What Does the Flamenco Genre Narrate (on the Examples of the Martinete and the Peteneras)
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Abstract
The concept of “flamenco” includes in itself a system of genres which bear imprints of names, historical facts, as
well as images and plots connected with them indirectly. The present article expounds a perspective of the genres
(estilos) from the point of view of the characteristic elements which make it possible to identify them not only within
the complex system of groups of genera and species, but even in a milieu that is alien to traditional flamenco. In the
present day, when all the basic forms of flamenco have already been established, performers frequently make attempts
at creating mixtures of genres, which brings an additional dramaturgical plan into the composition. At times these
genre-related experiments perplex the proponents of “pure” flamenco, but time does not stand motionlessly in one
place, and this art, however it may seem to be exhausted and crystallized, continues to develop by the same laws that
it did many years ago. In order to realize wherein lies the role of traditional flamenco in this new artistic search, it is
necessary to delineate the essence of the genre and its boundaries. On the example of the martinet and the peteneras
a set of characteristic features (pertaining to intonation, timbre and rhythm), presenting themselves as the “genome”
of the genre, the crucial factor of genre transformation, is demonstrated in the article. The author of the article is
convinced that this would make it possible to achieve an understanding of the flamenco, particularly, many of its
contemporary forms, on a higher level, and subsequently would make it possible to perceive and solve those artistic
challenges that are posed to the audiences by performers of the present day.
Keywords: flamenco, genre, martinet, peteneras, muerte.
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