la voz flamenca
Dance educator and flamenco cultural consultant Puela Lunaris brings us this special interview with dancer-scholar Fernando López, author of Historia Queer del Flamenco! Together they explore themes ranging from femininity to simplicity to technique, touching on pivotal points of flamenco’s complex history and how they influenced the art form we know today:
“While women doing masculine dance in flamenco, such as La Cuenca and Carmen Amaya, have been extensively studied by scholars and flamenco historians, men doing feminine dance in flamenco have been totally ignored by most flamenco historians and scholars, as if they had never existed…”
To learn more, read the full article below on Puela’s website!
“Defending freedom… is not about imploring mercy or asking permission for being,” writes Argujo, reflecting on Manuel Liñán’s show Pie de hierro (Iron Foot) which headlined the flamenco portion of the Itálica International Dance Festival, coinciding with pride weekend. “We once again celebrated with Liñán the happiness that comes from showing yourself as you are, being able to even play with what tormented you at another time…”
answer: C) None of the above!
While we can estimate that there are at least several dozen flamenco palos, there is no one number that flamencologists agree on! Why is that? Well, you can imagine palos like a tree… while the trunk is comprised of the main foundational palos, each palo has branches of palos that stem from them, from which smaller branches grow, and so on. In other words there are sometimes endless derivatives, making it impossible to settle on an exact count.
To learn all about palos (in depth and breadth) sign up for our virtual class series Palos with Juan Parrilla, starting this Sunday, August 6!