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The Ten Commandments
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Phil
Posts: 382
Joined: Jul. 7 2003
From: Rota, Spain
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 The Ten Commandments
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I ran across something I posted a long time ago. I don't know if I posted it here or somewhere else, but I think that it's interesting enough to post again. I translated it from a Spanish forum written by a very knowledgeable aficionado. I can't find the original Spanish version that I had.
Phil
The Ten Commandments to Almost be a Flamenco
by Curro del Realejo
1. Don’t accept advice or recommendations from those that think that they are the only ones that know the truth. Flamenco enters through your ears, goes to your heart and gives it a pinch so you can feel it. If it goes in one ear and out the other it would be better for you to listen to some other kind of music, maybe La Traviata will bring you to ecstasy.
2. Neither Andalucia nor anyplace nor anyone is the exclusive owner of Flamenco. Although its origins are in Lower Andalucia, it is universal and if you don’t believe that, go to to Japan and see how the Japanese dance. Will they invent “Karajote” Flamenco? (Note: Karajote is a play on the words Karaoke and the Spanish vulgarism carajote.)
3. Flamenco is not a passing fad. When the multi-nationals or the mass-media tire of supporting it (if they ever really have) we will remain the same even though there will be (Note: I don’t understand what he’s trying to say by un derribo haciendo compas).
4. Don’t pay attention to those that say that Ketama, Raimundo Amador and other groups don’t play Flamenco, we already know that. But their origin is Flamenco and if some of their fans hear some Bulerias “Pata Negra” or some Tangos “Ketameros” at their concerts and as a result become Flamenco aficionados, well that’s Flamenco’s gain.
5. Flamenco can also be as worthy as any other music. It’s not the “groan of a billy goat” like some ignorant people say. Flamenco is the music of the people who sing what they feel or are enduring and it has always denounced injustice and fought for equality and liberty. Ole!
6. Don’t fell bad because you don’t know the difference between a Solea and a Siguiruya. There’s plenty of time to learn. You learn by listening a lot. There aren’t any classes, so learn on your own.
7. Don’t listen to just one style or one singer. Flamenco is extensive and diverse. Listen to all it has to offer, then compare and choose for yourself.
8. Don’t believe in the myth of pure Flamenco. Since its beginning, Flamenco has been a melting pot of cultures and races and it will continue to be for centuries to come. Flamenco should continue to be nourished by other styles of music (Jazz, Blues, etc.) in order to continue evolving as the art that it is.
9. No feel bad if you don’t have compas, there are some that don’t have it and still sing (although few). With time and practice you can learn everything or almost everything.
10. Don’t try to convince anyone else to like Flamenco or try to explain what it does to you when you truly feel it. If they hear it and understand it, good. If not, then maybe you can find something else in common.
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 19 2005 14:47:43
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Phil
Posts: 382
Joined: Jul. 7 2003
From: Rota, Spain
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RE: The Ten Commandments (in reply to Kate)
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quote:
I dont agree with point 8 that puro flamenco is a myth, not if you understand pure to mean unadulterated, ie just guitar, voice and palmas, as opposed to superior or original.
Kate,
After thinking about this awhile, I don't believe that's what he meant. I think he's referring to the entrenchment in the past that many aficionados have. A dedication to THEIR conception of 'puro' even if it's based more on selective memory than on reality. There's a another forum that I call "The Dead Flamencos Society" because most of the posters there are convinced that the only good Flamenco is a dead Flamenco. These guys are still pulling their hair out and rending their clothes in anguish over what that young upstart Paco de Lucia did to the toque and what Camaron did to the cante. Donn Pohren was lamenting the passing of the good old days while he was still living in the good old days! Don't anybody jump down my throat about that last remark. Donn did a marvelous thing in explaining Flamenco to us in his books, but I did find it tedious to keep hearing him whining about what once was and no longer is.
I consider myself to be a lover of traditional Flamenco. But 1 singer, 1 guitarist, and a couple of palmeros do not necessarily make it traditional or puro. I heard Gerado Nunez accompany Sordera por siguiriyas one time. That's 1 singer and 1 guitarist and it sure wasn't my idea of puro (the cante was, but not the playing). So what's my concept of 'puro' or traditional Flamenco? I'm not sure, but I know it when I hear it.  I'll get back to you on that.
Phil
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 20 2005 14:33:02
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but if you know it when you hear it then it must exist. That was my complaint (ie he said that 'puro' flamenco was a myth which I took to mean that it simply does not exist) because I hear references to 'puro' all the time, mostly by flamencos themselves in the studio when they want to get a particular 'puro' sound or feel and like you, they know what it is. Forgive the name dropping but Morente is a stickler for this. And I simply do not go with the argument that as flamenco is a melting pot of cultures it can never be said to be 'puro' because that is taking the word 'puro' literally. Perhaps a better translation of the word 'puro' would be 'traditional' or 'original' but then as you say Cameron was an innovator who rocked the boat but now is considered by the younger generations to be an old timer. 