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.
|
|
Philosophy book on flamenco baile jondo
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
avimuno
Posts: 598
Joined: Feb. 9 2007
From: Paris, France
|
RE: Philosophy book on flamenco bail... (in reply to avimuno)
|
|
|
Hi Ruphus! Thank you for your PM... I have decided to reply here as this might interest someone and any feedback/contribution would be really appreciated. I should actually explain what I'm trying to do more accurately... it's not so much a 'philosophy of flamenco', that would be pretentious and not very useful at the end of the day, as it is a 'philosophy in flamenco'. I guess that the best example I can give here to illustrate my point would be what Gilles Deleuze writes in the introduction of his first book on cinema... he explains that he is not doing a philosophy of cinema but that cinema creates and makes use of concepts that philosophy needs to study for itself. Bare in mind that Deleuze is a Nietzschean and in consequence, his conception of philosophy itself is very specific and has nothing to do with the classic definition... philosophy is not the research of the truth but it is quite simply the creation of concepts. 'Democracy', for example, is a philosophical concept. And throughout both his books on cinema (which I very highly recommend to any film aficionado) he extracts concepts that are natural to the cinematic art ('movement' and 'time' amongst others) and makes use of them philosophically in order to develop a very unique critique of modern political thought. I, of course, do not pretend to be Deleuze but my undertaking is definitely inspired what he's done with cinema. There are concepts in flamenco that deserve to be studied philosophically. As such, I'm proposing the following layout for my memoire. This layout is very very basic and will most definitely change in the next 2 years, but this is pretty much what I'm trying to do. I can see three aspects of flamenco that deserve a particular philosophical attention and that Didi-Huberman has not really covered in his book (there would be no point in doing what he's done already of course): - The Tragic: this is obviously inspired by Nietzsche's study of tragedy in the 'Birth of Tragedy', but with a particular focus on the 'Apollonian' and 'Dionysian' dichotomy. This dichotomy is present throughout flamenco... once can say that Camaron's singing and phrasing are Dionysian, whilst PdL/Tomatito's guitar playing/harmony are Apollonian. This is of course a very simple way of putting things... but what I'm trying to head towards is not so much conceiving Apollonian and Dionysian as a formal dichotomy but rather as trying to show that the Dionysian, as a 'line of flight', might be a way of transforming the Apollonian... Bergson's concept of 'duration' might be of major help here. As a side note, Henri Matisse has always considered his work, especially the 'Fauve' and the 'American Dance' as being exactly this... the Dionysian as a line of flight out of the Apollonian, but in order to transform the Apollonian. If I can manage this part fairly well, it should lead me into the second part... - The Diagram. This is a concept created by Deleuze in 'A Thousand Plateaus'... it is, to put it simply, 'what lies underneath an act of creation'. Deleuze for example argues that Francis Bacon (the painter) is an amazing example of 'diagrammatic painting/expression' in his book on the said painter. I think that there is such a thing as a 'flamenco diagram'... which would require a very serious research/study of the history of flamenco... and which would have to be centered around the question 'why does a people choose to start singing like that, to start playing rhythm like that, to start playing guitar like that etc' (when I say 'start', I am not here referring to an 'event', but to a cultural appropriation that can take centuries)... in other words, the flamencos have created a diagram which has lead to a certain way to singing/dancing/playing guitar. And this should lead into the last part... - the Micro-Politic: flamenco as a 'minor artform'... minor does not mean 'lesser' but 'minority'... coming out of the diagram is an artform that is the vital expression of a people... this people (peuple/pueblo) created flamenco as much as flamenco created them and gave them a conscience (in the philosophical sense)... 'We must write for the people who are always missing... because the people are always becoming' (Deleuze). So these are the different trajectories I have... it will require a lot of research and a lot of work, but I am very excited!!
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 14 2011 18:51:16
|
|
Ruphus
Posts: 3782
Joined: Nov. 18 2010
|
RE: Philosophy book on flamenco bail... (in reply to avimuno)
|
|
|
Isn´t it fascinating how flamenco in a world-wide Hollywood culture of obligatory and votived cheerfullness, has managed to reach people outside of Andalusia and Spain? Portugal, unique in Europe with its mentality that accepts ( and partially even admires ) the object of sorrow, has musical genre(s) that appear(s) even more sad to me, but - as you´d expect - they never reached international public. Eventhough there have been examples of sad musical genres, with most prominently the blues, I believe it is the flamencos virtuousity that pr!cked up people´s ears. That and the fact that it tramps and extrovertedly ( if that´s correct in English ) revolts against the sorrow / not really giving in to depression. Similar to the blues who overcomes the cheery obligation by its rhythmic being. - To me philosophy remains the mother of science, just besides. - quote:
ORIGINAL: avimuno Oh, and thanks for the mentioning of Wing Tsun... I had heard of it but never really read anything about it. Any suggestions would be greatly appreciated. Saludos, Avi Aside of that physcial conclusiveness conveys optimally with advanced practise, Sifu Kernspecht has summrized Wing Tsun principles as well as basic functional characteristics of remaining budo ( other than Escrima ) systematically and very congruently with his book "On Single Combat". http://www.realisticselfdefense.net/WingTsunBook.html Ruphus
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 15 2011 16:18:40
|
|
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 |
0.078125 secs.
|