Flamenquito, what's that?

I recently found out there are two different words used for the music performed by cantaores (flamenco singers) and tocaores (flamenco guitarists): flamenco and flamenquito, too. I was intrigued at first, but then I talked to some friends and did a little thinking. It seems I have worked out an understanding of the term "flamenquito". It was obviously clear to me from the very beginning that, as "-ito" is a typical diminutive affix in Spanish, it should be something considered to be of minor importance, of far lesser value or priority to the audience than Andalusian folk song, flamenco. I must say it's taken as not an ambitious genre, but loved nevertheless. You could define it in terms of folk pop, folk rock, folk metal, folk punk, folk rap, folk reggae, folk fusion, or whatever folk-inclined music you can think of, but it has to answer to some characteristics. It has to have at least one of the following features: el cante (singing), el toque (guitar playing), los jaleos (shouts of encouragement), los pitos (finger snapping), las palmas (rhythmic hand clapping) or playing a wooden box drum, the cajón. 

It'll do: cajón technique by Guillermo García. Image taken from todocajon.com

Now, the singing must be done or refrained by hoarse-sounding flamenco voice, with metallic echoes. Then again, you can perform All My Loving without any changes of any kind if you take care of bringing in handclaps after every phrase to make it a flamenquito. Just that simple! Or not. Anyhow, this would be best explained by an example. Let's take Frankie Valli's 1967 single Can't take my eyes off you covered by the hearty Seville-born singer Alba Molina, daughter of Lole and Manuel, an Andalusian musical duo that has performed flamenquito music since 1972 (listen to Tu mirá from the Kill Bill 2 soundtrack to get an idea of their work). Here they are, the mentioned and some other examples of Alba Molina's style: 

From these to my very favourite flamenquito song ever: Bohemian Nights by Navajita Plateá from Jerez de la Frontera; though I wouldn't say that its authors in their attempts to create music were an out-and-out brilliance, but in songwriting as everywhere else, sometimes just one work is more than enough. Take a look for yourselves: click here for a beautiful piece brought to the stage with Ozzy Osbourne look (who knows why on earth) or watch the videos below: 

Let's continue our tour with music by Maíta Vende Cá, a group from San Fernando (Cádiz) led by the singer Antonio Caña:

And a popular female voice from the same place, San Fernando (Cádiz), Niña Pastori: 

Next, we shouldn't cold-shoulder the boy bands. There is Los Rebujitos, a duo of young guys formed and active in Tarifa, at the very south of Cádiz. You should know I'm absolutely mad about the last of the following videos, I watch it once a month. No overstating here, I'm afraid. Can't get quite enough of the heated singing of the comparsa guys! Here we go: 

Not to mention, Estrella Morente from Granada. Of course, we could no way call all her work a flamenquito, for the pureness it expresses. She has worked with noted tocaores (flamenco guitarists) Juan Habichuela and Pepe Habichuela performing Cante Jondo as well, singing por Bulerías, Tangos, Siguiriyas and Soleares. But she has made some less pretentious music, too:

To go further, why not face our eyes to the direction of Málaga, since there's an all awesome electronic flamenco band Chambao:

What else? You could also listen to Fiesta por Tangos and Fiesta por Bulerías by Samara Vargas, a young singer from Tomares (Sevilla), or watch these videos: 

I would even present to you Los Aslándticos, a fusion group from Córdoba, for I think there's some flamenquito vibe to their style, and I haven't probably gone too far with it, as they have themselves said on a TV programme A Solas that they don't care how they are defined. Here they are for you: 

The most densely populated cities and towns in Andalusia

Here's a list of Andalusia's most densely populated municipalities, all ranking in the top 20 with nearly 2000 inhabitants per km². The information about the number of inhabitants comes from the census carried out by the National Statistics Institute in 2011, while the area of each municipality has been taken from the National Geographic Institute. Note that the population density of Spain is 92.13 people per km² (see a map on www.populationlabs.com).

Municipality	Density per km² (people)
1. Cádiz 2. Castilleja de la Cuesta 3. Fuengirola 4. Armilla 5. Seville 6. Tomares 7. Maracena 8. San Juan de Aznalfarache 9. Gines 10. La Línea de la Concepción 11. Torremolinos 12. Cájar 13. Huétor Vega 14. San Fernando 15. Granada 16. Mairena del Aljarafe 17. Benalmádena 18. Camas 19. Ogíjares 20. Churriana de la Vega	8,162.9 7,928.2 7,189.7 5,064.3 4,989.5 4,732.2 4,622.6 4,561.5 4,547.9 3,365.0 3,342.2 2,946.2 2,802.4 2,744.9 2,713.0 2,383.4 2,380.1 2,209.4 1,934.1 1,925.7

Source: Classora Rankings Group

Most densely populated municipalities in Andalusia. Image taken from Classora's website

A look back in time. History of Andalusia

I think you'd need a timeline that gave you the necessary context for understanding the nature of both the Andalusian and Sevillian and for fully appreciating the circumstances surrounding many of those issues I have touched on so far (be that diet, poetic thought and expression, nationalist feelings, etc.). The content of the table below is a representation of data extracted from the table by @ndalusia-web. For more, read: http://www.spainthenandnow.com/ or http://www.andalucia-andalusia.com/.

Since the times of the first metalworking (third millenium BC) the land between two oceans and two continents is a preferred target of many diverse people. The oldest known monarchy of "Tartessos" originates in the 11th century in southern Spain influenced by the Phoenician and the Greek. Agriculture and cattle breeding as well as mining industry and gold processing are the dominating activities of their trading civilisation. They are followed by the Turdetani, an Iberian tribe, later the Carthaginias found their own settlements.	2500 BC - First metalworking
	11-6th century BC - Kingdom of "Tartessos"
	900 BC - Phoenician settle the Iberian peninsula and found Cádiz
	8th century BC - Foundation of Hispalis (i.e. Roman name of Seville)
	600 BC - Greek settlements along the Andalusian coast
	500 BC - Carthaginian (Punic) settlements
During the 3rd Century BC the Romans beat the Carthaginian in the two Punic Wars, found and dominate for the next 700 years the "Baetica" province. Andalusia supplies the Roman Empire with food, oil, wine and metal. The philosopher Seneca and the first two emperors born outside of Rome come from Italica (near Seville): Trajan and Hadrian. Since the 3rd Century Rome looks more and more to the eastern world (Constantinople).	264 BC - Begins the I Punic War
	218 BC - Begins the II Punic War
	216 BC - Hispalis is destructed by the Romans
	205 BC - Scipio founds Italica
	19 BC - Foundation of the "Baetica" province
	98-117 - Trajan; Roman emperor, the first to be born outside Italy
	117-138 - Hadrian, Trajan's nephew and successor as Roman emperor
	3rd century - Growing influence of the Christian religion
With the decline of Rome the Vandals, a northern Germanic people, conquer the land and give it its name: "Vandalusia". Their reign is of short duration, they are followed by the Visigoth, who settle leaded by their king Alaric II on the Iberian peninsula and experience under the Christian bishops Leander and Isidore their prospering period.	409-429 - Reign of the Vandals
	476 - Foundation of the Visigoth Kingdom
	484-507 - King Alaric II
	589 - The Visigoth convert to the Catholic belief
	6-7th century - The bishops Leander and Isidor are the main protagonists of the Visigoth reign
The Moorish conquest of Spain from 711 to 732. Image taken form here
At the beginning of the 8th century the Arab cross the Strait of Gibraltar and spread fast on the Iberian peninsula. The independent Emirate Al-Andalus and later the Caliphate of Córdoba (challenging Bagdad) mark the blooming time of the Umayyad dynasty and thus the Arab culture in Andalusia. Córdoba becomes the center and melting pot of different cultures and religions. Trade, science, handicraft and arts experience a long succeessful period. Starting from 1031 the Caliphate disintegrates into small Islamic reigns. Almoravids and Almohads (Berber) alternate their rulership until the 13th Century. After the fall of Córdoba (1236) and Seville (1248) the Nasrid kings maintain their kingdom in Granada for two and a half more centuries. The last Moor king Boabdil hands over the city of Granada to the Catholic Monarchs Isabel and Fernando in January 1492 and moves to the Alpujarra mountains.	711-716 - Arab military troops under Tarik-ibn-Ziyad conquer the region
	756 - Abd al-Rahman I founds the Emirate of Córdoba
	929 - Abd-ar-Rahman III proclaims himself Caliph of Córdoba
	1031 - Decline of the Caliphate
	Since 1086 - Reign of the Almoravids
	Mid 12th century - Reign of the Almohads
	1212 - Christian troops defeat the Almohads close to Las Navas de Tolosa
	13th century - The Castilian rulers conquer large parts of Andalusia
	1232-1492 - Nasrid Kingdom in Granada
	January 1492 - Capitulation of King Boabdil
Spain in 910. Image taken form here
With the discovery of the New World by Christopher Columbus begins the golden age of Andalusia. Seville becomes the main place for all trading activities with the West Indies and the cultural center of Spain. Since 1503 ships loaded with gold and silver from the New World dock since 1503 in the port of Seville. Unknown plants and food achieve to Europe and change agricultural and nutrition habits of the Europeans. Later Cádiz takes over the trade monopoly from Seville. Under the strong influence of the Renaissance and the Baroque are constructed cathedrals, churches, palaces, public buildings and many new squares. Political rivalries, economic mismanagement, the loss of the hegemony on the oceans and the efects of four epidemic pest deseases mark the beginning of the political and economic decline of Seville and whole Spain in the first half of the 17th century.	October 1492 - Columbus reaches the West Indies
	1503 - Seville has the trade monopoly for the New World
	1516 - Charles V inherits the Spanish crown
	16th century - Suppression of two Arab revolts
	1556 - Philip II, successor of Charles V
	1588 - The "invincible" Spanish Armada is destroyed by England
	1609 - Deportation of the last Moors
	1621 - Philip IV accesses the throne
	1641 - Revolts in big Andalusian cities
	1649 - Seville loses half of its population due to pest desease
	1680 - Cádiz obtains the trade monopoly from Seville
Spain does not get out of the crises. The 18th century begins with the War of the Spanish Succession, in whose process Gibraltar becomes British. Philip V, the first Bourbon on the Spanish throne, lives a few years in Seville. The ideas of the French Enlightenment have a notable influence in the middle of the century. Cádiz loses the monopoly of the trade with the New World in 1788. The 19th century Andalusia is involved in the Napoleonic Wars, which impacts the entire continent. At the same time the Spanish colonial empire declines and the conflicts about the succession of the Spanish throne are violent as well. In the mid of the century Spain experience a time of social tensions and upcoming liberal revolutionary ideas. The First Republic is restored after two years by the monarchy. At the end of the 19th century Andalusia suffers again some revolts. The war against the USA marks the end of the colonial empire. The Spanish crown loses Cuba, Puerto Rico and the Philippines.	1701-1715 - War of the Spanish Succession
	1704 - Gibraltar becomes British
	1788 - Cádiz loses the monopoly for the trade with the New World
	1808-1814 - Wars against Napoleon
	1812 - First Spanish Constitution (Cádiz)
	1834-1839 - Wars for the Spanish throne
	1873 - First Spanish Republic
	1875 - Restauration of the monarchy under Alfonso XII
	1892 - Revolts in Jerez de la Frontera
	1898 - Lost of the last Spanish colonies
Hand-drawn flag “I am an Andalusian”. Image taken form here
In the first half of the 20th century Spain is afflicted by social and political conflicts. After the dictatorship of Primo de Rivera follows the Second Republic. Spain does not participate in the two World Wars, but since 1936 the Civil War destroys large parts of the country. In his consequence the victorious General Franco governs the country up to his death in the year 1975. The coronation of King Juan Carlos I and mainly the restauration of the democracy open new possibilities for the different regions. Andalusia receives the status of an autonomous region. The economic and social progress of the sixties and seventies is strengthened in southern Spain by the boom of the tourism. The membership of Spain in the European Community/Union also creates new perspectives for the Andalusian agricultural production.	1900-1931 - Period of social and economic tensions
	1923-1930 - Dictatorship under General Primo de Rivera
	1929 - World's fair Ibero-American Exposition is held in Seville
	1931-1936 - 2nd Republic
	1936-1939 - Civil War
	1939-1975 - Dictatorship of General Franco
	1975 - Juan Carlos I, King of Spain
	1977 - Free elections in Spain
	1982 - Andalusia receives the status of an autonomous region; Regional Parliament elections
	1986 - Spain becomes member of the European Community (Today's European Union)
	1992 - EXPO in Seville

Flag of Andalusia

As you may know, Spain is a decentralised unitary state that has devolved power to autonomies, the 17 autonomous communities and 2 autonomous cities, each proud of their paraphernalia, including anthems, flags, dialects, communal celebrations and customs, gastronomic delights, etc. In that respect, the Andalusian anthem and flag are, without a doubt, the pride of Andalusia. People tend to decorate their balconies with the green and white flag in case of any event held that day in town. 

Flags of autonomous communities of Spain. Image taken from 20minutes.es

The flag of Andalusia is traditional and easy to understand. It consists of three horizontal stripes - green, white and green - of equal width. The flag features the coat of arms of Andalusia reproduced on the middle field of the flag on both sides of it. The coat of arms shows young Hercules between the two columns that legend places in the Strait of Gibraltar with an inscription at his feet. The columns are linked together by an arch that also has an inscription on it. The design is clean and simple, although I wouldn't say that the texts are proportionate and balance the background composition, but all in all, the flag is visually easy on eye. As this is not an exactly proportional font for readability that has been used, the following is aimed to save your time and help you in reading the lettering. The arch inscription in yellow capital letters reads: "Dominator Hercules Fundator" (Sovereign Hercules, the Founder) and the bottom one: “Andalucía por sí, para España y la Humanidad” (Andalusia for itself, Spain and Humanity).

Flag of Andalusia. Image taken from Wikipedia

Blas Infante is known as the designer of the flag. He chose the green as corresponding to the rule of the Umayyads (the Arab dynasty that incorporated Al-Andalus into the Muslim world and governed it in the form of an Emirate and a Caliphate from 756 until 1031), and the white to the Almohads (the Moroccan Berber-Muslim dynasty that governed Al-Andalus in the form of a Caliphate from mid 12th century until 1212) for considering these two the periods when the political power centered in the current territory of Andalusia reached its highest glory. It doesn't mean that Blas Infante praised being under a foreing reign influence. It was a broader picture he had in mind, the greater good for the region. After all, metaphorically speaking, the life in Andalusia is still striped, it just may be today a bit more colourful.

Provinces of Andalusia, depicted in "Umayyad" green, assimilating people from different backgrounds

Besides, together with this historical meaning would co-exist a symbolical meaning, identifying the green with hope and the white with peace (both forever relevant), as expressed by the regional anthem. Beautiful symbolism, isn't it? Let alone, it's not a homogenous society, but a region where contrasts enrich the whole picture of social intercourse. It's the melting of cultural identity of the former Arab-Muslim population during the integration into Andalusia that had given step to the identification between the Arabian or Moorish culture and the Andalusian culture.

Andalusia, a constant source of inspiration. Manuel Machado

This time it's about Manuel Machado, a Sevillian-born poet of the Generation of '98, who I have paid too little attention to until now. I have only casually mentioned here on my blog that he was brother of Antonio Machado. The two of them so similar and yet so different. It's widely known, as Juan C. Toledano, Associate Professor of Hispanic Studies of Lewis & Clark College of Arts and Sciences, claims (see the references), that Manuel Machado didn't share the Christian socialist stance of his younger brother, Antonio Machado. It only shows us that they were independent thinkers. They both had their own truth that made them work for the greater good of the people they cared for, their people. They may not have had the same exact concerns, but what they surely had in common was love and caring for Andalusia, and that is way more significant than it looks. 

Manuel Machado y Ruiz (1874-1947). Image taken from a blog

In the play written together, La Lola se va a los puertos (already described on several occasions earlier), the Machado brothers do not display an Andalusia that is something mystical and far from what its people lived in the streets in the 1920s, it's the Andalusians' Andalusia they expose. Naturally, this is also where they differ from the other members of the Generation of '98 who were no flamenco enthusiasts. The Machado brothers disregard the non-Andalusian way of life without almost profane passion for music, and through the characterisation of La Lola they show how they view folk art as essential and constitutive:

Una relación flamenca de hombre y de mujer, que no es un matrimonio cualquiera entre cristiano y cristiana sino algo más.

A relationship of a man and a woman in flamenco is not like any marriage between Christians, it's more than that.

In their play, it's flamenco that dominates them all being the essence of the region, because flamenco "no es música, sino lengua del corazón" (is not music but the language of heart). Flamenco is its art and its heritage. And out of them two, it's especially Manuel's thing. Edward F. Stanton, an overseas Cante Jondo expert, insists in his article (see the references) that Manuel wrote texts for Gypsy songs, while Antonio was “smarter” for not wasting his creative energy on folklore; nevertheless, quite a few of Antonio's poems have also ended up in the repertoire of flamenco singers. At the same time, according to Francisco Gutiérrez Carbajo's study on Soleares (see the references), Manuel gave a new life to a handful of old folk songs.

 

Handwriting sample of Manuel Machado. Images taken from here

Manuel Machado not only tried to incorporate this familiar and dear world to him into poetry, but also published a book on Gypsy song in 1912 that he titled “Cante Hondo”, which was the apparent precursor to the García Lorca's book.

Interpretation of Manuel Machado's Cante Hondo by Javier Coble, video by Poetas Andaluces:

 

Among other things, Manuel wrote a poem in honour of the provincial capitals of Andalusia, but Seville, he thought, spoke for itself. 

CANTO A ANDALUCÍA	SONG TO ANDALUSIA
Cádiz, salada claridad. Granada, agua oculta que llora. Romana y mora, Córdoba callada. Málaga cantaora. Almería, dorada. Plateado, Jaén. Huelva, la orilla de las tres carabelas. Y Sevilla.	Cádiz, salt-laden brilliance, Granada, hidden waters that weep. Roman and Moorish, silent Córdoba, Málaga, flamenco singer, Almería, golden. Jaén, silvery. Huelva, shore of the three caravels. and Sevilla.
	Translation taken from Elizabeth Nash's book (see the references)

To him the essence of Seville - his birthplace - was beyond words. This is just what James A. Michener, a Pulitzer-winning American author, says in his book "Iberia" (see the references): 

“I was familiar with the rest of Spain before I saw Seville, but nothing I had learned elsewhere taught me so much about Spanish behaviour. Others have reported a similar experience for Seville does not have ambiente, Seville is ambiente, and nowhere has this been better expressed than in a lyric written by Manuel Machado, written in this century, which is quoted constantly throughout Spain. It is a litany of Andalusian names, each described with its most typical appositives, except one, for which no nouns or adjectives suffice.”

Here, listen to the interpretation of Manuel Machado's Canto a Andalucía by El Lebrijano. It's extraordinary!