100 years have passed since that distant 1922, when famous figures such as Manuel de Falla and Ignacio Zuloaga gave shape to this competition which was, and is to this day, an unmistakable hallmark of Spanish culture.Ī primitive Andalusian song with a transcendence in the intellectual life of the last century that was surrounded and supported by such important personalities as Federico García Lorca, Juan Ramón Jiménez, Joaquín Turina, Fernando de los Ríos or Ramón Pérez de Ayala, among many other great intellectuals, who have gone down in history for their priceless contribution to Spanish culture.Ī century after this cultural initiative that has marked the evolution of flamenco over the last 100 years, Granada is once again organising this event, which was held in the Plaza de los Aljibes in the Alhambra and was the first flamenco singing event to be held on a national level.
The city of the Alhambra will be decked out to commemorate, celebrate, reissue and give new value to what a century ago was the first Concurso de Cante Jondo de España. The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.Granada, 2022. Three aspects of performance are singled out and systematically traced through Lorca's evolving reflections on popular art and the struggle of the modern artist to create the new – from his first lecture on the cante jondo in 1922 to the Arquitectura del cante jondo (1930) and finally Juego y teoría del duende (1933). ‘Duende’ crystallizes around 1929/1930 when the poet explicitly takes into account the art of the dancer in performance. The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.ĪB - This article analyzes how Lorca develops the concept of ‘duende’, finding a crucial missing link in the Elogio de Antonia Mercé, ‘la Argentina’ (1930). N2 - This article analyzes how Lorca develops the concept of ‘duende’, finding a crucial missing link in the Elogio de Antonia Mercé, ‘la Argentina’ (1930). T1 - On the way to 'duende' (through Lorca's 'Elogio de Antonia Merce, 'la Argentina', 1930) The conclusion is drawn that it is in the performance and reception of a text – whether it is heard or read – that the artist's agonistic stand between tradition and modernity, repetition and singularity, is played out, in an invitation to the listener or reader to celebrate his or her mortality.", Abstract = "This article analyzes how Lorca develops the concept of a del duende (1933).
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