Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex

Bibliographic Data

ID2605244
AuthorsPeter Manuel (City University of New York, corresponding author)
Year1989
Volume33
Issue1
Pages47
Publication date1989-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueEthnomusicology (JOURNAL)
Journal identifiersISSN: 0014-1836 • E-ISSN: 2156-7417
PublisherUniversity of Illinois Press (PUBLISHER • US)
DOI10.2307/852169
OpenAlexW4254526009
LanguageEN
Citations received16

For over a century flamenco has comprised the spontaneous music of the informal gy commercialized and adulterated fare performe musicians for non-gypsy audiences.Since the e vogue of flamenco, together with a set of bro rendered the flamenco complex even more host of innovative, eclectic, and popular sub traditional "pure" flamenco.While the flam cologia) that has mushroomed in the same of informative books, these have tended to puro rather than on the contemporary sta derivatives.A holistic perspective of modern flamenc styles-must comprehend the panoply of flame flourished in recent decades and now form culture; moreover,such a perspective must context of the social, economic, and politica Spanish society in the last half-century.Ideally, such a study should be the subject o until these have been undertaken, however, introductory attempt to contextualize the m styles in its sociocultural background.Thes flamenco, recent fusions of flamenco with andaluza (Andalusian "new song"), and the v popular musics which have emerged in recen *Research for this article, conducted in 1987, was par Council for Research in the Humanities and Social Scienc also due to my informants and teachers in Spain, and to their constructive comments.47

Aesthetics · Art · Class (philosophy) · Epistemology · Genealogy · Geography · Identity (music) · Sociology · Anthropology · Gender Studies · Hispanic-African Historical Relations · History · Philosophy · Spanish Culture and Identity · Spanish Literature and Culture Studies

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