Entrevistas

Reflections regarding the interviews:

I am astounded, mouth-open, stammering, neither English or Spanish, astounded at the range of responses I am getting from my interviews.

As you know, I am working on a Living Archive for Flamenco trying to find out what people think flamenco is, why it is, what it means, where it comes from, and where it is going. Like any 50s news paper reported, with my straw fedora tilted at an acceptable but slightly rakish angle, "Ma'am, the facts. Just give me the facts." I am trying to get a diversity of respondents--a few days ago I interviewed a group of the most lovely and slightly buzzed older women. The middle, Filomena (?), was a fount of very sincere answers, the woman seated on the right, María--with very red lipstick, was a doll. Giggly, giggly, and well, very endearing. The left, had a few teeth missing but was very kind as well. I notice that if I am approaching someone I don´t know, an "aficionado", I tend to talk to older women. If the person is an artist, they tend to be a younger man. The younger women don´t seem to want to talk to me (I´m not quite sure why), and I´m a little scared of "single", "older" men. I am still a little sensitive from Jonny Blue Eyes.

I notice that most of the respondents who are Andalusian immigrants or charnegos, children born to Andalusian parents in Catalunya, describe their appreciation for flamenco as something being taught in the blood, something learned from the cradle. Filomena, talked about her earliest memories being copla and pasodoble. Joaquín Herrera, spoke of his mother giving him a uklele at the age of 5, because he wanted to play guitar. On the other hand, Santi, the professor, discussed his interest of flamenco coming from his son and a friend, who explained the lyrics of flamenco to him.

Where I have seen the most variation are on two questions. Who or what does Flamenco represent? Spain, Andalusía, the gitanos...? The most fascinating aspect of this is that it seems to differ according to the interviewers position in the "world of flamenco." The artist or teacher, defines flamenco as an international art, one where the student, regardless of nationality, is able to find an individual means of expression for flamenco. On the other hand, the audience views flamenco as a strictly cultural and therefore unique (geographically, culturally, etc.) form of expression.

The second question "Where does Flamenco come from?" also has had a varied answer--though not to the same extent. I find that there are repeated answers, "Flamenco as something without past", epic, mythic (although these are my words). Something that has always been present in society. Edu Cortés had the most interesting and perhaps unexpected response. Flamenco can trace its origins to the historical division of the orchestra, when the guitar and voice were separated together.

Well... those are all of my thoughts for the night. It is almost 1 AM, and despite the fact that I am struggling with my "Spanish-weird-ness" again, I should go to sleep.

In the words of Beethoven, Plaudite, amici, comedia finita est.

Besitos y abrazotes!