Fandangos, fandanguillos and fandangazos: Fernando el de Triana on popular and flamenco music
Arte y artistas flamencos (1935) is an indispensable text with reference to the “GoldenAge” of flamenco and its protagonists, according to the vision of flamenco guitarist andsinger Fernando el de Triana (1867–1940). The book bears witness to a moment in whichflamenco experienced a genuine morpholog...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | España |
| Recursos: | Universidad de Sevilla (US) |
| Repositorio: | idUS. Depósito de Investigación de la Universidad de Sevilla |
| OAI Identifier: | oai:idus.us.es:11441/160727 |
| Acesso em linha: | https://hdl.handle.net/11441/160727 |
| Access Level: | acceso abierto |
| Palavra-chave: | Flamenco Fandango Fandanguillo Fernando el de Triana Andalucismo |
| Resumo: | Arte y artistas flamencos (1935) is an indispensable text with reference to the “GoldenAge” of flamenco and its protagonists, according to the vision of flamenco guitarist andsinger Fernando el de Triana (1867–1940). The book bears witness to a moment in whichflamenco experienced a genuine morphological revolution, developing positions andapplying patrimonial logic, and thus complicating the dichotomies with which flamencowas commonly viewed, as it sought to define itself in light of territorial, artistic, andpersonal dimensions of meaning. Fernando el de Triana intuited the differences between popular fandango, flamencofandango, and the then-fashionable fandanguillo; his exposition of these forms distils theinfluences of early-twentieth-century andalucismo (an Andalusian parochialism andpopulism). I argue there that conditions under which this book was published explain theoscillations between these popularist positions, and the degree of political accommodationbetween flamenco and Spanish nationalism, seen as a metonymic extension of “loandaluz”—and foreshadowing the coming propaganda of the Franco regime. |
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