Because the dancer is front and center in a flamenco performance, foreigners often assume the dance is the most important aspect of the art form — in fact, it is the cante which is the heart and soul of the genre.
There are many variants of cantes or palos (song forms), each expressing a unique emotion (which shares noticeable resemblance to Indian classical music).
Meaning "profound" and "deep," this intensely sad form of cante deals with themes of death, anguish, despair, or religious sentiments and may be sung a palo seco (without guitar accompaniment).
I have seen José Menese completely overcome, broken, a literal wreck after doing this song and I believe that if the singer sometimes reaches the kind of state of grace that the Gypsies call duende - and I don't know yet what that is - it is in these unique and unrepeatable moments.Sample Seguiria describing anguish in Caló, Spanish and English: Meaning "intermediate," this form is less profound but also moving, sometimes containing an oriental cast to the music.
Literally meaning "little song," this form of cante sings of lighter subjects including love, bawdy humor and happiness to the accompaniment of the flamenco guitar.
These are the folk song and dances from Andalusia, other Spanish provinces including Galicia and Asturias, as well as South America which have been slightly influenced by traditional flamenco forms.
Among these traditional songs were the tunes, bulerías, jaleos and seguidillas that Lorca himself recorded in 1931 accompanying the famous singer "La Argentinita" with the piano.
[4] The gypsy Pastora María Pavón Cruz known as "La Niña de los Peines" was a very famous cantaora flamenca from Seville.
Originally a blacksmith, El Planeta soon became a renowned leader within the Gypsy community, bearing the honorary title of "Count and Prince of the Fraternity."
Born in Seville in 1890, La Niña de Los Peines is regarded by some as the most exceptional and innovative female flamenco singer of all time.
Affectionately called "La Niña," she was known for her interpretation of the tangos, and was often requested to sing siguiriyas at a time when women did not customarily perform it.
He received his nickname Camarón (Shrimp) early on due to his thin body, light complexion and blond hair, and began performing at the age of eight.
Although trained as a traditional flamenco singer, Camarón broke with convention, incorporating new musical instruments including the drums, zither, flute, moog, and keyboards to name a few.