{"id":6340,"date":"2019-10-28T17:03:16","date_gmt":"2019-10-28T16:03:16","guid":{"rendered":"http:\/\/www.auxsons.com\/?post_type=focus&p=6340"},"modified":"2019-11-04T13:04:29","modified_gmt":"2019-11-04T12:04:29","slug":"flamenco-2-0-the-small-revolutions-of-a-new-generation","status":"publish","type":"focus","link":"https:\/\/www.auxsons.com\/en\/focus\/flamenco-2-0-the-small-revolutions-of-a-new-generation\/","title":{"rendered":"Flamenco 2.0, the small revolutions of a new generation?"},"content":{"rendered":"

Neo flamenco, millennial flamenco, ex flamenco or flamenco 2.0 are just some of the names for the music of a new generation of Spanish musicians (like Rosal\u00eda and Ni\u00f1o del Elche) who blend traditional flamenco with the sounds of electro, R&<\/span>B or rock\u2026  In communities of aficionados, the media and on social networks, this new trend both appeals and challenges, inviting us to rethink whether experimentation has a place in the development of flamenco in Spain and on the international stage.<\/p>\n

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Flamenco, a music of crossroads and small revolutions <\/em><\/p>\n

Flamenco has never been a fixed genre: it was born at the crossroads of Arab, Andalusian, Jewish, Christian and primarily Gypsy cultures, mainly in family, working-class and peasant environments. In fact, the musical melting pot is a founding principle of this music, as demonstrated by the initial encounter between singing with Eastern influences \u2013 full of melismas and microtonal intervals \u2013 and the guitar, a Western instrument calibrated in semitones. Based on few written references, the learning and transmission of the repertoire is essentially oral, which makes it a relatively confidential art that is hard to access beyond Spanish borders.<\/p>\n

Since the 1960s, several small revolutions have fuelled the evolution of the genre. After the first steps of Smash\u2019s flamenco rock, Paco de Luc\u00eda and Camar\u00f3n de la Isla attempted new encounters with Latin music and jazz, while integrating amplified instruments into the traditional singing-guitar-palmas-dance formation. The emergence of the fusion group Ketama \u2013 founded by El Camborio Carmona from Granada and Jos\u00e9 Sorderita Soto from Jerez, both members of Gypsy and flamenco families \u2013 marked the 1980s. After integrating Ibero-American influences, they brought together flamenco and Toumani Diabat\u00e9\u2019s kora with the album Songhai<\/em>, released in 1985. Finally, these multiple internal revolutions and musical encounters bear witness to the constant mobility of flamenco, which, coming out of the domestic sphere followed by that of pe\u00f1as,<\/em>[1]<\/strong><\/em><\/a> has consistently become increasingly international.<\/p>\n

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Ketama, Toumani Diabate, Danny Thompson - Songhai<\/strong><\/p>\n

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