Flamenco Dance Research Articles

The Training of Flamenco Dance Teachers of the Escuela Sevillana (Sevillian School): From Practical Experience to the Practice of Teaching

Flamenco is a traditional way of expressing values and knowledge from one generation to the next as part of informal education and is now a consolidated artistic genre in Andalusia. A legal framework was created to protect and promote flamenco as a unique element of Andalusian culture, and to incorporate flamenco studies into the official school curriculum. There is nothing written on what constitutes flamenco content or how it should be taught. We conducted a small phenomenological ethnographic study of women who teach a specific style of flamenco dance which is important in the field of teaching, namely the Escuela Sevillana, and we aimed to understand how they constructed the pedagogical content knowledge that enabled them to teach it in the public and private spaces where it is taught. The study design was qualitative and interpretive. The study population comprised all women teaching this style of flamenco dance. Data collection was through in-depth interviews, with a bibliographical review of relevant material for context. The results focus on interpreting and understanding the reality studied, and describing in detail how these dance teachers constructed the pedagogical content knowledge in order to teach it effectively. We draw the conclusions that there are various stages of teaching professionalisation, and experience-based learning is important for consolidation as a teacher.

Teaching Hispanic Culture, Diversity, and Tolerance through Hispanic Dances and Music: Two Approaches for Flamenco & Caribbean Dances

A Sociology Approach: Dance can be a useful tool for teaching students about culture and community. Through the language of Dance and Music (Caribbean Dance), context is given to social facts, which engages and informs students about such social issues as history, Colonialism, social class, gender, race/ethnicity, and social justice. The added bonus of using Dance as a lens is that it involves active, embodied learning (Dewey, English, Mead), making the material more memorable, meaningful, and relevant to the learner. A Communicative Approach (Task-based Learning Activity) \& Language for Specific Purposes: Task-Based Language Teaching (TBLT) is a derivative of the Communicative Approach (CA) and Second language Acquisition (SLA) studies. Certain types of communicative learning activities can lead to acquisition of language (Abdel Kazeroni, Aquilino Sanchez, Margaret Robertson, Yiqng Lin). When teaching a Hispanic Dance Session using specific Spanish vocabulary of the dance to address certain dance movements (like Flamenco dance), we engage language learners in acquiring Spanish parts of language related to the flamenco dance. We also immerse learners in the culture of flamenco dance, and its rich cultural context, so they can learn about the social context, gender issues, the different meanings of the dance movements, the metaphors, and by extension they will learn about diversity, tolerance, inclusion, and respect for another culture through dance and music (Language for Specific Purposes: Angela N. Gardner, Howard Gardner, Victoria Escaip). A Sociology Approach: Dance can be a useful tool for teaching students about culture and community. Through the language of Dance and Music (Caribbean Dance), context is given to social facts, which engages and informs students about such social issues as history, Colonialism, social class, gender, race/ethnicity, and social justice. The added bonus of using Dance as a lens is that it involves active, embodied learning (Dewey, English, Mead), making the material more memorable, meaningful, and relevant to the learner. A Communicative Approach (Task-based Learning Activity) \& Language for Specific Purposes: Task-Based Language Teaching (TBLT) is a derivative of the Communicative Approach (CA) and Second language Acquisition (SLA) studies. Certain types of communicative learning activities can lead to acquisition of language (Abdel Kazeroni, Aquilino Sanchez, Margaret Robertson, Yiqng Lin). When teaching a Hispanic Dance Session using specific Spanish vocabulary of the dance to address certain dance movements (like Flamenco dance), we engage language learners in acquiring Spanish parts of language related to the flamenco dance. We also immerse learners in the culture of flamenco dance, and its rich cultural context, so they can learn about the social context, gender issues, the different meanings of the dance movements, the metaphors, and by extension they will learn about diversity, tolerance, inclusion, and respect for another culture through dance and music (Language for Specific Purposes: Angela N. Gardner, Howard Gardner, Victoria Escaip).

Implicit Theories on Teaching, Learning, and Evaluating Flamenco Dance in the Classroom: Demographic Comparison of Spain and Japan

Flamenco dance is present not just in many regions of Spain but also throughout the world, including places as far as Japan. These diverse teaching contexts have led to disparate studies on flamenco teaching and learning processes. However, most of these studies differ from general theories of education; for example, there is no record of studies of flamenco applying implicit learning theories. Much like music and physical education, flamenco dance entails a type of procedural learning that can be based on different theories depending on whether the focus is on learning, teaching or educational evaluation. This study aims to disclose the presence of implicit theories (direct, interpretive and constructive) in these processes, and determine Spanish and Japanese dancers’ educational preferences in the classroom in connection with these theories, while exploring geographical and demographic characteristics. The results show that the situations extracted from the theories are present in the classroom, and that there is a clear connection between the country where dancers train professionally, and their age and gender. There are statistically significant differences that reveal the importance of the country with respect to the latter two characteristics. Overall, participants preferred constructivist situations. Given these results, more research should be carried out in this field. Keywords: teaching and learning processes, implicit learning theories, flamenco, teaching contexts, evaluation

Dancing toward Well-Being: Effects on Mood and Well-Being of a 12-Week Flamenco Dance Workshop in Women Aged 60–80 Years

The objective of this study was to examine the effect of a flamenco dance program on the mood and subjective well-being of 34 self-selected women from the community, aged between 62 and 79 years. The mean age was 70.11 (SD = 5.13). Participants voluntarily enrolled in a 12-week flamenco dance workshop conducted by the Autoestima Flamenca Association, with one two-hour session per week. Every two weeks, mood measurements (sadness, anxiety, anger and joy) were taken, and subjective well-being assessments were conducted before and after each session. It was found that the participants’ overall mood and subjective well-being improved significantly following the intervention. These improvements were observed at both the individual and group levels. Overall, our findings suggest that participation in a free 12-week flamenco dance program had a positive impact on mood and subjective well-being in this segment of the population.

Hidden communication codes in flamenco dance choreography

ABSTRACT Flamenco dance is emblematic of southern Spain. Its performance uniquely combines dancing, singing, and guitar playing. Improvisation differentiates it from other dances and this requires communication codes so that performers remain synchronised. The communication codes are: ‘llamada’, a signal to start singing; ‘remate’, for ending a section; ‘subida’, for speeding up the rhythm; and ‘desplante’, a static pose ending the others communication codes. This article describes these codes and analyses how they are used during performances. Thirty professional flamenco shows have been analysed and at least one of these communication codes was recorded in all these performances. The remate is observed in all; the desplante in 96.6%; and the llamada and subida were both identified in 66.7%. This information is relevant for choreographers, teachers, and students. The incorporation of communication codes into the curriculum for flamenco dance at schools would guarantee that students are properly trained for professional performances.

Psychological stress responses to a live performance by professional flamenco dancers.

Dance is a high demanding discipline that involves physiological and psychological pressures. The pressure increases when dancers perform in front of an audience that, on a physiological level, can generate hormonal responses similar to those of an athlete before a competition for social status. Low levels of testosterone (T) and high levels of cortisol (C) are related to a decrease in performance and an increase in the risk of injury. Therefore, this study sets out to analyse hormone response patterns in professional flamenco dance performances depending on whether the performances are completed successfully and whether there are differences by sex and professional category. Saliva specimens (2-5 ml) were taken from the participants before and after the performance. Samples were immunoassayed by duplicate to analyze momentary fluctuations in two hormones regularly used in studies with professional athletes. The results showed significant differences in solo dancers' T responses before and after the performance (p < 0.01), suggesting that the dancing role in the show (soloist or corps the ballet) and responsibility over the performance were important modulators to the hormone responses observed.

Francoism, Urban Displacement, and Nostalgia in Flamenco Dance from Seville

AbstractWhile it is often assumed that flamenco is strongly oriented towards the past, thus far, few scholars have explored the roles of flamenco in voicing memories of the Franco dictatorship (1939–75). During the second half of the dictatorship, a series of natural disasters, combined with new economic and political developments, led to the forced displacement of a number of flamenco artists and their wider communities in various Spanish cities. This article will explore how memories of this episode have impacted the flamenco dance repertoire associated with the Triana neighbourhood in Seville, focusing on three interrelated case studies: the performance and documentary filmTriana pura y pura, and recent productions by the flamenco dancers Pastora Galván and Israel Galván. By analysing these performances alongside their historical, social, and institutional contexts, this article conceptualizes the intersections between dance, nostalgia, and festivity as a meaningful scenario of embodied memory in post-Franco Spain.

Flamenco Dance and Visitor Loyalty: The Case of Cordoba-Spain

Flamenco dance is internationally recognized in the world. Its uniqueness based on ancestral culture and tradition is a current projection of immemorial dances. Currently, it is performed in schools, conservatories, and the so-called flamenco shows in some destinations, where visitors can enjoy it. Therefore, it is essential to deepen its management and study. This investigation aims to analyze the flamenco dance show from the perspective of the general visitor capability. To determine loyalty, the study focuses on tourist fidelity based on the show's perceived value, quality, and satisfaction. The fieldwork has been carried out in Córdoba (Spain). There are few studies on flamenco dance from the attending visitor's perspective, this being a novelty and a contribution to research. The methodology is founded on a partial least squares (PLS) structural equation model. A structured questionnaire has been used to meet the objective, and the conclusions acquired corroborate that the agreement and quality of flamenco dance positively influence tourist loyalty and, therefore, recommend returning to the destination and repeating the visit.

Maestras que dejan huella. La influencia estilística de la bailaora Charo Cruz en su alumnado

In flamenco dance it is common to find certain aesthetic characteristics common to several performers, so it is worth asking what is the origin of these shared stylistic forms. It is understood that the maestro plays a primordial role, influencing with his charisma those with whom he comes into contact. This is the main question dealt with in this research, approached through the figure of the Cadiz flamenco teacher Charo Cruz and three of her outstanding pupils. Through a series of interviews, aspects such as aesthetic identity in flamenco and its process of acquisition and development have been explored in depth, highlighting the automatism in the learning of other people's own ways. In addition, some considerations about what aesthetics in flamenco is and how it is taught are briefly presented, thus establishing a theoretical framework on which the research is based.&nbsp

“The lissome lady from Spain”: building Canadian modernism and flamenco dance in performance archives

ABSTRACT This article recovers the training and early career of Barbara Mary Beck “Conchita Triana” (1912–2006), the first professional flamenco dancer in Canada, whose professional career spanned from 1938 into the late 1950s. This recovery entails an exploration of archival records, analysis of the role of Spain for modernist Canadian artists across disciplines, performance histories of Canadian, American, and Spanish artists, and close reading of archival dance notation. Together, these contexts allow us to analyze the construction and emergence of a Canadian settler identity in the 1930s alongside a home-grown Canadian flamenco dance. Performance of an ostensible exotic import – on the stage and through the appropriation of Spanish identity – reinforces the legitimacy of white settler identity through the “mosaic” metaphor that dominates 1920s and 1930s conceptualization of Canada, positioning itself for the first time as a nation distinct from Britain. Spanish cultural performance as a tool to explore Canadian settler identity remains relevant today, as Canadian flamenco artists continue to interrogate their own national identities through the artform.

Transforming Museum Education Through Intangible Cultural Heritage

ABSTRACT This paper examines how museum education is transformed through intangible cultural heritage (ICH) as defined by UNESCO. It demonstrates how museums can support the intergenerational transmission of ICH and its long-term sustainability by recognizing and valorizing ICH practices, the role of the bearer communities in safeguarding processes, and the importance of collaboration. Such is the approach taken by ICH museums, where communities take the leading role in museum education. The Museo del Baile Flamenco (Flamenco Dance Museum) and the Museu do Fado (Fado Museum) are two examples of how education within this type of museum can not only raise awareness about ICH but also promote the teaching and learning of these expressions both within and outside bearer communities. Each of these museums was studied from 2017 to 2019 as part of a research project seeking to understand how ICH museums approached the musealization and safeguarding of intangible cultural expressions while taking into consideration the vital role of communities and working collaboratively with these stakeholders.

External Load of Flamenco Zap-3 Footwork Test: Use of PlayerLoad Concept with Triaxial Accelerometry.

The intense footwork required in flamenco dance may result in pain and injury. This study aimed to quantify the external load of the flamenco Zapateado-3 (Zap-3) footwork via triaxial accelerometry in the form of PlayerLoad (PL), comparing the difference in external loads at the fifth lumbar vertebra (L5), the seventh cervical vertebra (C7) and the dominant ankle (DA), and to explore whether the speed, position, axis and proficiency level of the flamenco dancer affected the external load. Twelve flamenco dancers, divided into professional and amateur groups, completed a 15-s Zap-3 footwork routine at different speeds. Triaxial accelerometry sensors were positioned at the DA, L5 and C7 and were utilized to calculate the total PlayerLoad (PLTOTAL), uniaxial PlayerLoad (PLUNI) and uniaxial contributions (PL%). For both PLTOTAL and PLUNI, this study identified significant effects of speed and position (p < 0.001), as well as the interaction between speed and position (p ≤ 0.001), and at the DA, values were significantly higher (p < 0.001) than those at C7 and L5. Significant single axis and group effects (p < 0.001) and effects of the interactions between the position and a single axis and the group and speed (p ≤ 0.001) were also identified for PLUNI. Medial-lateral PL% represented a larger contribution compared with anterior-posterior PL% and vertical PL% (p < 0.001). A significant interaction effect of position and PL% (p < 0.001) also existed. In conclusion, the Zap-3 footwork produced a significant external load at different positions, and it was affected by speed, axis and the proficiency level of the flamenco dancer. Although the ankle bears the most external load when dancing the flamenco, some external load caused by significant vibrations is also borne by the lumbar and cervical vertebrae.

The Feminine Section and the political instrumentalization of flamenco dance during the Franco dictatorship (1940-1975)

This article analyzes the political instrumentalization of flamenco dance during the Franco dictatorship through the Feminine Section of Traditionalist Spanish Falange and the National Syndicalist Offensive Boards (hereinafter, FET and JONS). The research method used for this work is the historiographical based on a systematic study of primary sources consisting mainly of periodic, graphic and oral publications, as well as official documents of the time, in addition to the already published works that have addressed succinct Andalusian folklore during the Franco period (1940-1975). The results show a first autarchic stage, that of the forties, in which flamenco dance is instrumentalized under the myth of the unity of the homeland, for from the fifties, as part of the developmental strategy in the economic and openness in politics, flamenco becomes a weapon of political indoctrination to reinforce and symbolize the new national identity. In this way, the idea of ​​identity construction of the Spanish referent (Spanishness) generated by flamenco dance and its indoctrination mechanisms is valued.

Evaluation of the Correlation Between Flamenco Dance and Ankle and Foot Posture.

The practice of flamenco dance involves great biomechanical demands, comparable with a high-performance sport. The technical movements of the footwork tap, the jumps, and the turns increase the prevalence of injuries and pathologic disorders of the foot and lower limb. Limited research has examined adaptation of the foot posture and dorsiflexion of the ankle in flamenco dancing. Therefore, the aim of this study was to evaluate whether the practice of flamenco dancing produces modifications in the ankle's dorsiflexion range of motion, Foot Posture Index, or pronation. A cross-sectional observational study with intentional sampling was performed with 26 individuals (52 feet) in two groups: professional female flamenco dancers (n = 13) and nondancers (n = 13). The participants were assessed in a single session for ankle dorsiflexion, foot pronation (navicular drop test), and foot posture (Foot Posture Index). Significant differences were found between the two groups for left foot Foot Posture Index (P = .007) and right foot navicular drop test (P = .006). The results of this study indicate that flamenco dancing can produce modifications in the Foot Posture Index and foot pronation versus nondancers. Further research is required.

Emotions and flamenco dance: introducing the duende in dance movement therapy

ABSTRACT Flamenco dance constitutes a vehicle of singular socio-cultural manifestation loaded with emotional elements, which invite its analysis as a potential therapeutic tool. The present research, using a mixed methodology, collected data in three different population groups (volunteer participants, flamenco dancers and dance movement therapists), where the movements of flamenco dance were analysed in relation to the expression of emotions, using the movement qualities of Laban. The feelings and motivation that drove the dancers to use this dance style were also analysed. The results provide information about the relationship between basic flamenco movements and some emotions especially represented by certain movement patterns. The results obtained suggest that flamenco dance could represent a useful instrument for the expression and channelling of emotions in the context of dance movement therapy.

La expresividad del cuerpo y la comunicación gestual en el baile flamenco

El arte flamenco se escribe con mayúscula. De una tradición anclada al pasado podríamos encontrar su explicación actual a través de pasajes de la mitología antigua, al igual que de la herencia de árabes y sefardíes. El presente artículo pretende poner en valor el potencial expresivo del cuerpo y la comunicación gestual en el baile flamenco. Con ello, pies y manos, cara y cabello dibujan el compás en el escenario y permiten diseñar siluetas con el cuerpo como si de un pincel se tratase. Mientras que la expresividad eclosiona con tonos cromáticos que facilita el deleite y la belleza. Un baile que se nutre de objetos para significarlo y el bailaor o bailaora se vale del zapateo para hacerse, también, en músico que lleva el compás, comunicando según su intensidad o velocidad de ejecución. El cuerpo en el baile flamenco y la comunicación gestual es un pretexto para iniciar un debate que no concluye sino que se nutre de la herencia y camina, evolucionando, hacia un presente con futuro. Flamenco art is written with a capital letter. From a tradition anchored in the past we could find its current explanation through passages from ancient mythology, as well as from the heritage of Arabs and Sephardim. Everything gives us to understand the expressive value of the body and the gestual communication in the flamenco dance. Body and face, hair and hands draw the compass on stage. They allow to draw silhouettes that take the compass taking as a brush the body and its expressiveness hatches with chromatic tones that facilitate the delight and the beauty. A dance that is nourished by objects to signify it and the dancer uses the zapateo to become, also, a musician who carries the compás and communicates according to its intensity or speed of execution. The body in flamenco dance and gestural communication is a pretext to start a debate that does not end, but is nourished by heritage and walks, evolving, towards a present with a future.

Searching for El Duende

In this work I aim to elucidate what el duende is, to speak about that energy that flows in an instant at the tablados and taurine lands. El duende is that character that seems to come from a magical place –taken from a mysterious land– and from which many at flamenco culture speaks. It is said that nobody can see el duende, it can only be felt. This raises the question, who really knows el duende? Drawing on anthropology and philosophy, I suggest understanding el duende as an inner-outer force of the human being that flows inside the dancer and connects with the others (as spectators and / or musicians). The ethnographic analysis will focus only on flamenco dance, using my own experience as a dancer (auto-ethnography) as primary data. I trust that this self-involvement with dance will let me explore deeply into the soul of Flamenco art, into the magic essence that emanates from the dancer towards the audience and produces an intimate communication experience, which has been named el duende.

Projeto de extensão prática corporal em dança flamenca

The extension project “Bodily practices in flamenco dance: the relational space of a sensible body” brings the community of Cachoeira do Sul, RS, bases of body awareness, movement, expression and interpretation through the learning and knowledge of flamenco culture and dance. Flamenco has been recognized by UNESCO since 2010 as an Intangible Cultural Heritage of Humanity, being an artistic expression resulting from the composition of the song, musical touch and body movement, being only possible through the understanding of the art as a set of these elements. This composition has as its main objective to narrate a story (present in the song) and to express the feelings that such story brings (for example, sadness, happiness, regret). The project has the participation of the academic community and the general community of Cachoeira do Sul alike, developing expression and body awareness, fighting against sedentary, bringing quality of life to participants, improving posture and self-esteem, proposing challenges and teamwork. The project’s target audience ranges from young people to adults of all genders, proposing interaction and learning between different audiences. Art belongs from everyone to everyone, and the spread of different cultures makes a very positive contribution to the citizen formation.

Адаптация испанского танца фламенко к условиям культурно-языкового пространства современной России

The article reveals the phenomenon of the existence of Spanish flamenco dance in the cultural and language environment of modern Russia. The premises for introducing of this art form in the Russian society of the 19th century have been considered, as well as its dissemination throughout Russia up to the present time. A brief analysis of the etymology of the term “flamenco” is carried out, emphasizing the inconsistency and ambiguity of this concept, which complicates its adequate interpretation in the Russian language. The authors have developed a classification of flamenco styles from the perspective of a non-bearer of flamenco culture. This classification defines the styles according to the complexity degree of perception by Russian performers. It is concluded that the most difficult for the Russians are the authentic ancient manifestations of flamenco, such as sigiriya, kanya, solea, etc., which are quite different in musical size and rhythm. The lexico-semantic analysis of certain Spanish terms and exclamations characterizing the flamenco dance was carried out. Such expressions have been adopted into the vocabulary of the Russian flamenco performers representing: zapateado, floreo, braceo, bata de cola etc. The general structure of flamenco dance is represented by means of typical positions and movements. The structure was worked out on the basis of content analyses of the Spanish film-ballets, devoted to flamenco dance. The article also analyzes the polysemy of the term “duende” – a phenomenon that has a spiritual nature and is an integral part of the flamenco art. It is concluded that the professional performance of the flamenco dance in the non-native social and cultural environment requires from a performer not only technical mastery, but also a deep understanding of the meaning of the flamenco dance, its history, as well as the semantics of some Spanish terms and expressions.

Метаязыковые особенности испанского танца фламенко в понимании российских исполнителей

Метаязыковые особенности испанского танца фламенко в понимании российских исполнителей