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Rhythmic Precision in Zapateado Flamenco: The Influence of Teaching Methods Rosa de Las Heras-Fernández, PhD, Víctor Padilla Martín-Caro , PhD, María Espada , PhD & Zulema de la Cruz , PhD
"The research hypothesis is that zapateado teaching methodology based on syllable matching (word-rhythm) and the analytic strategy could be better teaching options than traditional ones."
I had thought that it is traditional to use syllable matching 'takita' etc..? I have seen many dancers (and singers, guitarists and palmeros) vocalise the rhythm. Interesting that the subjects chosen for this study apparently did not use that method. "12 professional flamenco dancers, between the ages of 25 and 51, working in different locations in the city of Madrid during 2018."
Also interesting that using an analytic approach was not 'traditional'. "analytic approach in which the exercise or choreographed fragment is broken down into parts and each one is worked on separately from the other elements."
RE: One for the scientists (in reply to Pgh_flamenco)
quote:
From the abstract of the article you posted:
“The research used a quasi-experimental approach.”
From Oxford languages:
“Quasi”
“...apparently but not really.”
Quasi-experimental means the subjects are not randomised to groups, but it is still a valid methodology. All methodologies have their limitations and strengths. No design is perfect for all contexts and applications.
Quite. I wondered about all those features. I guess I posted this so that people in the know can tell me how far off they are. Everybody does some syllable-matching, but maybe doing it systematically like tabla players makes a difference. I had heard that dancers sometimes keep contratiempo regular by playing the on-beats with their teeth.
There is loads of scientific research into flamenco, all of it desperate for replication.
We once had an Americana here who was writing a doctorado on jaleo. It was a load of rubbish Jalear bien is very difficult and very few can do it well. She was not one of them.
Rhythmic Precision in Zapateado Flamenco: The Influence of Teaching Methods Rosa de Las Heras-Fernández, PhD, Víctor Padilla Martín-Caro , PhD, María Espada , PhD & Zulema de la Cruz , PhD
I don't know, I looked at it and their table of results is not conclusive IMO (I am ignoring the self-evaluation AMPET scores as less important than actual objective improvements - though the control group has higher scores there across the board). Look at all the apparent improvement (lower SD (standard deviation) i.e. more-even zapateo in post- compared to pre-) in the control group in more categories. And the absolute values of SD are lower in control post- compared to experimental post- for their chosen highlighted 'sole-heel quaver' category. And two categories in the experimental group get worse, and by more, compared to only one in the control.
Or if we ignore the single-digit +/- changes as likely by chance given the small groups, we are left with two categories improved and one worsened in experimental, and four improved and none worsened in the control. How is this convincing us that the novel approach is showing "better results [] for rhythmic precision"?
I wonder if I am missing something important or skimmed through it too quickly, though
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Paco de Lucia set Farru straight in the documentary la Busqueda. Metronome. For a traditional flamenco dancer it was a revelation. Please note, Paco did not say “compas CD” or a fancy metronome but a basic click version.
You’ve heard of Metrosexual? A person who is grounded in cosmopolitan sophistication to the point of it being a substitute sexuality.
Now there’s Metronomesexual
A person so practiced at keeping time with a ticking metronome they turn people on around them simply by being on time.
Dancers:
“Dang girl, that Ricardo is so in the time groove it gives me a lady boner.” “ Hell yeah. He’s a straight up metronomesexual. Batteries included bitches.” “Ain’t gotta be a scientist to feel them semi quavers.”
RE: One for the scientists (in reply to estebanana)
quote:
ORIGINAL: estebanana “Dang girl, that Ricardo is so in the time groove it gives me a lady boner.” “ Hell yeah. He’s a straight up metronomesexual. Batteries included bitches.” “Ain’t gotta be a scientist to feel them semi quavers.”
The obvious next line:
'I am quavering all over, nothing 'semi' about it!"
Paco de Lucia set Farru straight in the documentary la Busqueda. Metronome. For a traditional flamenco dancer it was a revelation. Please note, Paco did not say “compas CD” or a fancy metronome but a basic click version.
And then what happened? All the serious dancers saw this and started using metronomes like musicians do, dance classes no longer sounded like rain on a tin roof and we could talk to dancers about tempo using metronome markings, to the relief and satisfaction of all parties?
All the serious dancers saw this and started using metronomes like musicians do, dance classes no longer sounded like rain on a tin roof and we could talk to dancers about tempo using metronome markings, to the relief and satisfaction of all parties?
While Farru admitted improvement (and was even more surprised without telling anyone he was doing it that Paco noticed he had improved), the truth is… dancers don’t watch documentaries about lowly guitar players.
Printable Version
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Jalear bien is very difficult and very few can do it well. She was not one of them.
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