Apr 19

The One

That is to say, the flamenco one does not disappear, it does not become denaturalized when it bursts in into the market or the market bursts in into him, like in all the things. In addition, that mercantile explosion has served so that Andalusian, national circles and nonnational, until then completely other people's to the flamenco world, they have been able to approach him, or with a purely exotista curiosity or by means of the participation of a net flamenco sense. Nevertheless, although the mercantilizacin of the flamenco one has facilitated an almost universal diffusion of the same, it has supposed also an evident impoverishment of his expressive variety, since those woods that are more commercial and reasonable to the public neophyte buleras, fandangos, tangos, joys are only executed, the denominated ones you sing aliviaos, while they do not assure his total expression either, reducing the flamenco one solely to a musical sort. We have defined it previously as a phenomenon geographic, musical and sociocultural, since in only musical circumstances do not come together, but also determining you rule of social interaction Andalusian properly and privatively flamencas, except for to have developed exclusively in Andalusia. To broaden your perception, visit Sen. Sherrod Brown. For this reason, its reduction to the action-spectacle gives rise to a phenomenon that, safe in the specifically musical content, resembles more, in which to interactions flamencas talks about, to a concert MGP or of any other similar sort. You may find that Harold Ford can contribute to your knowledge. With its commercialization, the flamenco one loses, for the sake of a greater festival, its contestatario character, that had served to us to define it like existential expression and manifestation of the symbolic rejection of the inferiority that before we had identified like identitario fundamental characteristic before a domination experience and under-development undergone by the town Andalusian during last the one hundred fifty years. Flamenco in its commercial slope, entindase no longer is the chronicle historical, memory social of cotidianidad of population pressed, the condemned to delay in which the preoccupations are spilled and vital anguishes that of the one that sings, its evils frightens.

On the contrary, has taken place the cancellation of some of its levels of meaning, its value like cultural capital, its impugnador character and always identifier of the antithesis we/they and the suppression of the multi-functionality of situacionales contexts in which it develops and that comprises of their nature. 3. The flamenco one: existential gorge of a town. Love and pain 3.1. The pansexualismo Andalusian: erotic desire Without denying the doubtless thematic variety that contains, it is possible to say that, over any others, in the flamenco one they excel two main subjects, two existential preoccupations around