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Lodz Ethnographic Studies

Flamenco: Contemporary Research Dilemmas
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Flamenco: Contemporary Research Dilemmas

Authors

  • Marta Wieczorek Department of Humanities and Social Sciences Zayed University Dubai

DOI:

https://doi.org/10.12775/LSE.2018.57.06

Keywords

Flamenco research, Andalusia, Gypsy culture, music studies

Abstract

Contemporary vantage points on various types of flamenco differ vastly. This disparity is visible among flamenco aficionados, performers and while analyzing academic attitudes. The paper explores some of the recurring discrepancies in the scholarly flamenco disputes. It dwells
on the role of the discussed genre in ethnic debates and its place in Spanish culture. The article also looks at the antagonism between traditional and contemporary or “pure” and commercial display of flamenco. These discussions are part of – as a dance scholar Michelle Heffner Hayes (2009: 4) phrases it – “conflicting narratives of flamenco’s history” and contribute to a complex and multifaceted image of this art form.

References

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Aoyama, Y. (2007). The role of consumption and globalization in a cultural industry: the case of flamenco. Geoforum, 38 (1), 103–113.

Bennahum, N. D., Goldberg, K. M., Heffner Hayes, M. (2015). Introduction. In: N. D. Bennahum, K. M. Goldberg, M. Heffner Hayes (eds.), Flamenco on the Global Stage: New Writings in Flamenco Dance Studies (p. 1–22). Jefferson: McFarland.

Bhabha, H. (1994). The Location of Culture. London: Routledge.

Chuse, L. (2003). The Cantaoras: Music, Gender, and Identity in Flamenco Song. New York: Routledge.

Cruces Roldán, C. (2002). Antropología y flamenco: más allá de la música (I). Sevilla: Signatura Ediciones.

García Canclini, N. (1995). Hybrid Cultures: Strategies for Entering and Leaving Modernity. Minneapolis: University of Minnesota Press.

González, M. V. (2008). Intangible heritage tourism and identity. Tourism Management, 29 (4), 807–810.

Grande, F. (1979). Memoria del cante flamenco. Madrid: Alianza Editorial.

Heffner Hayes, M. (2009). Flamenco: Conflicting Histories of the Dance. Jefferson: McFarland and Company.

Heller, N. G. (2015). Flamenco in la flor de mi secreto: Re-Appropriation and Subversion in a Film by Pedro Almodóvar. In: N. D. Bennahum, K. M. Goldberg, M. Heffner Hayes (eds.), Flamenco on the Global Stage: New Writings in Flamenco Dance Studies (p. 244–251).

Jefferson: McFarland. Holzinger, W. (2002). Towards a Typology of Hybrid Forms in Popular Music. In: G. Steingress (ed.), Songs of the Minotaur – Hybridity and Popular Music in the Era of Globalization: A Comparative Analysis of Rebetika, Tango, Rai, Flamenco, ardana, and English Urban Folk (p. 255–295). Münster: LIT Verlag.

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Manuel, P. (1986). Evolution and Structure in Flamenco Harmony. Current Musicology, 42 (1), 46–57.

Manuel, P. (1989). Andalusian, Gypsy and Class Identity in the Contemporary Flamenco Complex. Ethnomusicology, 33 (1), 47–65.

Manuel, P. (2010). Composition, Authorship, and Ownership in Flamenco, Past and Present. Ethnomusicology, 54 (1), 106–135.

Matamoros, E. (ed.) (2008). Carmen, Gades. Veinticinco años /Twenty five years 1983–2008.

Madrid: Antonio Gades Fundación.

Millán Vázquez de la Torre, M. G., Millán Lara, S., Arjona Fuentes, J. M. (2016). Análisis del flamenco como recurso turístico en Andalucía. Cuadernos de Turismo, 38 (1), 297–321.

Mitchel, T. (1994). Flamenco Deep Song. New Haven: Yale University Press.

Moreno Navarro, I. (1996). El flamenco en la cultura andaluza. In: C. Cruces Roldán (ed.), El flamenco: identidades sociales, ritual y patrimonio cultural (p. 15–36). Sevilla: Consejería de Cultura.

Paetzold, Ch. (2009). Singing Beneath the Alhambra: the North African and Arabic Past and Present in Contemporary Andalusian Music. Journal of Spanish Cultural Studies, 10 (2), 207–223. doi: 10.1080/14636200902990711

Pérez, J. (2015). Flamenco Fusion, Cross-Cultural Coalitions, and the Art of Raising Consciousness. In: N. D. Bennahum, K. M. Goldberg, M. Heffner Hayes (eds.),

Flamenco on the Global Stage: New Writings in Flamenco Dance Studies (p. 252– 259). Jefferson: McFarland.

Ruiz Morales, F. C. (2011). The appropriation of Flamenco heritage beyond its borders: The case of artists in Belgium. Revista de Antropología Iberoamericana, 6 (3), 289–314. doi: 10.11156/aibr.060304e

Steingress, G. (1998). El cante flamenco como manifestación artística, instrumento ideológico y elemento de la identidad cultural andaluza. In: G. Steingress, E. Baltanás (eds.), Flamenco y nacionalismo: aportaciones para una sociología política

del flamenco (p. 21–39). Sevilla: Universidad de Sevilla.

Steingress, G. (2002a). Preface. In: G. Steingress (ed.), Songs of the Minotaur – Hybridity and Popular Music in the Era of Globalization: A Comparative Analysis of Rebetika, Tango, Rai, Flamenco, Sardana, and English Urban Folk (p. vii–x). Münster: LIT Verlag.

Steingress, G. (2002b). El flamenco como patrimonio cultural o una construcción artificial más de la identidad andaluza. Revista Andaluza de Ciencias Sociales, 1, 43–64.

Steingress, G. (2005). Sociología del cante flamenco. Sevilla: Signatura Ediciones.

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Washabaugh, W. (1998). Flamenco Song: Clean and Dirty. In: W. Washabaugh (ed.), The Passion of Music and Dance. Body, Gender and Sexuality (p. 27–39). Oxford: Berg.

Washabaugh, W. (2012). Flamenco Music and National Identity in Spain. Farnham: Ashgate.

Wieczorek, M. (2018). Flamenco: studium z antropologii semiotycznej. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego.

Woodall, J. (1992). In Search of the Firedance: Spain through Flamenco. London: Sinclair-Stevenson

Lodz Ethnographic Studies

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Published

2018-12-13

How to Cite

1.
WIECZOREK, Marta. Flamenco: Contemporary Research Dilemmas. Lodz Ethnographic Studies. Online. 13 December 2018. Vol. 57, pp. 75-92. [Accessed 19 March 2026]. DOI 10.12775/LSE.2018.57.06.
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