Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
requesting input
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
  
Piwin
Posts: 3559
Joined: Feb. 9 2016
|
 RE: requesting input (in reply to zata)
|
|
|
It was an interesting topic, and a good article. I'm glad ViejoArmargo posted it here  .
Dunno what to suggest. Like you said, there's just so much. One thing that caught my attention in that thread was when Ricardo said this:
quote:
I agree that cante has suffered but that is the fault of the BAILE forcing orthodoxy and squareness that phased out the variety of cante that once existed, one letra at a time
I don't know whether that's a topic that would be of interest to people. It's not something I had really thought about. I had some sense that baile had phased out certain things like medio compas, perhaps imposed a change in standard tempo for certain forms, made things more cuadrado, etc. but I hadn't thought about it having quite the influence on cante that Ricardo's post suggests. So, questions that come to mind for me would be things like: was there ever a time when it was possible for dancers to adapt to this variety of cante, or was it always a sort of zero-sum game, i.e. if we sing this, you can't dance; if you dance, we can't sing this?
The answer to that would have implications on what can be done today to reintroduce that variety in cante, at least in the commercial arena. Because if it is a zero-sum game, there's not much to be done, except perhaps incorporate more non-dance parts in baile-driven shows, during which a wider variety of cante could be explored. On the other hand, if it's not a zero-sum game, then there could be ways to teach baile different, such that it would be easier to adapt to a wider variety of cante.
Anyway, just thinking out loud. Not sure any of that made sense 
@Morante This one I believe: https://www.expoflamenco.com/en/estela-flamenca/flamenco-parental-supervision-advised
It was the one in the thread "Is there hope for flamenco outside Andalucia"
_____________________________
"Anything you do can be fixed. What you cannot fix is the perfection of a blank page. What you cannot fix is that pristine, unsullied whiteness of a screen or a page with nothing on it—because there’s nothing there to fix."
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 19 2021 17:11:37
 |
|
RobF
Posts: 1611
Joined: Aug. 24 2017
|
|
RE: requesting input (in reply to devilhand)
|
|
|
quote:
Palmas? No thanks. Don't want to hear that noisy crap. Most people would think that way including me. The role of palmas in flamenco in particular in flamenco guitar playing. The same goes for knuckles knocking on a table for example during cante accompaniment.
Are you serious?? Have you ever tried doing contra-tiempo? Have you ever sat in a room where skillfully executed palmas get the air moving from all directions and build excitement?
Am I missing something here?
But, if you’re serious, to be helpful, if you don’t ‘get’ palmas you have to start to re-evaluate your relationship with flamenco, IMO, because you are cutting out an enormous part of the cultural history of its development by ignoring this. This is how the children are initially taught, FFS.
To consider the question about the role of palmas in flamenco guitar playing, the first point is flamenco isn’t just about guitar. This discussion happens all the time on here. But, to be clear, palmas preceded guitars, flamenco can exist without guitars, sorry to say. There’s a lot of aficionados who aren’t that interested in simply solo guitar flamenco, too. It may be your love, but that doesn’t mean it’s what most people feel, contrary to your generalization.
To be fair, I’m not a fan of too much tacon in recorded music, I often skip over those pieces. But, yeah, you got to rethink this palmas stance, I think. Also, maybe don’t be so darned confrontational so much, I realize half the time it’s just in fun, but poking at someone who hasn’t been here in a long time is a bit much. Zata has more first hand knowledge about flamenco in her little finger than most of us will be able to acquire in a lifetime. Show some respect, please.
Your first request makes sense and is a good idea, then you go on with this stuff. Geeez.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 20 2021 14:23:55
|
|
RobF
Posts: 1611
Joined: Aug. 24 2017
|
|
RE: requesting input (in reply to devilhand)
|
|
|
quote:
You misunderstood my post. My last 2 sentences are now placed under that youtube video. I added one sentence to emphasize my request.
OK, thanks. That is a lot more clear now. It’s all good.
I guess part of my point is, while I only know Zata from reading old posts from before I was a member, it would be great if she started engaging in some of the discussions here, so I hope we don’t discourage her with our looniness.
Secondly, I think it is a good request. Sometimes it’s hard to appreciate how electric the air can get in a room when it all comes together and the palmas, cante, baile, and guitar all lock into sync, and start feeding off each other. It doesn’t really come across that well on recorded music or even in some concerts, where the level of perfection is so high that audience expectations can sometimes only be satisfied through pyrotechnical displays. It’s different, is all I can say.
Any rate, it’s just a misunderstanding and all is good. Olé.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 20 2021 15:52:10
|
|
RobF
Posts: 1611
Joined: Aug. 24 2017
|
|
RE: requesting input (in reply to devilhand)
|
|
|
OK, so here’s an example of what I mean. I hope the club that owns the Facebook page doesn’t object to my linking.
This is probably taken after hours, it’s not really a show, and I’m not posting this as something to be critiqued, this is just an example...it’s a little raw, but that’s kind of my point...
Check out the palmas, how they participate in the music, especially how they come in and support the guitarist during his break. That’s the “audience”. It may not be perfect, but it shows how a room can start to feel when everyone is part of it, there is no separation between audience and performer, it’s more of a whole synergistic experience for all. It’s the spontaneity that fuels the energy.
https://www.facebook.com/josemiguel.tavora.9/videos/271955963764670
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 20 2021 16:29:17
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.09375 secs.
|
Printable Version
