“Flamenco without borders”

is the continuation of the project “Flamenco entre dos orillas” (Flamenco between two shores) that we started in the Río de la Plata and that now takes us to Mexican lands. A didactic project that aims to show students new keys to understand the amenco through the approach and understanding of Andalusian art with other music, in this case traditional Mexican music, in a simple, fun and interactive way.
The project is aimed at both primary (6-12 year olds) and secondary (12-16 year olds), adapting the format to one or the other respectively.

The activity is structured in three clearly defined parts:

1. -THEATRIC INTRODUCTION.

A wandering gypsy woman who has been walking from India… tells us the story of her cousins (the Asian Indians, the origin of the current gypsies) since she arrived – rum in Andalusia at the beginning of the 15th century, until today.

He is followed by a very special emigrant; he is a joyful Mexican mariachi who, in addition to his music, carries a message of brotherhood between cultures, tolerance and respect, empathy towards those who by circumstances of life are forced to emigrate from their countries of origin.

Both characters illustrate the lived experiences, relying on images that convey the value of music as a vehicle for cultural integration.

In this part the students will understand amenco as an art born from the mesti- zaje, an example of dialogue between different cultures and customs. He also knows the most representative styles of Mexican folklore and the influence of Andalusian and Spanish music on it.

2.- BASIC KEYS TO UNDERSTAND THE MOST IMPORTANT COMPASSES, RHYTHMS AND STYLES (“PALOS”) of Flamen-co, as well as Mexican folklore.

In this part two more musicians enter the scene to perform the activity with live music.
The students will participate interactively with the artists/rapporteurs in the development of the songs, putting into practice the teachings on accompaniment with clapping, on guitar, cajón and dance, in the different styles; Tangos, bulerías, soleá, etc.

Likewise, you will discover in the map and light the origin of each of the “palos” that make up the genealogical tree of the songs or styles reviewed in the album, locating in each of the pro vines the characteristic seal that contribute to this universal art.

They will also learn the musical theory of the basic keys to understanding traditional Mexican music and practice it with a practical dance class in couples.

3.- CONCERT OF THE MILONGA FLAMENCA WITH MAYTE BELTRAN’ S DANCE

At this point, students will put their acquired knowledge into practice and enjoy live music.

For this purpose, the musicians will perform some of the usual themes of their repertoire, adapted to the quartet format for the occasion.

La Milonga Flamenca is a company of shows from Almeria with roots that are lively but with branches and sweaty, merican leaves. The fruit is the harmonious fu- sion of both music and is evident to the students as a gesture of understanding and dialogue between different cultures, which creates bonds of understanding and fosters emotional bonds.

In 2010 and 2012, FLAMENCO and MARIACHI respectively, were declared by UNESCO as INTANGIBLE HERITAGE OF HUMANITY. LA MILONGA FLAMENCA with this project is committed to continue expanding this heritage, bringing its music to new shores as a vehicle of twinning between cultures.

Duration of the activity

  • Theatrical introduction 20?
  • Basic keys… rhythms and styles 20′
  • Concert 20′
  • Total approximate time: 60′.

Place of celebration

  • Auditorium or classroom equipped for this purpose.

Artists/rapporteurs

  • Mayte Beltrán
    Mauro Rosso
    Antonio “The Wity”
    Jesús de La Guajira

Technical requirements

  • Microphonics:
    1 – Flamenco guitar: Shure Beta 57 or similar.
    2 – Voices: 2 wireless microphones.
    3 – Percussion: 1 microphone for flamenco cajón, 1 ambient.
    4 – Micro feet for all microphones.
    Others:
    5 – Monitors (3)
    6 – Basic lighting equipment.
    7 –
     Projector and projection screen. *The PC from which the projections are controlled must be able to be manipulated from the stage.

Contact