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@theflamencoeffect
Boris Asaf'ev and Flamenco: the Soviet connection
In mainstream musicological scholarship outside Eastern Europe, Boris Asaf’ev (1884-1949) occupies a distinctly marginalised position. Frequently categorised merely as an institutional functionary of Soviet musicology or as the composer of state-sanctioned ballets such as The Fountain of Bakhchisarai, his theoretical output has rarely been acknowledged. This omission is further compounded by a…
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Why Analysing Flamenco is Difficult
Within the discipline of musicology, the formal analysis of flamenco presents a unique set of challenges that test the limits of conventional music-theoretical frameworks. Whilst Western art music relies heavily on a written score to anchor and stabilise pitch and temporal parameters prior to execution, flamenco operates from within an oral paradigm of transmission. When funnelled through formal…
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Disciplining the cante: From café cantante to Tablao
The performance spaces of flamenco have always been deeply intertwined with the material realities of Spanish politics and capital. The transition from the late nineteenth-century café cantante to the mid-twentieth-century tablao represents a deliberate restructuring of cultural production. By examining the political economy of the tablao, we uncover the mechanisms through which the regime of…
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Here is the latest post from my blog The Flamenco Effect, supporting the release of my monograph of the same name.
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The Sacred and the Sonic: San Antonio de Padua and Flamenco Architecture in Cádiz
The annual celebration of San Antonio de Padua within the province of Cádiz forces an intense consolidation of liturgical veneration and vernacular performance. Whilst historically anchored in church liturgy and the seasonal rhythms of livestock trading, the modern iteration of this festival serves as an arena where regional identity is actively negotiated through highly specialised musical…
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The Flamenco Afición in the Golden Age: Understanding Audiences in the Cafés Cantantes
The afición, the dedicated, deeply knowledgeable community of devotees and expert amateurs whose collective passion and rigorous standards sustain the art form, was the driving force behind the reinvention of flamenco during the late nineteenth and early twentieth centuries. During this pivotal era, widely known as the Golden Age of Flamenco, the genre underwent a profound transformation,…
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The Modernist Invention of Tradition: Re-evaluating the 1922 Concurso de Cante Jondo
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Flamenco and Visual Culture in Early Twentieth-Century Spain
The history of flamenco is not merely a record of sound and movement; it is a complex narrative of how the art form was shaped by the visual “media regimes” of the nineteenth and early twentieth centuries. To understand flamenco’s place in visual culture, one must recognize the radical paradox introduced by the camera: while a live performance is a singular, time-based event defined by risk and…
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A short obituary from my blog after the sad new of the death of the great anarchist and political cantaor José Domínguez Muñoz, "El Cabrero"
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The urban crucible: Seville's Feria de Abril and the star-system
The Feria de Abril began in 1847 as a practical cattle market, but it rapidly transformed into a complex social theatre where the city’s hierarchy was both reinforced and challenged. This transition from a rural exchange to an urban spectacle created a unique environment – a crucible where the modern star-system began to take shape. In this context, the star-system refers to the emergence of…
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May Day, flamenco, and the Andalusian left
In Andalusia, May Day (Fiesta del Trabajo, Día del Trabajador or simply Primero de Mayo) was a day when the labouring classes asserted both their presence and their economic demands. The origin of the day in Spain is rooted in the 1889 resolution of the Second International, which called for a global day of protest starting in 1890. While the movement in Madrid was dominated by socialist unions…
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Labour, industry, and the professionalisation of the cantaora
The transition of flamenco from domestic and communal spaces (of, for example, the juerga and the latifundio) to the commercial stage represents a significant shift in the socio-economic status of the cantaora and the cantaor. This process, in the last decades of the 19th century, was not merely a change in venue but a fundamental restructuring of musical performance as a form of specialised…
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The golden triangle and the geometry of exclusion
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Defining the "flamenco effect": institutional mediation and the Global North
The study of flamenco in the twenty-first century involves navigating a complex landscape of historical and institutional mediators. Central to this inquiry is what I call the “Flamenco Effect”. This is a term that captures evidential traces of flamenco’s agency, its ability to impact technoscapes and affective regimes. The concept serves as a foundational framework in my book for analysing how…
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Flamenc en llengua de signes: la història de María Ángeles Narváez
canalsur.es L’espai Andalucía 360 visita l’estudi de Juana Amaya, que fa cinquanta anys que es dedica a ensenyar el ball flamenc. Per la seva acadèmia han passat nombroses persones de diverses nacionalitats, però hi ha una alumna a qui admira especialment per la seva «capacitat de treball i constància».És en la seva història on ens centrem. María Ángeles Narváez, coneguda artísticament com «La…
The intellectual broker: who defines the flamenco canon?
The history of flamenco is not merely a chronicle of music and dance; it is a history of the structural dynamics of knowledge production. At the heart of this history sits the intellectual broker – the scholar, the writer, and the academic mediator who has historically claimed the authority to validate which styles constitute “authentic” art and which are dismissed as “commercial” or…
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