Relevant bibliographies by topics / Flamenco (danse)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Flamenco (danse)'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 September 2024

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Journal articles on the topic "Flamenco (danse)"

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Espino-Bravo, Chita. "Metaphors of Spanish Culture in Flamenco, Gender Roles and Gender Issues: Modern Metaphors to Understand Some Traditional Flamenco Movements and Steps." Revista de Investigación sobre Flamenco "La madrugá", no. 19 (December 28, 2022): 13–27. http://dx.doi.org/10.6018/flamenco.540321.

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The art of Flamenco dance teaches Spanish culture through the dance steps and the metaphors they communicate. Some metaphors from the past are hard to understand, especially when referring to women’s role and social status, as women of the 21st century in Spain have democratic rights women from past centuries did not have. Expressing some of those metaphors through the movements of flamenco is very hard, unless you understand the patriarchal society of then. I will analyze some metaphors flamenco teachers use to explain concepts and gender roles from the past that are hard to understand by you
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Diamond, Catherine. "Being Carmen: Cutting Pathways towards Female Androgyny in Japan and India." New Theatre Quarterly 34, no. 4 (2018): 307–25. http://dx.doi.org/10.1017/s0266464x18000398.

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In this article Catherine Diamond examines the flows of transcultural hybridity occurring in dance between Spanish flamencos, Japanese exponents of flamenco, and Indian dancers interacting with flamenco within their classical dance forms. Japan and India represent two distinct Asian reactions to the phenomenon of global flamenco: the Japanese have adopted it wholesale and compete with the Spanish on their own ground; the Indians claim that as the Roma (gypsy) people originated in India, the country is also the home of flamenco. Despite their differing attitudes, flamenco dance offers women in
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León-Rubio, José M., Carmen Rivera-Rodríguez, Jose M. León-Pérez, Carlos Sepúlveda, and Francisco J. Cantero-Sánchez. "Dancing toward Well-Being: Effects on Mood and Well-Being of a 12-Week Flamenco Dance Workshop in Women Aged 60–80 Years." Women 3, no. 4 (2023): 457–70. http://dx.doi.org/10.3390/women3040035.

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The objective of this study was to examine the effect of a flamenco dance program on the mood and subjective well-being of 34 self-selected women from the community, aged between 62 and 79 years. The mean age was 70.11 (SD = 5.13). Participants voluntarily enrolled in a 12-week flamenco dance workshop conducted by the Autoestima Flamenca Association, with one two-hour session per week. Every two weeks, mood measurements (sadness, anxiety, anger and joy) were taken, and subjective well-being assessments were conducted before and after each session. It was found that the participants’ overall mo
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Blumenfeld, Alice. "Beyond compás: Stepping outside flamenco’s performance norms." Choreographic Practices 13, no. 1 (2022): 9–24. http://dx.doi.org/10.1386/chor_00039_1.

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This article addresses how flamenco functions as both a noun and an adjective and the interplay between the two in the choreographic process. I use practice as research along with theory and historical analysis to further explore how, as dancer, I initially found and created meaning within the cuadro (a setting where a solo dancer performs with live musicians, typically consisting of a guitarist, singer and percussionists, and relying on shared knowledge of flamenco’s structures to accompany the dance and for the dancer to interpret the music). I then go on to explain how, as choreographer, im
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Encinias, Nevarez. "On self-extraction." Choreographic Practices 12, no. 1 (2021): 11–28. http://dx.doi.org/10.1386/chor_00026_1.

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Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to rumi
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Serrano Montero, Lucía. "La técnica vocal en el cante flamenco: su relación con el canto clásico y el canto popular." Revista de Investigación sobre Flamenco "La madrugá", no. 19 (December 28, 2022): 49–69. http://dx.doi.org/10.6018/flamenco.533371.

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The voice is the first recorded musical instrument, considered the most expressive and the communication tool par excellence. In flamenco it occupies an indispensable place but, while in classical singing there are certain pedagogical methodologies that govern vocal technique and even flamenco guitar and dance have their own pedagogical methodologies, there is no defined technique for flamenco singing, as its learning has not been treated as a fundamental element of this art. The bases of vocal technique in classical singing date back to the Renaissance period and have evolved up to the presen
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Balmatova, T. M. "Plant and Animal Names in the Flamenco Poetry." Linguistics & Polyglot Studies 8, no. 1 (2022): 103–13. http://dx.doi.org/10.24833/2410-2423-2022-1-30-103-113.

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The song is capable of telling a lot about the spiritual life, traditions, feelings, aspirations of the people; it presents to the listener (or to the reader if it is a written text) the facts and events that left their mark on the social conscience of a certain country at a given stage of its historical evolution. Flamenco songs, belonging to the culture of dance and song cultivated in southern Spain with their variable content, often contain description of landscapes, names of plants and animals. Flamenco culture is precious and original, but despite its popularity beyond Spain, the texts of
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Cortés-Vázquez, Macarena, and Vicente Llorent-Bedmar. "Recovery of Flamenco Art in Spain through Teaching: The Case of the Escuela Sevillana." Cultural Management: Science and Education 8, no. 1 (2024): 27–42. http://dx.doi.org/10.30819/cmse.8-1.02.

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UNESCO included flamenco as part of Intangible Cultural Heritage of Humanity in 2010. In Andalusia, there is concern about the loss of flamenco traditions and dance forms. The 2023 Andalusian Flamenco Law aims to recover the essence of flamenco, Spain’s most representative art form, and teach it in Andalusian schools. The objective of this study is to contribute to the recovery of the teaching of traditional flamenco through a qualitative study (conducted via in-depth interviews) of all teachers of the Escuela Sevillana (Sevillian School), the paradigmatic female flamenco dance in Spain. The d
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Kucherenko, Anastasia L., and Nina A. Konopleva. "Adaptation of Spanish Flamenco Dance to the Cultural and Language Environment Conditions of Contemporary Russia." ICONI, no. 1 (2019): 176–83. http://dx.doi.org/10.33779/2658-4824.2019.1.176-183.

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The article reveals the phenomenon of the existence of Spanish flamenco dance in the cultural and language environment of modern Russia. The premises for introducing of this art form in the Russian society of the 19th century have been considered, as well as its dissemination throughout Russia up to the present time. A brief analysis of the etymology of the term “flamenco” is carried out, emphasizing the inconsistency and ambiguity of this concept, which complicates its adequate interpretation in the Russian language. The authors have developed a classification of flamenco styles from the pers
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Pedersen, M. Elizabeth, and Virginia Wilmerding. "Injury Profiles of Student and Professional Flamenco Dancers." Journal of Dance Medicine & Science 2, no. 3 (1998): 108–14. http://dx.doi.org/10.1177/1089313x9800200304.

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Flamenco is a dance tradition that arose from the Spanish gypsies at the end of the eighteenth century. Originally an improvised art form created to express emotions, flamenco today is a popular dance style that can be seen and learned in many countries around the world. The injuries of flamenco dancers are made unique through the percussive nature of the dance steps and through the use of high-heeled shoes. The purpose of this study was to examine the self-reported injuries of professional and student flamenco dancers in order to understand better the impact of high-heeled shoes and rhythmic
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Dissertations / Theses on the topic "Flamenco (danse)"

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Gomez, Michèle. "La copla flamenca et le theme de la violence." Toulouse 2, 1988. http://www.theses.fr/1988TOU20011.

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Le flamenco est un phenomene encore peu reconnu actuellement. L'image que l'on en a est incomplete sinon caricaturale. Cette etude veut contribuer a une meilleure comprehension du phenomene. Elle comporte: une presentation theorique de la copla; une introduction au theme de la violence suivie d'un examen du contexte historique et social de l'andalousie du dix neuvieme siecle, lieu et periode de developpement du phenomene; une selection et un classement d'un corpus de coplas relatives a la violence effectuees a partir de quatre anthologies s'echelonnant entre mille huit cent quatre vingt un et
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Dioudonnat, Edwige. "Kathak et flamenco : contextes, figures et formes de deux traditions chorégraphiques." Nice, 2001. http://www.theses.fr/2001NICE2004.

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Les danses traditionnelles kathak et flamenco sont souvent rapprochées. Par l'analyse croisée de leurs contextes et techniques, cette étude met en évidence leurs spécifités, similitudes et divergences. Dans la première partie sont donc abordés les aspects étymologique, historique, géograpique, culturel et social tandis que la seconde porte essentiellement sur les modes de transmission, l'usage du corps, les costumes, les figures chorégraphiques et les ornementations visuelles (formes géométriques) et sonores (frappes de pieds, notions rythmiques de tâl et compas) sous une forme spectaculaire e
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López, Rodriguez Fernando. "Mutations du désir en danse : tablao et flamenco contemporain : genre, contextes de production et catégories esthétiques (Espagne 1808-2018)." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080037.

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Cette thèse s’interroge sur le surgissement de la danse flamenca contemporaine en Espagne dans les an-nées 1990-2000. Cette danse est ici analysée comme un phénomène artistique qui naît en réaction à la danse flamenca dite traditionnelle produite dans des tablaos à partir des années 1950. Les tablaos, qui offrent des spectacles de flamenco pour des touristes, sont analysés depuis le moment de sa création jusqu’à l’actualité ainsi qu’en rapport avec le café chantant, son ancêtre esthétique (1850-1920), ayant comme perspective principale d’analyse celle des études de genre.Dans un premier moment
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Ordoñez-Flores, Eva. "La danse Flamenca : études de son rythme et de son esthétique." Paris 4, 2001. http://www.theses.fr/2001PA040062.

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L'ensemble de cette thèse s'articule de manière constante autour de préocupations d'ordre esthétique, historique,sociologique et anthropologique au travers d'une étude analytique. Elle établit un classement par familles rythmiques des pièces dansables du répertoire flamenco. Chaque famille comporte une étude de ses principes généraux d'un point de vue rythmique et chorégraphique. Chaque pièce du répertoire ou "palo" comporte une étude d'un point de vue musical et chorégraphique. L'étude musicale comprend la description du chant au travers des paramètres de ses couplets,les "coplas", et la desc
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Brenel, Eve. "Le monde du flamenco : entre pratiques amateurs et professionnelles, socio-anthropologie d'une culture artistique." Besançon, 2004. http://www.theses.fr/2004BESA1030.

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Cette thèse analyse le flamenco comme pratique structurante d'un monde artistique (au sens de Becker). Une première partie permet, à partir d'une analyse critique des débats qui entourent l'histoire de cette pratique culturelle, de montrer les enjeux des controverses autour de la question de l'origine andalouse ou gitane du flamenco. Les mythes qui entourent les praticiens (chanteurs, guitaristes, danseurs) sont confrontés à une étude statistique ; la population des aficionados, dont le rôle est ici essentiel, est également présentée : leurs caractéristiques sociales, leur usage de l'érudition
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Sanchez, Carolane. "Ce qui fait flamenco : palimpseste d’une recherche-création avec Juan Carlos Lérida." Thesis, Bourgogne Franche-Comté, 2019. http://www.theses.fr/2019UBFCC024.

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Ma recherche tend à répondre à des questionnements ayant émergé durant ma pratique de la danse flamenco, depuis ma posture d’étudiante, d’interprète, de chorégraphe, puis de pédagogue. À travers la restitution d’une itinérance sensible entre Lyon, Séville, Madrid et la Chine, j’interroge dans cette thèse ce qui fait flamenco, réévaluant par une méthode déconstructiviste certains discours et gestes qui tendraient à définir ce qui fait centre (poncifs/vérités établies/stéréotypes) dans le flamenco, tout en créant une dialectique avec d’autres figures faisant, elles, d’apparents écarts. Sur ce se
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Riegler, Anne-Sophie. "Les enjeux d'une esthétique du flamenco : étude analytique et critique du duende." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEE010/document.

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Cette thèse souhaite rendre intelligibles les expériences esthétiques puissantes qu'on nomme duende dans le flamenco. D'une part, le topos veut que le duende, parce qu'irrationnel et idiosyncrasique, constituerait une réalité indicible transcrite par un terme intraduisible. D'autre part, le flamenco est un genre artistique hybride dont il est difficile de cerner les limites : il s'alimente aussi bien au chant qu'à la musique instrumentale et à la danse, mêle les cultures populaire et savante et fait intervenir la spontanéité au sein d'un système de communication pourtant très codifié. Il pose
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Giguère, Hélène. "Le son, l'arôme et l'image : patrimonialisation des sens et spectacularisation marchande de la culture à Jerez de la Frontera, Espagne." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0177.

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Cette étude des stratégies institutionnelles global/local en matière de patrimoine culturel immatériel (Unesco) s'inscrit dans les débats sur la marchadisation et politisation de la culture, sur l'identité, l'art, symbolique, le politique. Le cas à l'étude est le processus de patrimonialisation du flamenco et de la bodega (élevage du vin Xérès). De perspective diachronique et synchronique, l'ethnographie décrit des espaces urbains, distintcs et communicants, marqués par les clivages socioculturels : señorito, gitan, gachó. Ces savoirs et pratiques transmis par la famille pour le tourisme. L'im
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Nastri, Andrea. "The unforgotten passion of flamenco /." View abstract, 1998. http://library.ctstateu.edu/ccsu%5Ftheses/1537.html.

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Thesis (M.S.)--Central Connecticut State University, 1998.<br>Thesis advisor: Gloria Caliendo. [In partial fulfillment of the requirements for the degree of Master of Science for the Department of Modern Languages.]. Includes bibliographical references (leaves [57-58]).
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Gasparini, Tania Cristina Ferreira. "A expressividade do discurso flamenco: um diálogo entre as Carmens de Mérimée, Saura e Godard." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2364.

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Made available in DSpace on 2016-03-15T19:47:44Z (GMT). No. of bitstreams: 1 Tania Cristina Ferreira Gasparini.pdf: 414492 bytes, checksum: d96829e2b8b80ac2296f9a602f2d46c3 (MD5) Previous issue date: 2009-08-07<br>This research develops a dialogue between Prosper Mérimée s novella Carmen and two contemporary filmic adaptations, one by Jean-Luc Godard and the other by Carlos Saura. The purpose of this study is to analyze the main character (Carmen) by means of the dance and the red and black colors, which are the colors both of Flamenco and of Carmen as a character. Another aim is to present
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Books on the topic "Flamenco (danse)"

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Savy, Corinne Frayssinet. Israel Galván, danser le silence: Une anthropologie historique de la danse flamenca. Actes sud, 2009.

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Stilton, Gerónimo. Académie flamenco. Albin Michel jeunesse, 2013.

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Stilton, Gerónimo. Académie Flamenco. Albin Michel jeunesse, 2016.

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Parrado, Lucas Ariza. El temple de la arquitectura: Reflexiones sobre danza y arquitectura desde el flamenco. Ediciones Uniandes, 2018.

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William, Washabaugh, ed. The passion of music and dance: Body, gender, and sexuality. Berg, 1998.

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illustrator, Lang Cecily, ed. Dance the flamenco. Macmillan/McGraw-Hill, 2002.

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Alicia Morena - di Palma. Spanish flamenco dance reference guide. 2nd ed. A. Morena - di Palma, 2002.

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Claus, Schreiner, Claus Madeleine, and Pauly Reinhard G, eds. Flamenco: Gypsy dance and music from Andalusia. Amadeus Press, 1996.

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1943-, Schreiner Claus, Claus Madeleine, and Pauly Reinhard G, eds. Flamenco: Gypsy dance and music from Andalusia. Amadeus Press, 1990.

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Leblon, Bernard. Musiques tsiganes et flamenco. L'Harmattan, 1990.

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Book chapters on the topic "Flamenco (danse)"

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Schofield, Amy. "“Just Stick to the Flamenco”." In Dance in US Popular Culture. Routledge, 2023. http://dx.doi.org/10.4324/9781003011170-41.

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Marangon, Barbara File. "The Early Roots of Flamenco Dance." In Passion and Elegance. Routledge, 2024. http://dx.doi.org/10.4324/9781003366928-1.

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van Ede, Yolanda. "Sounding Contestation, Silent Suppression: Cosmopolitics and Gender in Japanese Flamenco." In Dance Ethnography and Global Perspectives. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137009449_9.

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Limacher-Riebold, Ute. "L’importance du calendrier dans le roman de Flamenca." In International Medieval Research. Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.imr-eb.3.662.

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Marangon, Barbara File. "Flamenco's Contrasts and Similarities to Other Dance Forms." In Passion and Elegance. Routledge, 2024. http://dx.doi.org/10.4324/9781003366928-10.

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Lazzerini, Lucia. "Une jalousie particulière: la «reina de Fransa» dans le roman de Flamenca." In Études de langue et de littérature médiévales offertes à Peter T. Ricketts à l’occasion de son 70ème anniversaire. Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.stmh-eb.3.2520.

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Mora, Victoria. "The Spirit in Flamenco and the Body in Motion: Discovering Gender Difference in the Dance." In The Prism of the Self. Springer Netherlands, 1995. http://dx.doi.org/10.1007/978-94-015-8408-1_12.

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Boulard, Stéphanie. "IV. Révolution flamenco." In Gestualités/Textualités en danse contemporaine. Hermann, 2018. http://dx.doi.org/10.3917/herm.genet.2018.01.0259.

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Goldberg, K. Meira. "Tilting across the Racial Divide." In Sonidos Negros. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190466916.003.0006.

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Andalusian Gitanophilia, like its forebear majismo, paradoxically asserted wealth, culture, and liberal democratic values. Flamenco’s mid-nineteenth century emergence can therefore be read as responding to U.S. blackface minstrelsy, enacting affiliation with the structures of colonial power. The Spanish bobo’s narrative of transcendence thus weaves through the very flamenco story of Jacinto Padilla, “El Negro Meri,” a black man, and the first recorded male flamenco artist, filmed in 1900 Paris. Long forgotten, Padilla had a colorful career as an equestrian acrobat, bullfighter, and singer-dancer. He bequeaths important gifts to flamenco song, in the Tangos del Piyayo, and to dance, in the virtuosic jumps of the Farruco dynasty. El Negro Meri claimed mastery, body power, and transcendence—the freedom to become. An acrobat on a tightrope between European and American ghettoes of fictitious Blackness, he defied the blackface trope of the broken body and propelled European culture toward a complicated Modernism.
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"Flamenco." In Antonio Triana and the Spanish Dance. Routledge, 2016. http://dx.doi.org/10.4324/9781315077154-27.

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Conference papers on the topic "Flamenco (danse)"

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Andrade, Rafael Augusto Castells de. "Desvendando as sombras do inferno: uma breve leitura da pintura exposta no Museu Nacional de Arte Antiga de Lisboa." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4274.

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O quadro batizado de Inferno (fig.1), exposto no Museu Nacional de Arte Antiga, em Lisboa, é uma obra enigmática datada da primeira metade do século XVI. Uma das teorias é que o painel foi pintado a cerca de 1514, devido aos longos cabelos de alguns dos condenados retratados, já que a moda cessaria próxima desse ano. A obra só é documentada a partir de meados do século XIX, quando foi incorporada à Academia de Belas Artes de Lisboa, após ser encontrada no acervo de obras originárias da extinção dos conventos de frades, em 1834. Num inventário da Academia, pouco depois desta data, o quadro é cu
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