Flamenco is the national Spanish dance. But this is too simple and exaggerated definition, because flamenco is passion, fire, vivid emotions and drama. It is enough to see the spectacular and expressive movements of the dancers once to forget about the counting of time. And the music... That's a different story... Let's not bore you - it's time to plunge into the history and specifics of this dance.

The history of flamenco: the pain of the exiled peoples

The official birth date of flamenco is 1785. It was then that Juan Ignacio González del Castillo, a Spanish playwright, first used the word "flamenco". But these are formalities. In fact, the history of this direction has more than 10 centuries, during which the culture of Spain has changed and developed not without the participation of other nationalities. We offer you to feel the atmosphere of the past years in order to better feel the energy and character of the dance.

Our story begins in the distant 711 in ancient Andalusia, located in the southern part of the Iberian Peninsula. Now it is an autonomous Spanish community, and then the power on this land belonged to the Visigoths, an ancient Germanic tribe. Tired of the arbitrariness of the ruling elite, the population of Andalusia turned to the Muslims for help. So the peninsula was conquered by the Moors or Arabs who came from North Africa.

For more than 700 years, the territory of ancient Spain was in the hands of the Moors. They managed to turn her into the most beautiful European country. People from all over the continent flocked here to admire the magnificent architecture, join science and understand the sophistication of oriental poetry.

The development of music does not stand aside. Persian motifs begin to take over the minds of the inhabitants of Andalusia, forcing them to change their musical and dance traditions. Abu-al-Hasan-Ali, a Baghdad musician and poet, played a huge role in this. Art critics see in his work the first traces of flamenco and give him the right to be considered the father of Andalusian music.

In the 15th century, Christian states located in the northern part of the peninsula begin to oust the Arabs. Where the Spanish Moors disappeared is a mystery that historians are not yet able to unravel. Despite this, Eastern culture became part of the worldview of the people who inhabited Andalusia. But for the emergence of flamenco, the suffering of another ethnos persecuted around the world is not enough - the gypsies.

Tired of constant wandering, the gypsies came to the peninsula in 1425. These lands seemed to them a paradise, but the local authorities were hostile to strangers and persecuted them. Everything that was connected with the gypsies was recognized as criminal, including dancing and music.

Bloody persecution did not prevent gypsy folklore from uniting with oriental traditions, which by that time had already taken root among the local population of Andalusia. It was from this moment that flamenco began to emerge - at the junction of several cultures.

Where does the story take us next? In Spanish taverns and pubs. It is here that the local population begins to perform a sensual dance, attracting more and more curious eyes to it. So far, flamenco exists only for a narrow circle of people. But around the middle of the 19th century, the style takes to the streets. Street performances or fiestas are no longer complete without passionate and emotional dance moves flamenco.

And then the dance is waiting for a professional stage. Flamencologists note that the peak of the genre falls on the second half of XIX century, when the Spanish population was crazy about the work of the singer Silverio Franconetti. But the age of dance was fleeting. By the end of the century, flamenco had become a regular entertainment in the eyes of young people. The history of dance, filled with suffering and pain of various nationalities, has remained in the background.

The musician Federico Garcia Lorca and the poet Manuel de Falla did not allow flamenco to be equated with a low-grade art, to allow the genre to leave the cozy streets of Spain forever. With their light suggestion, in 1922 the first Andalusian festival took place. folk singing, where the melodies loved by many Spaniards sounded.

The six-string guitar is the national Spanish instrument, without which flamenco performance is unthinkable.

The traditional women's costume of a flamenco performer is a long floor-length dress or bata de cola. Its obligatory elements are a tight-fitting bodice, a lot of frills and frills along the edge of the skirt and sleeves. Due to the peculiarities of the cut, spectacular movements are obtained during the dance. Doesn't it remind you of anything? Clothing was borrowed from gypsies and became a symbol of femininity and attractiveness.

Flamenco is involuntarily associated with the color red. But professional dancers see it only national stereotype. Where did the myth of the dance dyed red come from? From the name of the style. Translated from the Latin "flamma" means flame, fire. These concepts are invariably associated with shades of red. Also, parallels are drawn with flamingos, whose name is so consonant with a passionate dance.

Another stereotype is associated with castanets. This percussion instrument in the form of two concave plates, which are put on the hands. Yes, their sound is clearly audible during the dance. Yes, dancers use them. But in traditional flamenco, the girls' hands must be free. Where did the tradition of dancing with castanets come from then? Thanks to the audience, which enthusiastically accepted the use of this musical instrument.

The nature of the style largely determines the shoes of the dancers. The toe and heel of the shoes are specially studded with small carnations in order to get a characteristic sound during the performance of the fraction. No wonder flamenco is considered the prototype tap dance.

The Spanish city of Seville is considered one of the most significant in the development of flamenco. There is a museum dedicated to this dance here. It was opened by Christina Hoyos, a famous dancer. This city is popular thanks to literary characters: Don Quixote And Carmen.

Which dancers are associated with flamenco? These are, of course, Antonia Merce i Luca, Carmen Amaya, Mercedes Ruiz and Magdalena Seda.

Flamenco. Battle and Passion

Beats on swarthy shoulders

flock of black butterflies.

white kites of fog

the trail is covered.

She walks a prisoner of rhythm

Which is impossible to reach

With longing in a silver heart,

With a dagger in a silver scabbard.

Where are you taking, sigiriya,

The agony of a singing body?

Which moon did you bequeath

The sadness of oleanders and chalk?

Why can the 15th century be remarkable for us? The collapse of Byzantium and, as a result, the resettlement of gypsies. On the southern coast of the Iberian Peninsula, many of them remained. The Spanish province of Andalusia - this is the place where the local musical traditions were rethought by the newcomers - and was born.

What is flamenco? A Spaniard wrapped in a manton - a Spanish shawl with very long tassels - and holding a large fan in her hands, or a Spaniard beating a zapateado (Spanish - with heels) under measured clapping of his palms - on the one hand. Guitarist and singer - on the other. To understand flamenco, you need to know its language. Every movement, every sound means something. Do not believe those who believe that flamenco can be learned by everyone and in any conditions. Flamenco has to be felt. Flamenco needs to be understood. Flamenco needs to live.

H no accurate music notation melodies, full description dance: there was no need for gypsies to create such clues. They pass on their experience from master to apprentice. Flamenco cannot be non-gypsy. For flamenco, there are no limits. When the gypsy soul sings in Spanish, then the crowds dance flamenco in the street. The main thing is to feel the rhythm of heels, put on the palm of your hand castanets - and plunge into the Spanish world. Flamenco has no written rules. In dance, you can be anyone, even a partner of Joaquin Cortez - the most popular flamenco dancer today and the Gypsy ambassador to the EU. Even if you don’t have a traditional manton on you. Castanets, a fan and the Spanish soul are more important. The great cantaor Manuel Torres once said to a singer: Duende - this is the invisible force that helps to convey art to the audience” It is difficult to understand, as, indeed, all flamenco. Flamenco can be felt, but impossible to explain.

Duende is the soul. The soul is flamenco."

HISTORY AND GEOGRAPHY OF FLAMENCO

F lamenco(flamenco)- a traditional music and dance style originating from Spain. Flamenco as a musical style includes many genres that are song and dance or song forms.

Tili (palos) differ in rhythmic pattern. Many rhythms are one of the characteristic features of flamenco. The most popular palos are tones, solea, fandango and seguiriya (Tona, Solea, Fandango, Seguiriya)- belong to the category cante hondo (cante jondo).T dances and flamenco songs, as a rule, are accompanied by a guitar and percussion: rhythmic clapping of hands (palmas), playing the cajon; sometimes with castanets.

The main elements in flamenco culture are vocal and dance art. Guitar accompaniment in flamenco until recently played a purely subordinate role. At present, flamenco includes poetry, painting, performing arts, customs, jargon, clothing style.

Hurry, hurry quickly! Christ dark-faced from the lilies of native Galilee came for the Spanish carnation. Hurry soon! Spain. In a frosted sky light and empty. tired rivers, dry and resonant clay. Christ sharp-cheeked and swarthy goes past the towers charred strands and his white pupil is terrible. Hurry, hurry for our Lord!

Flamenco arose as a result of five hundred years of interaction between the gypsy and southern Spanish traditions. The main carriers of flamenco are the Andalusian gypsies living small groups in certain quarters of a number of cities, Aflamenco, or rather, its most ancient core, cante hondo, first appeared in Lower Andalusia, to be exact in three cities: Moron de la Frontera, Jerez de la Frontera And Vida.
From these three points, cante jondo began to spread further in four directions:

1. in the direction of the city of Moron Lucena, that is, in the direction of the provinces of Cordoba and Jaén;
2. towards Malaga, Almeria and the coast of the Levant;
3. to Seville and Huelva;
4. to the lands near Seville and Cadiz.

Further, Cante Jondo spread as far as the cities of Mancha Castellana, Extremadura de Badajoz, captured a large part of the southern coast of Portugal, and in the middle of the 19th century reached Madrid and Barcelona, ​​which are now also the largest centers of this music. The main zone of the modern spread of flamenco is Lower Andalusia-, i.e. the province of Cadiz and the southern part of the province of Seville. In this small area, 80% of all genres and forms of flamenco arose, and first of all the most ancient ones - tones, sigiriya, solea, saeta. Kante hondo is preserved there today, retaining all its depth and musical features. There is a wider area around this main flamenco area. "aflamencada" (aflamencada)- strongly influenced by the flamenco style: the provinces of Huelva, Córdoba, Malaga, Granada, Almería, Jaén and Murcia. Here the main genre of flamenco is fandango with its numerous varieties. (Verdiales, Rondenha, Malaguena, Granadina, etc.)

Flamenco, Spanish gypsies, is rapidly transforming into a form of Russian mass culture. Richer people even go to Spain to study it. Poorer - content with lessons in the local dance studios.

What happened, why suddenly the inhabitants and residents of Russian cities - and not some unsettled, but, on the contrary, perfectly adapted, with a secure social status and a good income - are fond of the dance of the Spanish outcasts, vagabonds, outcasts and persecuted?

Didn't Kozma Prutkov even scoff at such a "desire to be a Spaniard" in the century before last?! "Give me Seville, give me a guitar, give Inezil, a pair of castanets ..." And then, they say, it will be real life!.. Sharp! Hot!

Exotic fashion? The one that puts on a par with the love of bored European townspeople to oriental dance belly and diving, to Japanese cuisine in sushi bars and Celtic music? But why, out of all the variety of alien and exotic, does fashion choose this particular one?

Modern amateurs explain their addiction to this dance very simply. It gives them opportunities for self-expression that none of the other forms of current culture available to them can provide. Well, emancipation, of course ... Bank employees and employees of law firms, businessmen and employees law enforcement, chained in everyday life in many disciplinary rules, finally get the opportunity to release, to articulate their inner excess in movement. Anxiety. Anxiety. Longing. Passion. Everything that does not dare to fit into the framework of their boiled and packaged existence. You dance all this - and it's easier ...

Modern man, at least since the time of Freud, has become accustomed to the idea that he is bursting with destructive forces that are inappropriate in our culture and civilization. From infancy, he was taught to suppress, tame them. True, from time to time they break out (war, family scandals and quarrels, nervous breakdowns and mental illnesses...) This means that every culture has to constantly re-create and maintain with great effort various techniques for protecting a person from himself. In some cultures it is a religion. In ours, in my opinion, conversations in the kitchen with friends, diaries and poems written "on the table" ... From the non-verbal - well, except perhaps sports, alcohol with tobacco, walking through the streets ...

Dance is a much more powerful means. At least because it's rhythmic. It differs from the exhaustion of an unsettled soul by wandering the streets, like poetry from prose. In it, the soul is fascinated by the rhythms of its own body. No wonder flamenco is compared with shamanism, with mysticism.

In dance, body and soul, nature and culture forget that they are different: they merge with each other, they are pronounced in each other. In addition to dance, this is possible only in love.

But in its essence and origins - a terrible, "deep" dance. On the verge of life and death. They say that those who have experienced misfortune, loss, collapse can really dance it. Trouble exposes the nerves of life. Flamenco is a dance of naked nerves. And he accompanies him in the Spanish tradition of cante jondo - "deep singing". Shouting out the roots of the soul. " black sound". As if not quite music.

At the same time, flamenco is a dance that is regulated in detail, strict, complete.

Conventional, even ceremonial.

F lamenco - dance of the lonely. Perhaps the only folk dance in which you can do without a partner. violent passion merged in it with the strictest chastity: a flamenco dancer does not even accidentally dare to touch his partner. This rampage, this improvisation requires the greatest training of the bodily and mental muscles, the most precise discipline. Some even believe that flamenco is not erotic at all. He is a dialogue, a dispute, a rivalry between the two principles of life - male and female.

Dance your partner. Dance it to death. Flamenco transforms, turns into art exactly what is set in our culture-civilization as tough, merciless rules of life. Head. Aggression. Rivalry. discipline. Loneliness...

Flamenco arose in Andalusia under the influence of the cultures of the peoples who for centuries coexisted on the same territory - Arabic, Jewish, Christian and Gypsy. Echoes of African culture also reached the south of the Iberian Peninsula, mixing Negro rhythms with Andalusian ones.

On the tower

the wind vane rotates.

Turns around by day

spinning at night

spins forever.

Oh, somewhere lost village

in my Andalusia

tearful...

For most "non-Spaniards" classic look Spain is associated with Andalusia. Wide-brimmed sombreros, colorful dresses with frills, a bright flower in her hair and passionate dances. But if we listen to what is sung in flamenco, we will see that in its essence this music is gloomy and dramatic, and folk image Andalusian dancer - only its external, festive side. The land from which flamenco originated is far from the cheerful Andalusia depicted on postcards from souvenir shops.

Flamenco is the ancient art of burning the dark. In the Andalusian song, nostalgia merges with a lyrical protest against injustice and oppression. The Arabs were expelled from Spain in 1492; Jews, of which there were about 100 thousand in Spain in the 5th century, were forced to accept Christian faith not to be persecuted; Gypsies, perpetual nomads who were persecuted, along with their simple belongings, carried with them the traditions of singing and dancing. Each of these peoples at a certain point in history lost their empire and was forced to adapt to new conditions of life, accept someone else's faith, forget their favorite traditions, merge with another culture. Their music became a hidden protest against injustice, a complaint against fate, their songs spoke of the gloomy reality of life. Flamenco is more than music. This is a whole worldview, attitude to life. You don't have to be a flamenco artist to belong to this world. Flamenco is, first of all, everything that is colored strong emotions and emotional experiences.

Dagger

sharp blade

enters the heart

how does the plow enter

in a scorched meadow.

No,

don't pierce my heart

No.

Dagger,

like a ray of sunshine

vibrating wave,

the depth of my soul.

No,

don't pierce my heart

No.

The main categories of the population of Andalusia at that time were the nobility, the clergy, the bourgeoisie, artisans, workers, gypsies, as well as a layer that, in terms of its well-being, was at the lowest social level, consisting mainly of beggars and vagabonds. The villagers actively moved to the city, mainly due to the disastrous state of the villages, crushed by the rich nobility and plunged into poverty. In this atmosphere, flamenco gained strength and began to gain popularity, but until the last third of the 19th century it was not a public property and was not known outside a narrow circle of fans.

Home was the home of flamenco. In traditional Spanish housing, all apartments lined up around a common patio. (patio), which was a kind of center of the whole house. Such a layout implied rather close communication between neighbors, who were often members of one large family or clan. Inside the house, the patio was the place where holidays were celebrated and the secrets of singing were passed on.

All this happened in a limited circle of relatives, so many of the most significant names in flamenco are family dynasties, where the secrets of mastery were passed down from generation to generation. Music was perceived as a dialogue, communication, and this explains its improvisational nature. A dialogue between two cantaors, a cantaor and a guitarist, song and dance.

Gradually, the patio life was more and more transferred to the street, for example, during the celebration of weddings, baptisms and other events. In some gypsy settlements these flamenco fiestas " took on their own form. They passed outside the city, in temporary settlements of gypsies. In addition to members of the same family, they were sometimes open to a wider public, where cantaors gained fame by demonstrating their abilities and their individual style of performance. Going beyond the family circle, flamenco begins to penetrate into other areas of Andalusian society. Famous cantaors and bailors begin to take part in domestic fiestas.

IN late XVIII century flamenco has already sounded in the taverns and inns of the Andalusian roads. In Seville and Jerez, festivals dedicated to the patron saint of a city or region were the occasion for a flamenco fiesta, not to mention the fact that in taverns one could always listen to a cantaor or sing a song between two glasses. It was as natural for people to sing as it was to talk. Flamenco was already so widespread that the owners of some establishments began to impose bans on the performance of songs there, in some places one could find a poster "Singing and dancing is prohibited" ). Flamenco becomes a state of the art of the general public with the advent of special artistic cafes in which flamenco performers performed. The first such cafe was opened in Seville in 1842, followed by others, and by the 70s of the 19th century, numerous "cantante cafes" were created in the cities of Seville, Cadiz, Jerez de la Frontera, Puerto de Santa -Maria, Malaga, Granada, Cartagena, La Unión, and in the wake of them and outside of Andalusia - in Madrid, Barcelona, ​​Bilbao.

E poha cafe cantante is considered the golden age. Then the greatest creators of flamenco shone. Everything that was created then is a standard, everything that was created later is no longer considered pure. But despite the heyday that flamenco reached in the middle of the 19th century, by the end of the century, cafe cantante began to decline. Gradually, a situation began to emerge in which the cafe, whose customers themselves dictated the repertoire, brought the greatest income. The principle "he who pays orders the music" began to operate, and in the end the repertoire of the cafe cantante began to be limited. The themes of the songs began to be reduced to the most popular among cafe visitors - about love and death. The aesthetic content of cante jondo songs began to decline, sometimes descending to outright vulgarity. Kante hondo ceases to be the voice of the soul, and begins to depend on the interests of the one who pays. The time is passing when the cantaor owed only to himself and his heart, now his repertoire is subordinated to the profession. Flamenco song lyrics turn into a solid melodrama about unhappy love. Cantaors learn to put on a mask and imitate their passion and pain. But still, these big city cafes were neither the best nor the only ones. still keptplaces where the true tradition of cante jondo continued to sound. Many performers sought to maintain the purity of style. They were not professionals and kept their skills only for themselves and a narrow circle of connoisseurs. These were the people who believed that the cante jondo could not exist in a cafe or on a tablao. Many professionals aspired to attend such small evenings in order to learn the secrets from these humble maestros. A real flamenco fiesta, where no outside audience was present, usually took place in some tavern, where participants gathered, drank wine, sang and danced. Even if there was no guitar at hand, the cantaors sang to the beat of heels and clapping their hands. In such places and in this atmosphere, a real cante jondo was preserved, and its strength lay in the ability of the cantaor to enjoy his singing himself and convey all its depth to the listeners, while giving a part of himself. Thanks to such cantaors, the cante jondo has been preserved in its original, "primitive" form to this day.

They began to talk about the revival of flamenco in 1922, when, on the initiative of the composer Manuel de Falla and Federico Garcia Lorca, a cante jondo festival was organized in Granada. The purpose of the festival was to collect authentic cante jondo tunes, discover new talents and revive interest in this ancient art. Professionals were not allowed to participate, as the main thing was to find samples of true folk art, to show the public the true spirit of flamenco, not a polished performance.
The Spaniards were urged not to confuse the greatest treasure of the cante jondo with tavern singing and revelry, to think about its fate and make every effort to save it, since there is nothing equal to these songs in Spain in terms of feeling, richness, or tone.

DUENDE FLAMENCO

Dancing in Seville Carmen

at the walls blue from chalk,

and frying the pupils of Carmen,

and her hair is snow white.

Girls close the shutters

don't look.

The snake in the hair turns yellow,

and as if from far away

dancing, the former rises

and raves about old love.

Girls close the shutters

don't look.

Deserted courtyards of Seville,

and in their depths of the evening

Andalusian hearts dream

Traces of forgotten thorns.

Girls close the shutters

Don't look.

D wende is the soul of flamenco performance, without which this art becomes impossible. This word is of Spanish origin, literally it translates as "spirit", "invisible", "brownie", but in relation to art it has acquired a different meaning, and could be translated rather as "feeling", "fire" or "magic" . We say "There is no fire in it", in Spain "No tiene duende". Flamenco artists are well aware that their art will not reach the soul if it does not have this fire in it. Anyone who has seen true flamenco will never confuse it with a fake. The performer must be inspired, must have a special state of mind, from his emotional state depends on whether the song reaches the soul of the listeners. In addition, flamenco is an improvisational genre, and improvisation is impossible without inspiration. That is why many recordings made in the studio lose this "feeling" because it cannot be repeated or imitated. One cantaor flamenco Jose de los Reyes El Negro talked about the need to feel the moment when it will be possible to sing the best way giving the best part of yourself to the song. He once admitted that being in the studio during the recording of his album, he could not "get into the situation" in any way, which means he could not sing "at his pleasure" just because he was warned: "When the red light comes on, start singing!" Another outstanding cantaor of the "old school" Antonio Mairena, said that his "no valen na" recordings are worth nothing, because they are "morning recordings", and special inspiration came to him only at night.

If flamenco cante is an expression of what can be felt but impossible to explain, then duende is the force that helps bring this art to the listeners. This concept can apply not only to flamenco, but also to any other art. Goethe defined the duende thus, speaking of Paganini: "A mysterious power that everyone feels and no philosopher can explain." The Spanish poet Federico Garcia Lorca creates a whole theory of the duende, personifying it and endowing it with demonic features. He says duende is possible in any art, but "he has more space in music, dance and oral poetry, which need to be embodied in a living human body."

The concept of "duende" has long existed in Spain. Duende is a demon who turns song into magic and dance into shamanism. This is the soul of flamenco, without which it does not exist. Lorca says that by Spanish art "Initially, the tart duende rules, unbridled and lonely."

"One day, the Andalusian singer Pastora Pavón, the Girl with the Combs, a gloomy Spanish spirit with a fantasy to match Goya or Rafael El Gallo, sang in one of the taverns of Cadiz. She played with her dark voice, mossy, shimmering, melting like pewter, wrapped him in strands of her hair, bathed him in manzanilla, led him into the distant deaf jungle. And all in vain. Silence all around...
... Only a malicious little man, like those springy imps that jump out of a bottle, said in an undertone: "Long live Paris!" - and this sounded: "We do not need any inclinations or training. We need something else." And then the Girl with the Combs jumped up, wild as an ancient mourner, drank a glass of fiery casaglia in one gulp and sang, with a scorched throat, without breath, without a voice, without anything, but ... with duende. She knocked out all the supports from the song in order to give way to the violent burning duende, the brother of the Samum, and he forced the audience to tear their clothes, as the Negroes of Antilles tear them in a trance in front of the image of St. Barbara.

Lorca distinguishes three principles in art, personifying them in the images of "angel", "muse" and "duende". An angel illuminates, overshadows with grace, and a person creates without effort. Muse dictates, inspires. Duende is not just an inspiration, it is a force - with which one must fight. The muse and the angel descend, the duende must be awakened by himself. "The approach of duende marks the breaking of the canon and an unprecedented, unthinkable freshness - it is like a blossoming rose, like a miracle and awakens almost religious delight. Duende sweeps away cozy, hardened geometry, breaks style; it was he who made Goya, the master of silver, gray and pink modulations of the English school , with knees and fists to rub black var into canvases ... " Comparing flamenco with ballet, the Spanish dancer Susana said that, unlike ballet, no one finishes dancing early in flamenco, there is no age limit in this art. And people dance in flamenco not because the curtain has been raised or a number has been announced, but because "I want it now!", because an inner need arises.

D wende turns the dance more into shamanism, into magic, there is something primitive in this, coming from the ancients ritual dances. “Once at a dance competition in Jerez de la Frontera, the first prize for young beauties with a body seething like water was pulled out by an eighty-year-old old woman - just by the way she raised her arms, threw her head and beat her heel on the stage. But all these muses and the angels that smiled and captivated could not help but yield, and yielded to the half-dead duende, barely dragging the rusty blades of its wings."

"Only one duende is not capable - to repeat.

Duende does not repeat itself, like the appearance of a stormy sea."

Begins

Crying guitar.

breaks down

Morning cup.

Begins

Crying guitar.

Oh don't wait on her

Silence

Don't ask her

Silence!

relentlessly

The guitar is crying

Like water through the channels - crying.

Like the wind over the snow - crying,

Do not beg her for silence!

So the sunset cries for the dawn,

So an arrow cries without a target,

So hot sand cries

About the cool beauty of camellias.

So the bird says goodbye to life

Under the threat of a snake sting.

Oh guitar

poor victim

Five nimble daggers!

Solea

Dressed in a black dress the whole world seems small to her, and the heart is huge. Dressed in a black dress. She thinks bitter moans and gentle passionate sighs drown in the current of the wind. Dressed in a black dress. The balcony was open and through the balcony railing - dawn spilled across the sky. Ai-yay-yay-yay-yay, wearing a black dress!

Peteneres in the garden

In the garden night whitewashed with chalk, dancing six gypsies in white. In the night of the garden... Rosans and poppies in their wreaths of dyed paper. In the night of the garden... Like a candle flame dusk is scorched pearl teeth. In the garden night For one another shadows rise, the sky reaching.

Used verses from a collection of Spanish poetry:

Gabriel Garcia Lorca

POEMS ABOUT KANT HONDO:

Poem about the Gypsy Sigiriya

Solea Poem

Poem about saet

Petenera silhouette

Having captured once, flamenco does not let go. And the duende, the spirit of flamenco, probably moved into me, sometimes forcing me to make a characteristic gesture with my hand, knock out with claps dance rhythm and constantly insert descriptions of Spanish flamenco into everything I write. Here are some excerpts from works written at different times.

Two episodes from the novel Shakti"

Part one Mother and son. Gypsy destiny. (fragments)

« One of her acquaintances arranged for her to work in the famous Malagenya cafe, for a start, as a simple cleaning lady. Pilar walked between the tables with a cart, on which she collected dirty plates and glasses. She wore a red apron over a black pleated skirt, her most elegant, and tied a white cambric kerchief with lace around her head, tying a knot at the back under the braids. Her braids were thick and ended at her knees. She looked with envy at the girls who came to the cafe accompanied by men in good suits. They had fashionable hairstyles of short curly hair, bright dresses with short sleeves and lace collars, and elegant high-heeled shoes on their feet. The men accompanying them were artists, and more often musicians, and came to listen to the famous Andalusian songs sung by Manuel Retana, better known as Manolo. Flamenco dancers performed after his songs. When visitors, forgetting about food and full glasses of wine, began enthusiastically beating the rhythm with their palms, cheering the dancers with cries of "Ole!", Pilar could not help but also beat the rhythm with the heels of coarse leather shoes.

Once the music suddenly stopped, she finished an intricate fraction in complete silence and was embarrassed by the general attention. "Hey, let the girl dance!" - the tipsy visitor shouted, and he was supported from other tables. "Go!" - pushed her owner, reasoning that if she fails, she will simply amuse the audience. Pilar took off her kerchief and, shaking her braids, went out onto the platform, putting on her castanets as she went. "What do you want to play?" the guitarist asked, and she shrugged, "Whatever you want!" The guitarists played the then popular Malagenya. Pilar danced the way her grandmother had taught her, holding her back straight and turning her head proudly. She danced without urban frills, like a real Andalusian gypsy. Gradually, the hall froze, carried away. Then a short, strong man unexpectedly jumped out onto the dais and began to dance with her the way peasants dance in the small villages of Andalusia, simply, without fanfare, chastely and passionately. Pilar's heels echoed the castanets, her hands flew up smoothly like wings, her fingers opened like a magic flower, her face was almost stern, and when they finished dancing, there was silence in the hall for a while, and then applause was heard.

The man grabbed her hand and asked without any preamble: "Will you go with my theater around the country?" She looked at him in surprise and shook her head. But she did not forget this dance with the famous poet, remembering for the rest of her life his cheerful eyes and round smiling face, his strong body of an Andalusian peasant and graceful hands. Later, Pilar found out who he was and what his name was, read his poems and wept with delight and regret about pipe dreams. And looking at his plays in the theater, she dreamed of how she herself would play in them and dance flamenco. Meanwhile, she continued to work in the same cafe, collecting dirty dishes, then she was transferred to the waitress. But sometimes, when connoisseurs gathered in a cafe, she was asked to dance, and she danced to the measured clapping of her palms.

part four. Witch dreams. (fragment)

“... - Tomorrow I will tell you the story of how I found lost family and now let's celebrate my return to my father's house after so many years! Over the years, generations have died and been born, our parents, Pablo and Maria, are gone, my beloved grandmother Pilar is gone, but our children and grandchildren delight us with the fact that our family continues and will never run out! Tomorrow we will all go to the cathedral to pray for this Virgin Mary.

You said well, old woman of the family! Fernando said.

And what, Fernando, are you still the best flamenco dancer? - asked the grandmother, smiling slyly.

Bring the guitars, - he grinned smugly in response, - Maria, granddaughter, come here, sing us a song about the death of a dove.

Pilar frowned, but when Maria sang a gypsy ballad in a clear low, slightly guttural voice, she closed her eyes and immersed herself in the melody familiar from childhood. Pilar, fifteen years old, José's granddaughter, stepped out into the middle of the terrace to the sound of guitars and began to dance, following the rhythm with concentration and waving the hem of a short skirt not quite adapted for this. She was replaced by old Fernando, and Inga suddenly realized that he was very young at seventy-five. The lithe body turned gracefully in place, curving like a toreador letting a bull through with a wave of a red muleta. A click of his heels on the stone tiles of the floor - and again a smooth turn, bending a little, it seems so - a centimeter from the deadly horns. Inga looked, leaning forward, and heard Ilya's enthusiastic breathing behind her back. Fernando made an imperceptible movement with his hand and, obeying him, Grandma Pilar got up from her seat. Keeping her back even straighter than ever, she walked towards Fernando, gently swaying her hips and clapping her handsleft ear. And suddenly her hands, like the wings of a flying bird, made a wide wave and joined above her head, and then opened like a bizarre magic flower. Now everyone was clapping, bringing out a whimsical rhythm, the guitars wove their own ligature into it, and the heels of my grandmother's expensive model sandals loudly knocked out another melody. All this hypnotized Inga, as a dull and measured drumbeat can hypnotize. Everything inside her boiled, and the blood in her temples echoed the rhythmic pops. When Pilar sat down on a chair, not at all out of breath, young Paco stepped into the circle. Here Inga's heart pounded like a hammer, the spectacle was amazing. His body seemed tense, like a string, and relaxed at the same time, it flowed and shimmered in motion, remaining restrained, even by the stern body of a Spanish man. It was almost unbearable perfection. Inga held her breath. Paco caught the look of her widened eyes and, not looking up from him, danced on only for Inga. It was so beautiful that she gasped in excitement and did not feel Ilya's hand squeeze her elbow. She came to her senses when old Jose sang in a slightly cracked voice a drawn-out song with a complex rhythm and recitatives. Inga noticed that she continued to look straight into Paco's eyes, became embarrassed and, smiling, looked away. An unfamiliar elderly woman called the girls to her with a nod, and now they put refreshments on the table, filled the mugs with wine again.

"Let's dance, Betsy, let's dance!" ( fragment)

“Our film is shown successfully in Europe. At the end of April, Vittorio, Francesco and Giancarlo Fiori, who played the male lead, are flying to Spain. While the competition screenings are going on, Francesco and I are going to Granada for a few days. He had long dreamed of seeing real flamenco dances. Francesco was expected in early May in Paris, where I arranged an internship for him. These days before parting are beautiful. Granada fantastic city, and we admire it all our free time, but there are not so many of them.

We spend whole days in studios where flamenco is taught and in taverns where amateur dancers gather. This is insanely interesting, I sit with my mouth open, watching how the Spaniards effortlessly beat out one rhythm with castanets, another with the heels of leather shoes, and their legs and bodies obey the mysterious ancient canons, which in total gives a surprisingly harmonious, restrained and fiery dance at the same time, more beautiful which I have not seen. Francesco is immediately taken for his own, respectfully patting on the shoulder when he repeats after them the most complex rhythmic movements. These dances are such a wonderful spectacle that I sit meekly for hours with a cup of coffee and a mug of red and thick wine with a tart and exciting aroma, watching the dancers. Nothing more beautiful than dancing spanish man, I did not see. Their grace of a wild animal and restrained masculinity, exploding suddenly with an indomitable temperament, catch the eye and make some kind of string tremble in the depths of the chest. All this impresses us with sensuality and Spanish madness and gives a special touch to our nights. Either having learned courageous perseverance in dancing, or realizing the inevitability of parting, Francesco suddenly turns into an extraordinary lover.

Flamenco is a Spanish musical style that combines singing (usually there are few words in songs), dance and musical accompaniment (usually danced to a guitar, hand and heel strikes are made according to a predetermined tempo).

What is flamenco.

Spanish flamenco dance is very popular today. Many true connoisseurs Flamenco has come up with many ramifications and variations in its style.
It was shaped by the rich historical heritage that the Spanish land has been exposed to. Arabs, Byzantines, Hindus and Greeks, Gypsies and Spaniards have minted the sides and images of flamenco for centuries.
The history of flamenco goes back to the distant past - about 500 years ago. But the gypsies played a special role. In the 15th century they arrived in the Iberian Peninsula from Asia. Settling in the historical region of Andalusia, over the years the Byzantine gypsies mingled with the local population.
Since the gypsies are famous for their ability to sing and dance, a piece of gypsy music and dance mixed with Spanish, which eventually grew into something similar to today's flamenco. But only after 3 centuries in given style a guitar was added, without which today's flamenco is unthinkable.
Spain is always open to tourists and travelers who are not indifferent to music, dancing and singing. This country can truly amaze with its charm and charm, and ancient folklore can lure headlong into a pool of passion and madness, because flamenco is not just a dance, it is folklore mixed with music, as well as the feelings of the dancer and his soul.

Where can you see flamenco in Spain.

Spain provides the opportunity to see a live dance performance (there you can also try all the variety):

• 2 times a year, the festival is called "Bienal de Flamenco" (free entry). The festival lasts 28 days. The history of this festival is 35 years old, but it has already gained popularity in many parts of the world as the most chic and grandiose flamenco festival in Spain;
• in addition to the festival in Seville, in local tablaos (tablao is a bar where flamenco dance is performed), you can get acquainted with flamenco at any time of the year. The most popular tablaos are: Casa Anselma (starting at 24:00, daily, admission is free), Los Galos (starting at 20:00, daily, admission 35 euros per person), Auditorio Alvarez Quintero (starting at 19:00) , daily, entry 17 euros per person).

In other cities, Spanish flamenco dance is also popular and in demand among tourists and travelers:

• in Jerez - the festival "Fiesta de la Bulerie" takes place once a year, the date must be specified on the city's website;
• in Cadiz - you can visit the local tablaos of the city and feel the beauty of flamenco;
• in Barcelona - autumn festival flamenco takes place in the Cordobes tablao (minimum entry fee 45 euros per person), where the best Catalan flamenco performers perform;
• in Granada - in the local tablaos of the city;
• c - in the tablao Villa Rosa (min. cost - 32 euros per person), tablao Corral de la Moreia (min. cost - 39 euros per person);
• in Cordoba - in the local tablaos of the city.

Flamenco in the caves of Granada.

In addition to festivals and tablaos, flamenco has its roots deep in, where local gypsies dance zambra in the caves of Mount Sacromonte. Granada is considered the birthplace of the Zambra, as this dance was born here, in which guitar motifs are closely intertwined with singing.
The Spanish gypsies in Granada have been keeping the secret of performing real flamenco for 5 centuries, which is kept secret and passed only from parents to children.
With a strong desire, true connoisseurs of flamenco can visit Granada and the caves of Sacromonte in September from anywhere the globe, because today any tourist organization offers a wide range of vouchers and pleasant discounts for tourist groups.
While in Spain or in Granada, visiting the caves with the performance of the Spanish flamenco dance will be free.

And you know that...

spanish dance flamenco over its long history of existence has acquired legends, amazing stories And interesting facts. Among the most notable events are the following:

• almost to the end of the 19th century. the gypsies danced barefoot;
• the dancer J. Cortes is the ambassador of all gypsies in the EU;
• a flamenco guitar made of cypress;
• an amazing sound from playing the guitar is obtained due to the short and strong blows of the guitarist on the strings;
• usually the performer comes up with the words of the song right off the bat, without much preparation and a pre-planned context;
• usually the flamenco guitarist is considered the most important link and the most revered among the entire dance team;
• almost 90% of flamenco guitarists do not know the notes;
• there are varieties of flamenco: flamenco rock, jazz and pop;
• until the end of the 18th century, flamenco existed only in a narrow circle of gypsy families;
• each Spanish city has its own kind and form of flamenco;
• the largest festival dedicated to flamenco takes place in Seville;
• in Barcelona, ​​in honor of the dance, a restaurant and a museum were opened.

There are many dances in the world. Each nation has its own rhythms and music. But in modern world there is hardly a person who has never heard of Spanish flamenco.

Woman dancing flamenco

Perhaps the most famous performer in the world, whose name is associated with flamenco, was the famous Carmen. A burning beauty with a bright rose in long black hair. Her image has become a symbol of dance for all time.

A woman is dancing to the enchanting sounds of a guitar, accompanied by soulful singing. Her fluffy skirts flutter in time with her movements. Her arms flail like wings fabulous bird. Her eyes are full of passion and fire. Her sexuality attracts men, like the light of a lantern of moths in night darkness. She knows how beautiful she is and is proud of it. But this woman is not cheap, she knows her worth, and only the best can win her heart.

Flamenco - passion, fire, expression of feelings and emotions. There is nothing fictional or fictional in it. He is life itself. It is impossible to perform it without inspiration. Top performers- those who put their soul, passion and awe of the body into flamenco.

Directions of dance

Since ancient times, there have been two directions of flamenco, which differ from each other in style. The ancient cante hondo (means deep) is a historically established cult dance. It expresses the sacred essence of the rushing soul.

The second direction is cante chico (lightweight). This is modern flamenco, which has lost its spiritual component and has become a dance for everyone. In both classes, more than 50 varieties are distinguished, the differences between which can only be understood by an experienced specialist.

Origins of dance

Flamenco is a dance that originated in ancient times. Its origins originate in Moorish culture. In the 15th century, refugees from Byzantium poured into Andalusia. Among them were gypsies, Jews, blacks and other peoples. They all lived as outcasts, people of the lowest class. All the pain of the people splashed out in soul-tearing music, songs and passionate dances. Each nation has contributed to flamenco a part of its cultural heritage a piece of your soul.

In the XVIII century, the situation improved, the persecution of the gypsies stopped, the dancers took to the squares and performed in taverns. Art, which had been considered sacred and forbidden for so many centuries, was released and gained popularity. Spanish flamenco became a symbol of newfound freedom.

Already in the 20th century, Cuban melodies and jazz melodies organically intertwined with traditional Spanish and gypsy elements. The dance was supplemented with elements of classical ballet.

Merging genres

Spanish flamenco dance, in fact, is not only the incendiary movements of a dancer or dancer. This is a symbiosis of musical accompaniment toque, traditionally performed on the guitar, sincere singing of the cante and the dance of the baile itself.

Flamenco is bailora, cantaora and toraora. In the traditional performance, each of them can start their own part. The rest are supportive. Any of the trio can come out first and set the topic. And the rest will pick up her musical, dance or song improvisation. When one of the performers comes to the fore, the rest stay in the background to give the speaker a chance to express their emotions. But during the performance, the roles change. And only at the end they unite in the apogee of the dance, united by a common fire.

Complex rhythms

The musical rhythm of flamenco is difficult to adopt or put into notes. Each time during the performance, the same melody can be played faster and slower, transitions and modulations are added. The true art of dance (Spain) flamenco is passed down from teacher to student.

Performers

Flamenco made famous all over the world famous performers. As soon as the persecution of the gypsies was canceled and the Spaniards learned the beauty of the life-affirming dance, it became extremely popular. Already in 1842, the first flamenco school was opened in Seville. It was from that time that dance became an industry, it lost its sacredness and mystery.

At the turn of the XVIII-XIX centuries, the performer Silverio Fronconetti was known, who brought this ancient art to the masses. His performances were always full of passion and fire. But numerous followers turned flamenco from a sacred dance into a sports one, where the performance technique stood above spiritual depth. It is this option that has become generally accepted throughout the world.

But at home, in Spain, true connoisseurs remained. There, the phrase "There is no fire in him!" Said about a flamenco performer is a "death sentence" for a dancer. There is a known case when an 80-year old woman received the main prize at one of the dance competitions. She plugged the young performers into the belt with her inner fire and passion, reflected in the dance. After all, as the Spaniards say, you need to dance as if death itself is holding you by the shoulder.

Learning process

Flamenco is very popular dance. There are schools in almost every city where they teach it. The flow of those wishing to learn the secrets of mastery does not dry out. And this is not surprising, because it is flamenco that reveals the feminine essence. You can’t be modest in life and perform movements on stage with fervor. Having started training, a woman changes internally, she is freed from complexes, knows herself, opens like a bud. You can start training at least at the age of 6, at least at 86. There are no restrictions.

In Spain, everyone is offered to take a basic flamenco course for beginners, consisting of 10 lessons, which are held 2 times a week. You can learn the basics of dance in less than a month, but it will take years of work to become a professional.

A good teacher, first of all, will make a woman fall in love with herself. After all, only a woman who is proud of her beauty can adequately present herself in dance.

The main posture is the posture of complete self-satisfaction. The proud beauty does not know complexes, does not see flaws in herself, and certainly will not tell others about them. After that, feminine gestures, steps, turns are worked out. The dancer is a queen, and the audience, looking at her with admiration, sees in her an unearthly woman.

Why you should learn flamenco

Every girl, regardless of the date of birth, standing in the passport, should try herself in flamenco. Learning this dance reveals hidden reserves in a woman. After a few months of classes, she will understand that in life there is no place for pretense and fears. A woman is strong and beautiful, she cannot be broken by everyday difficulties. She loves and is loved.

Besides regular workouts significantly improve the figure. The main requirement for all dancers is a straight back as a symbol of an unbending character. You can forget about scoliosis and stoop after the first classes.

An important element of the dance is the beating of shots with the feet. Honing these exercises makes the muscles of the legs toned and elastic, and the legs are slender and beautiful.

The dancer's arms should flutter like wings. Masters teach to bend them beautifully and gracefully.

Regular exercises will inevitably lead to an improvement in the figure, pulling up all the muscles, and improving their relief. Beautiful posture is another important plus from classes. Well, self-confidence and getting rid of an inferiority complex will be a nice bonus.

Flamenco treats problems of this kind better than any psychologists.

Dancewear

Flamenco is a dance with gypsy roots. The dress for the dancer resembles the traditional dress of the representative nomadic people. Skirt to the floor is made of multi-colored fabric. It can be layered or decorated with frills and flounces. During the movement, the dancer seems to be embraced by the waves of her own dress. An integral part of the dance is the play with the hem, which resembles that unrestrained sea ​​waves, then tongues of burning flame. This dress is necessarily bright, catchy - no pastel colors!

A shawl with long tassels is another element of women's costume. It can be tied around the waist, emphasizing the slimness of the silhouette, or thrown over the shoulders. In this case, it forms the silhouette of a soaring bird in motion.

Often dancers perform with a fan, literally hypnotizing the audience and keeping them in suspense until last moment. Each attribute, while moving to the music, seems to come to life, making its own additions to the story of the performer.

An important detail of the costume is shoes with heels, with which the performer taps out the rhythm. Castanets can be in the hands, which make clicks and set the pace for movements and music.

Men performing flamenco (photo in the article) dress in dark trousers with a wide belt and a snow-white shirt. You can complement the outfit with a short vest. The image of the performer is concise and strict. This is the very embodiment of masculinity and stature.

Important elements

During the performance of flamenco, the dancer does not soar above the ground, on the contrary, he stands confidently, as if taking a firm, life-affirming position. It is a symbol of safety and security. He took his place, it belongs to him by right, at least for the duration of the dance.

In the movements of each part of the body, a story about life is revealed, a story about what excites each individually and all together. From chest experiences, resentment, love and sadness come out. The dancer's shoulders speak of the burden of responsibility and age-old oppression. Brushes talk about feelings, this is the most expressive part of the performer's body. Widely spaced elbows seem to allow him to take a firm position in life, to free a piece under the sky for himself. The spine is the basis of the dance. It symbolizes inflexibility of character, fortitude and perseverance.

The movements in flamenco are simple, there are not so many of them. But each one is filled deep meaning, conceals the wisdom of the ages. Knowing the language dance can tell the world its story, make all spectators empathize. This is the path that leads to inner liberation and joy, although outwardly it is filled with sadness and pain.

New forms

Throughout history, flamenco has changed, experienced ups and downs. And let today connoisseurs say that this art form is dead, but interest in it has not faded. On the contrary, new types and trends appear, based on the traditional performance and supplemented modern forms. This is how flamenco pop, flamenco rock, flamenco jazz and gypsy rumba appeared. Each of them has the right to life and finds fans and followers. But still a favorite!

It is difficult for a beginner to understand these currents. But everyone can find what he really likes. The main thing is to understand the spirit of the dance, comprehend the deep meaning of the movements and put feelings into the performance of each step.

When you see an ad for a flamenco school, you should not pass by. Perhaps it is fate itself that gives a sign that it is time to change your life, open up and fly. And the dance is The best way make it beautiful and worthy.

Today, many women and even men want not just to do fitness, but to do it beautifully, not only to lose weight and strengthen muscles, but also to develop grace and plasticity. That is why dances have become so popular: latin, tango, breakdance, hustle, salsa and, finally, flamenco, the hit of the season.

Many have heard about flamenco, some have seen it, but few of the uninitiated know how and where to dance it.

Why dance

Flamenco is a special combination of dance ( baile), accompaniment ( current) and vocals ( cante), which originated in southwestern Spain, in Andalusia. This is not just an art form, but a whole culture, the main motive of which is sensuality.

Today, flamenco is not only created, but also studied. In 1955, Gonzalez Clement wrote a book called Flamencology, which marked the beginning of the eponymous field of art history.

And in 1958, the first department of flamencology was opened in Jerez de la Frontera. Its employees study the origin of flamenco, its original style, traditions and evolution.

Leaving aside singing and playing musical instruments, as well as deeper spiritual aspects, let's take a closer look at the choreographic component. First of all, flamenco is very beautiful dance. The sound of heels, sharp and at the same time elegant movements, fluttering skirt - all this creates a special emotional mood. Flamenco allows you to show your mood and sexuality in dance. In addition, flamenco classes develop coordination and improve posture. Finally, it's just one of the ways to keep fit.

Who is dancing

In flamenco, there are no restrictions on gender, age and build. You can come with or without a partner: one person, a couple or a group can dance flamenco, there is no special canons. This does not mean that flamenco is a sexless dance, it just has both male and female elements, and they can be combined in different ways. A characteristic male dance is the tapping of rhythms with their feet, and the female dance is sometimes graceful, sometimes smooth, sometimes unexpectedly. jerky movements corps.

Flamenco does not require a thorough physical preparation or the ability to sit on a twine. It is more important to feel the music and rhythm, however, having a musical education is also not necessary. It is worth remembering that many flamenco masters were not professional musicians, and melodies were passed from teacher to student without any musical notation.

In general, almost anyone can do flamenco. The main thing is that there are no contraindications for health reasons. During the dance, the increased load falls on the legs, spine, neck. Therefore, people with diseases of the musculoskeletal system should first consult a doctor before going to a dance class.

How are the classes

In most schools, beginners dance twice a week for 1–1.5 hours. Most likely, you will be offered several types of classes: in addition to the dances themselves, there are special classes by rhythms (comp. A c) that form the basis of flamenco. In some schools, dances are held under live music, but records are most commonly used.

What to dance

To dance flamenco you need a special outfit. According to the classical canons, the dancer wears a traditional dress with frills and frills, and her partner wears dark trousers, a wide belt and a white shirt with wide sleeves. And of course, both of them absolutely need ringing heels to beat out clear rhythms.

If you are not going, at least at first, to participate in performances, you can approach the choice of clothing in a simpler way: any comfortable sports suit. The most important thing is shoes. You need to buy shoes (well-fitting on the foot) or boots with a stable wide heel (4-7 cm) with round toes. There are also special shoes for flamenco, which are sold in specialized dance stores. In the future, women will need a skirt that fits the hips and flares down - it can be sewn to order.

Where to dance

Flamenco can be studied at many multidisciplinary dance schools, but there are also narrowly focused institutions. Here are just some of the Moscow flamenco schools.

1. School of flamenco dance "Pasion Flamenco" - tel. (495) 649–90–24

The school is organized in partnership with the Spanish center, so the emphasis here is on the transmission of primordial traditions. In this large-scale school, children and adults are taught in several halls at Kuznetsky Most, Pushkinskaya, Smolenskaya and Akademicheskaya, including on an individual schedule. The cost of eight classes is 3000 rubles.

2. School of dance and music "Territory of Flamenco" - tel. +7(909) 973–95–93, +7(926) 524–17–60

In addition to dancing and rhythm classes, there is a vocal and guitar class. Groups of beginners are recruited regularly. Classes are held near the metro station "Serpukhovskaya" (ICC Moskvorechye).

3. School of flamenco dancing by Alena Shulgina - tel. 8 (926)-878-78-76

Classes in the evenings twice a week, multi-level groups. The cost of a one-time lesson is 350-450 rubles. Subscription for eight classes 2200-2500 rubles. Classes are held near the Kitai-Gorod and Chekhovskaya metro stations.

4. Dance school of Lilia Safina— tel. 962-04-27, 165-02-48, 518-69-18

Setting the body, hand movements, fractions, working with a skirt, learning rhythm. Flamenco class - 2200 rubles per month for 8 lessons of 1.5 hours, 2400 rubles for 9 lessons. Classes are held near the metro station "Ulitsa Podbelskogo".

For those who are already involved in flamenco and want to improve their skills, master classes are regularly held by artists. The best school Flamenco remains Spanish, so it can be useful to learn from Spanish masters who come to Russia.

If you want not only to dance yourself, but also to see how the masters do it - no problem. Moscow regularly, almost every week, hosts concerts, evenings and even flamenco festivals. The next major event is the ballet of Antonio Gades on March 16–19 at the Variety Theatre.

Olga Dobrushina