laura Marchal Arjona “Laura Marchal” (Alcalá la Real, Jaén, 1995), Nazareth Romero (Linares, Jaén, 1995), Kiko Peña (Écija, 1995), Beatriz Romero (Palos de la Frontera, Huelva, 1996), Tomás García (El Padul, Granada, 1997), María del Carmen González Vento “Carmen Vento” (Huelva, 1997), and Marina León (Sevilla, 1999).

New Generations of Guitarists

Another wave of flamenco guitarists has kept the tradition alive. Vicente Amigo, one of the finest guitarists of his generation appeared in the Flamenco scene with an album titled De mi corazón al aire (1991).

Leading guitarists born in the late 1970s, 1980s and 1990s include Salvador Gutiérrez (Écija, Sevilla, 1970); Joselito Acedo (1979); Juan Torres Fajardo, Juan Habichuela Nieto (Granada, 1989); Dani de Morón (Seville, 1981); Paco Soto (Águilas, 1991); Pipo Romero (Cadiz); Rycardo Moreno (Lebrija, Sevilla, 1981); David Carmona (Granada, 1985); Luis González Lavado (Badajoz, 1993); child prodigy Amos Lora (Madrid, 1995); Joni Jiménez (Madrid, 1990); Alvaro Martinete (Granada, 1995); and José del Tomate (Almería, 1998), Tomatito‘s son.

Notable Flamenco guitarists born outside Spain include David Tavares (Brazil); Malaga-based Amir-John Haddad, “El Amir” (Germany-Colombia); Andreas Arnold (Germany); Juan Carmona (France); Punta Umbría-based Martín Fayos Limón, ‘Niño Martín’ (Frankfurt, Germany, 1991); and Madrid-based Bettina Flater (Sweden).

Flamenco Dynasties

Flamenco was originally not taught in schools. It was transmitted at home, by families, and later by the peñas flamencas. Some of the most influential dynasties include the following families: Habichuela, Cortés, Montoya, Amaya, Peña, Carbonell, Méndez, Zambos, Agujetas, Moraos, and Sordera.

Flamenco Fusions

In the early 1970s, rock musicians in Andalusia and Madrid developed a groundbreaking fusion of progressive rock and Flamenco, known as rock andaluz (Andalusian rock).

Additional fusions appeared afterwards, combining blues, salsa and jazz with Flamenco. Artists included Raimundo Amador (Seville), the previously mentioned Ketama (Madrid) and La Barberia del Sur (Madrid); elbicho (Madrid), Canteca de Macao (Madrid), and O’Funkillo (Seville).

Later, flamenco was fused with chill out electronica and electronic dance music, including acts like Chambao (Malaga), Ojos de Brujo (Barcelona), Niño de Elche (Elche), pianist Ariadna Castellanos (Madrid), Anita Kuruba (Madrid), and Fuel Fandango (Cordoba).

An innovative group called Jerez-Texas appeared in 2005 with the album “Sáo.” The Valencia-based trio played a combination of Flamenco, chamber music and jazz, featuring Spain-based French cellist Matthieu Saglio and Spanish musicians, Flamenco guitarist Ricardo Esteve and drummer Jesús Gimeno.

A project called Qawwali-Flamenco appeared in 2005 with live performances and a beautifully-packaged triple disc (2CD+DVD) boxed set titled Qawwali Flamenco with Pakistani vocalist Faiz Ali Faiz and his ensemble together with Spanish Flamenco artists Duquende, Miguel Poveda and Chicuelo.

In 2005, Jerez dancer Joaquín Grilo put together a band for a show. The four musicians who played together for the first time enjoyed the experience and decided to form UHF, Ultra High Flamenco.

Jerez band Mixto-Lobo mixed Flamenco and rock, combining Flamenco and electric guitars, playing soleá, seguirillas, bulerías and rumba with a rock esthetic. They released Frontera in 2010.

Guitarist and anthropologist Raúl Rodríguez Quiñones (Sevilla) founded the seminal group Son de la Frontera and introduced the tres guitar to Flamenco. In fact, he developed what he calls the tres flamenco. Raúl Rodríguez Quiñones released the critically acclaimed solo recordings Razón de Son (2014) and the hard cover book+CD La raíz eléctrica (2017).

One of the rising stars of Andalusian rock in 2019-2021 is Derby Motoreta’s Burrito Kachimba, a group that combines classic Andalusian rock, psychedelia and Flamenco.

Singer and dancer Rosalia became one of the most popular Flamenco crossover acts in 2019 with her mix of Flamenco, pop, and electronic beats.

Flamenco Musical Forms

The musical forms of Flamenco are divided into palos that can be translated as styles or subgenres. Scholars and performers have identified over 500 types of Flamenco styles. However, many of them are variations of the main palos. Some performers do not follow any rules and make changes to various styles as they please, therefore creating new palos.

The basic palos are: soleares, siguiriyas, cantiñas, tangos and fandangos. These in turn have generated many variations, most of which are still sung today.

Cantiñas – Lively style performed in a major tone. Very similar to soleares. Cantiñas first appeared in the city of Cadiz and the Cadiz Bay area (El Puerto de Santa María, Puerto Real, Rota, San Fernando, and Sanlúcar de Barrameda). Cantiñas include the following palos: alegrías, romeras, mirabrás and caracoles.

Fandango – Songs derived from a very popular folk dance found throughout Spain. Fandangos are very numerous and include the following palos: fandango de Huelva, fandango de Almería, fandango de Málaga, fandango de Lucena, malagueñas, granaínas, and taranta.

Seguiriyas – A Flamenco cante jondo (deep song) genre derived from tonás, also known as seguidilla. They are full of drama and pain, and the number of variations is very high. They consist of a powerful wordless introduction followed by a four verse stanza. Seguiriyas have various regional variations: Seguiriyas de Cadiz, Seguiriyas de Jerez, Seguiriyas de Triana, and Seguiriyas de los Puertos.

Soleares – A Flamenco genre of ternary beat, without rational continuity in its words, mainly formed by a quartet and a trio or solearilla de cierre, which is more agile and basic. Although, in some occasions, this conclusion is best defined as a difficult culmination that requires particular vocal qualities and a highly expressive emotion.

Tango flamenco – The only non-dramatic variety of the eldest Flamenco genres. The tango of Spain is a festive style, with a faster rhythm, unrelated to the tango of Argentina and Uruguay.

A few Flamenco palos are grouped by region:

Cantes de levante includes palos that appeared in eastern Spain, in the Murcia region. Cantes de levante includes cartagenera and cantes mineros (mine songs), a song style that has as theme the mines, its working men and their difficulties.
Cantes extremeños – Songs from the Extremadura region.

Cantes de ida y vuelta – These are songs developed in Spain that have elements derived from other genres found in Spanish-speaking America. Cantes de ida y vuelta can be translated are roundtrip songs or songs that left Spain and came back transformed from Cuba and other areas of Spanish-speaking America. Genres include rumba, colombianas, and guajira.

Other Palos

Alboreá – Flamenco palo that is meant to be sung only in Gitano marriage ceremonies. The name comes from alba (dawn in Spanish). Many Gypsies refuse to sing it outside this context or in the presence of non-Gypsies thinking that it will lead to bad luck. Also known as albolá and alboleá.
Alegrías – Palo originally from Cádiz. Alegría means joy. It has a 12 beats rhythm and belongs to the cantiñas group. Variations icludes alegrias de Cadiz and alegrias de Cordoba.
Bambera – The bambera or bamba derives from traditional Andalusian songs as the cante de columpio (swing song). These songs were known as bambas or mecederos (to sway in a swing in Spanish). It is usually performed with guitar and dance.
Bandolás – Songs derived from the Spanish bolero in terms of rhythm and related to all Andalusian fandangos.
Bulerías – a very popular and flexible genre that allows plenty of improvisation. The beat is fast-paced. The bulerías transmit liveliness and uproar. It is believed that bulerías were created by the Gitanos of Jerez although it is also popular in Cadiz and Utrera. The bulerías por soleás has a slower rhythm.
Cabal or Cabales – This is a seguiriya of change, which means that in all or part of the cante the tonality is changed: from the usual Andalusian tonality to the major mode.
Calesera – Songs created by the caleseros (stagecoach drivers) to entertain themselves during long treks. It is derived from the seguidilla, without chorus.
Campanilleros – This palo derives from religious street songs that are celebrated during the Dawn Rosary since the 17th century. The Flamenco form is credited to Jerez-born cantaor Manuel Torre, who introduced it in 1929. Currently, it is performed during Christmas.
Caña – One of the oldest forms of Flamenco. It is very similar to soleá in terms of rhythm and tonality and may have religious influences. The caña was popular in the early 19th century and rarely performed in present times. The name of the palo is still subject of discussion. Some think it refers to an early song about sugar cane (caña de azucar) while others believe it celebrates the wine glasses that were called cañas in southern Spain.
Caracoles – Songs from Cadiz that belong to the cantiñas group.
Carcelera – Songs about the hardships of prison life. The name is derived from carcel (jail). It is part of the tonás group and is performed without guitar accompaniment.
Cartagenera – A type of Flamenco fandango from the Cartagena (Murcia) area in southeastern Spain. Part of the cantes de Levante.
Colombianas – Songs or tunes influenced by music from Spanish-speaking America, specially Cuba. Despite the name, it does not come from Colombia. Part of the cantes de ida y vuelta.
Debla – Songs with a couplet of four verses that belongs to the group of cantes performed without guitar. It is derived from the toná and has a more profuse melismatic ornamentation than the carcelera, martinete, nana and saeta, which are also Flamenco styles performed without guitar.
Fandanguillo – a lighter version of the fandango. It was very popular in the Opera Flamenca era.
Farruca – This is fundamentally a Flamenco dance style that is rarely sung. It is grounded in a dance from northwestern Spain, part of the tango flamenco family.
Malagueña – songs originally from the Málaga region. It is a variation of the fandango.
Garrotin – A variation of the tango flamenco. It is a festive music style that is rooted in folk music from northern Spain.
Granaina – A type of Fandango from Granada.
Guajira – A cante de ida y vuelta. It is believed that it originally traveled from Spain to Cuba and returned to Spain transformed as punto cubano. The lyrics make reference to Havana and Cuban women.
Jabera – An old form of Fandango from Malaga province. The name may have derived from two sisters who were haba or jaba (fava or hava bean) sellers.
Liviana – Transitional light song inspired by the Castillian seguidilla.
Martinete – Originally sung by Gypsy craftsmen in Spain who worked with forges and boilers. The word martinete comes from martillo (Spanish for hammer). Martinete is often performed without guitar accompaniment.
Peteneras – Named after an 18th century singer from Paterna de Rivera (Cádiz) with a 12 beat meter.
Rondeñas – Songs from Ronda (Málaga province), a variation of the Flamenco fandango.
Saeta – Passionate devotional or penitence a cappella songs performed at churches or outdoors, especially during Holy Week (Easter). Variations include the saeta cuartelera de Puente Genil.
Serranas – The Serranas (hill songs) have the same beat structure as the siguiriyas, although less intense. Its lyrics revolve around the concerns of and about mountain bandits in southern Spain. More about the Serranas.
Tanguillos – A festive and joyful Flamenco genre derived from tango flamenco, found in Cadiz in lower Andalusia.
Tarantas – From Almeria in southeastern Spain, derived from the Andalusian fandango.
Verdiales – Part of the Malaga fandangos group. Because of its connections with fandangos, verdiales are sometimes known as fandangos de Malaga. Verdiales is also a colorful and popular folk dance from Malaga.

Flamenco Books

“El Jardín Del Flamenco” (The Garden of Flamenco) by Juan Verdú (Libros Fragua, 2005). El Jardín Del Flamenco is Verdú’s memoir, where he provides an overview of his career from the end of the Franco era to 2005. Flamenco promoter, festival director and writer Juan Verdú is one of the most important figures in the regeneration of Flamenco culture in Spain in the past decades. The book includes an unpublished CD of Enrique and Estrella Morente. Language: Spanish.

D.E. Pohren was an American guitarist and historian who wrote three important English-language books about flamenco: “The Art of Flamenco” (1962), “Lives and Legends of Flamenco: a biographical history” (1964), and “A Way of Life” (1980).

“El gran libro del flamenco: historia, estilos, intérpretes” (2 volumes) by Manuel Rios Ruiz (S.L. Calambur Editorial, 2002). ISBN: 9788488015952. Language: Spanish.

“Las confesiones de Antonio Mairena,” an autobiography of Antonio Mairena, prepared by Alberto Garcia Ulecia (Secretariado de Publicaciones de la Universidad de Sevilla, 1976). ISBN: 9788447211821. The book is out of print. In 2009, the Universidad de Sevilla and the Agencia Andaluza para el Desarrollo del Flamenco published a limited new edition of 1000 copies of the book to celebrate Mairena’s anniversary. Language: Spanish.

“Los payos también cantan flamenco” [non-gypsies also sing flamenco] by Pedro Camacho Galindo (Ediciones Demófilo, 1977). ISBN: 9788485157105. Language: Spanish.

“El afinador de noticias” (book+CD) by Faustino Núñez, ISBN: 9788409063604. El Afinador de Noticias includes press clippings related to Flamenco, compiled, recovered and reviewed by musicologist Faustino Núñez. It includes the period between 1610 and 1976. Language: Spanish.

“La gente del 98 ante el flamenco“ by Eugenio Cobo, Athenaica Ediciones, 9788417325893 (2019). Language: Spanish.

“Paseando por la Granada flamenca” by Alicia González Sánchez, Publicaciones de Diputación Provincial de Granada (2020). Language: Spanish.

“Nueva historia del flamenco” by Juan Vergillos, Editorial Almuzara (2021). Language: Spanish.

“El flamenco. Baile, música y lírica. Precedentes histórico-culturales y primer desarrollo (1780-1890)” by Norberto Torres, Ramón Soler, Guillermo Castro and Eugenio Cobo. Editorial Universidad de Granada (2021). Language: Spanish.

Flamenco Music Schools

The majority of Flamenco schools in Spain focus on dance. There are a handful of specialized schools and private tutors that provide guitar, vocal, and percussion training. Many Flamenco guitarists and pianists receive conservatory education as well.

Well known artists teach private and master classes along with seasonal courses. Some of the finest courses include:

Curso Flamenco, summer master clases with acclaimed flamenco guitarist Gerardo Núñez, dance classes with Carmen Cortés and various other artists.

Escuela Carmen de las Cuevas in Granada provides dance and guitars classes.

Oscar Herrero School – Flamenco guitar school with master classes by Flamenco guitar maestro Oscar Herrero in San Lorenzo de El Escorial (Madrid).

La Sonanta is a series of online master classes by top flamenco musicians, available on DVD as well.

Flamenco Magazines

Revista ‘La nueva Alboreá’, a quarterly magazine published by the the Andalusian Institute of Flamenco.

Another regular publication is Lámpara Minera published by Fundación Cante de las Minas.

Flamenco Festivals and Contests

There are dozens of Flamenco festivals and contests throughout Spain. The most important contest is the Festival Internacional del Cante de las Minas in La Unión, Murcia.

In terms of festivals, some of the most significant include Suma Flamenca (Madrid), Bienal de Arte Flamenco de Málaga and Bienal de Flamenco de Sevilla.

Other key Flamenco festivals: Alcobendas Flamenca (Alcobendas, Madrid), Caracolá Lebrijana (Lebrija), Concurso Nacional de Cante Jondo Antonio Mairena (Mairena del Alcor), Festival de Cante Grande de Puente Genil, Festival Gazpacho Andaluz (Morón de la Frontera), Fiesta de la Bulería de Jerez (Jerez de la Frontera), Flamenco On Fire (Pamplona), Lo Ferro Flamenco (Torre Pacheco, Murcia), Noche Flamenca de Zambra (Córdoba) and Potaje Gitano de Utrera.

There are also major Flamenco festivals that take place in France (Les Nuits Flamencas d’Aubagne), the Nertherlands, UK, and the USA.

The most important guitar festival is Festival de la Guitarra de Córdoba. Even though the event features all types of guitar styles, Flamenco is usually well represented.

Flamenco Showcases

Two essential showcases take place annually. Flamenco Eñe presents well-known artists along with rising talent to international presenters flown in from various countries. The event is sponsored by the Fundación SGAE, the Andalusian Institute of Flamenco and originally took place at the Picasso Museum in Malaga although it later moved to Cartagena, Murcia.

Another esential showcase is Flamenco y Mestizos, held once or twice a year in Madrid at Sala Berlanga and in World Heritage town Úbeda in Jaén. This showcase focuses on artists from Spain and abroad that play innovative music rooted in Flamenco.

Peñas flamencas

Peñas flamencas are clubs run by Flamenco fans and aficionados, supported by members. These clubs usually program traditional Flamenco rather than shows for tourists, at an affordable price.

Most larger towns in Andalusia have at least one. Peñas are also found throughout other parts of Spain, including several well-known ones in Madrid.

Some peñas organize contests and collaborate with local and regional governments to participate as a venue in Flamenco festivals and other cultural series.

The Peña Juan Breva at Calle Ramón Franquelo, 4, 29008 Málaga opened a Flamenco museum, Museo de Arte Flamenco.

Tablaos

A tablao is a private nightclub that stages Flamenco dance shows. Many tablaos present performances for tourists rather than Flamenco fans. However, tablaos such as like Madrid’s Casa Patas and Corral de la Moreria featured traditional flamenco singing as well. [In 2020, Casa Patas announced the final closure of the venue due to COVID-19]

Flamenco Foundations

The best known Flamenco foundation is Fundación Cristina Heeren de arte flamenco based in Seville. The foundation provides Flamenco dance, song and guitar classes; scholarships; and also runs an annual Flamenco contest.

Fundación de las Artes Flamencas Aura Seguros (Sanlúcar de Barrameda, Cádiz, Spain)

Flamenco Institutions

Centro Andaluz de Documentación del Flamenco (Jerez, Spain)

Centro de Documentación Musical de Andalucía (Granada, Spain)

Instituto Andaluz del Flamenco (Seville, Spain)

National Institute of Flamenco (Albuquerque, New Mexico, USA)

Articles

What is Flamenco?

(headline image: Gerardo Núñez – Photo by Paco Manzano)