Flamenco &pansory -caves of the heart111

2.

For some time to Inu flamenco dance which Helena danced was flamenco itself. In his thought, only she can convey the meaning of flamenco. The arch-shaped artworks which she motioned her long arms over her head in the air to draw accompanied by guitar rhythm, her elegant waist line of motions and powerful zapateados ( heal and foot stamping), and dignified gaze. etc. That is, flamenco was a visible form of art which was expressed by her dancing. For he believed that without dancing there was no life for her. Through her dancing he saw flamenco , through the talks he shared with her he tried to catch the meaning of the phrase by a flamencologist, "Flamenco is the means through man reaches God without the intervention of saints or angels".

As time was gone by, Inu came to understand uch more the difference between pure flamenco dance and the sensual dances for commercial business familiar to us . By him what is called "pure dances were originally performed solo. This is the only format in which the real flamenco can emerge; the ｅxpression of an individual's innermost feelings and inner intensity. only a soloist working within a defined format can give full range to his (or her) own improvization , his( or her) own creation ; only in this way can the "duende" that mysterious genius which sparks spontaneous inspiration in the world of flamenco." ( 'Flamenco' by Claus Schreiner,2000, p94) Inu continued to remark on it: "The emotional power of flamenco comes from within the performer who abandons himself(herself) to his( her) art, who breathes life into it. Flamenco is a profoundly intimate art, which is what differentiates baile flamenco from classical ballet. The movements of the two are exactly the opposite. Ballet takes to the air, seeks to be light, almost weightless in its movements and to hover by using spectacular gymnastics, while flamenco dancing is concentrated downward toward the ground.. the most intense energy right on the spot , tied to the earth ,stampted into it.(' Flamenco' by Claus Schreiner,2000, 95p)

After he made a trip to Spain with only a purpose of meeting flamenco , he wished to meet flamenco dancers through youtube and albums everyday. He willingly met Juana whom he saw her dancing twice in Granada and a bailaor dancing in the cave cafe of Sacramonte , and Antonio , man dancer of Cadiz through their albums he had bought on the actual locations. And Eva Yervavuena he heard about in a hostel in Madrid and a street dancer named Mauela and her accompanist he met in Jerez through the youtube. What is more, he becamed to be mesmerized particularly by Eva Yervavuena. For a while not a day has passed but he searched for the youtube to see her dancing. He has loved her much more since he Read a review written by a writer named Bess Twiston as below:

Was it a foot? Or was it an instrument? Hard to tell, so fluid was the sound of Eva Yerbabuena’s mint-sharp zapateo. There was a seamless echo – foot, music, sound – all melding together into one. Mesmerising. This was Ay!, her 2013 choreography on a second visit to Sadler’s Wells. The energy was high, the curtain blood-red. It lifted on a pool of light in darkness. With slow, deliberate steps, Eva Yerbabuena crossed the light. Then stopped, crossed her arms and let her hands flap, flutter to the sky. The subtle, the subtext is the story of Ay!

By the way, as he came to love flamenco more and more, he became more aware of the point that in flamenco cante was more essential than baile.He understood that originally the cante was sing when pain and suffering became unbearable and the singer sought relief in song. and also the fact that the origin and history of Andalusian gypsy flamenco was essentially the cante and cantaores. Neither guitarists nor dancers had any significant role in what at the time the revolutionary development of flamenco.He undersood furthermore that flamenco was first and foremost a communication of feelings and meaning through song and not an audio-visual entertainment. Furthermore Helena, in Inu's mind, is no more what she used to be. He has only a hazy recollection of her as a bailaora. Since she was remoter from his mind, he has came nearer toward the cante . It is needless to say that cante has captivated him instead if baile and as a matter of course, flamenco singers instead of flamaneco dancers. He has got more in love of the vouce sound of flamenco than the visual movement of it.

Originally the cante was sung when pain and suffering became unbearable and singer sought relief in song. The cante grande( deep song) required a special ambiance and a particular audience. With only a few aficionados(cante admirers and experts) as listeners it was possible. To witness the singer in his top form, all one had to do was wait patiently. In the 1920S Manual Torre , one of gypsy cantaores would sing in Madrid or Seville. The cantaor, Inu told us, would begin tapping the rhythm with his short style- stick and beads of perspiration would appear on his brow and his copper face would begin to glow as though suddenly illuminated by the inner demon , the duende, whose arrival he had been waiting all the evening. "Then he would burst into 'deep song', and audience would listen enthralled to a 'siguiriya gitana' expressing not merely natural suffering but a vague ,everlasting pessimisim- a tragic sense of life." And he added an element that the cante is classified into three large groups by explaining as below:

The cante jondo (deep song) is the essence of the art of flamenco and forms the foundation from which a multitude of the other styles developed. The next one is cante intermedio( usual song), which lacks the deep song's serioussness. And the last one is 'cante chico'(light song), which is not as complex as that of 'jondo'; It is more melodic, more colorful and much easier to understand.

These days Inu has heard Marte Martin singing 'malaguena' or Camaron singing 'Solea' through youtube. Personally the former's voice is more familiar to his ears than that of the latter. what is more, he agrees with her words that flamenco isn't exclusive to any race, nor any place in particular. Barcelona-based singer Mayte Martin eschews the ruffled, polka-dotted dresses that have become the cliched uniform of the cantaora, instead opting for a tasteful suit, and while she embraces traditional flamenco music, bypassing the fusion experiments of the 80s "nuevo flamenco" movement, she refuses to limit herself to just one style.

In case of the latter, while Inu had a coffee break with Nadine in her studio who, we know, had performed instead of Helena in Masan ,as above-mentioned , both shared touching on Camaron during conversation. Nadine was a Korean cantaora who was familiar with the name of Camaron because she had stayed for a year in Andalusia to study flamenco dance. When he refered to the singer saying that he liked to hear the singer through the youruve, she told him that shel loved the singer's voz affila( rasping vocal style) very much. So Inu enjoyed talking with her about the gypsy flamenco singer .

Inu:

Hello, Nadine! It is even years or so since I saw you last . Oh, You looks bettter than before!

Nadine:

Hi, Great to see you again, Inu! How are you doing?

Oh, how is Masan? Inu reminds me of the days when I danced solea there. How happy I was at that time! Why don't you plan to drive once more the flamenco performance in memory of 315 Resistance heroes ?

Inu:

Oh,no. I did it three times. That's enough . It is beyond my will and ability. But I am sorry that I could do it any more. It's okay that I often enjoy recalling to my mind the past 3 performaces featuring you. Your dancing was amazing!

Nadi;

I am happy to hear that. Masan greatly inspired me then!

Inu:

By the way, now I prefer cante to baile.

Nadi:

Really?

Inu:

Sure. I frequently hear Camron singing through the youtube.

I love his voz affila very much. His voice is a shattering cry, a gypsy echo without limits and unreachable depth.

Nadi:

Me too. I love to hear him singing guitar-accompanied by Paco de Lucia.

Inu:

Recently I often hear the late Enrique Morente whom Helena, you know, love. She said to me that Enrique was exposed at a young age to ' cante jondo.' Enrique's sudden death shocked her to shed tears, she said in her email to me.

...........

...........

...........

​

Now Inu comes to catch, not exactly but a bit, the meaning of a line " Manolo Caracole is singing of black fate. " The words of ' Black fate' unconsciously reminding him of the sun-burned black gravels deserted in the desert is likely to be related with the wretched nature of human existence. And also he was reminded of whatThe words of Jean Grenier, " Nothing can help us to express our mind. Neither words nor actions nor images can do. Neither do even dreams. only one voice crying ' Ay, Ay, Ay ,Ay.....' can let us free". The lines on a blind girl singing cante which the French writer wrote, Inu imagined, spoke well for the meaning of ' black fate'.

Cante jonde! Whenever he heard deep songs , they unintentionally called the the pansory singers of South Korea, The pansory singers have lived trouping around the Southern seaside of Junra Do. It was 'surisung', the harsh sound of the pansory singers'voices that captivated the Korean audiences . It was likely to be similar to 'voz affila' of gypsy flamenco singers which enchanted the cante afficionados.

Once in a while falling into reveries Inu has had a secret admiration of the pansory singers who wandered along the sunny southern seaside of South Korea. Now in lonliness and biologically stricken in his seventies, he often gets entrapped in deep feeling of the meaninglessness of his life, thinking that he is living a life without any goal or hope in the mind. As a way of getting over it personally he would murmur a line in 'Fruits of the Earth' written by Andre Gide : 'Refresh everyting that appears to your eyes every moment.'

In front of his eyes flickers the image of the little sea which went out of the earth in his boyhood. The sea appears sometimes twinkling silver on the surface in the bright morning , sometimes together with the sound of ducks flying into the sky at dawn, and sometimes with the fishy-like smell of sea breeze in the rainy evening. Last winter in the suny morning He walked to the land where the little sea disappeared in his boyhood. He has a dim memory of the the sea in hisboyhood when he was a pre-school boy he loved particularly to play at shore in the sunny winer with 'Badugi, his pet puppy. He wonders, retrospecting the sea in his boyhood, whether the little sea would have been the frontyard for him and Badugi to play in or a companion of the boy's. Judging from what he said, he boy must have regarded the sea as the latter.

For whenever he looks back on the sea he seems to be sure that the sea which used to wake up at the ducking noise of wilddducks at dawn everyday near the frontyard of the boy's house strangely one day began to run a long way off at a distance to disappear toward the sealine .Now the sea does not exist where it used to be,but flickering in his dim memory. Missing the sea which is no more, he often failed to get night sleep enough

By the way, one day when he was hearing a cantaor unfamiliar to him singing 'solea' accompanied by a guitarist , 'vos afflia' of the cantaor let a hard lump of solitude in his mind melt away inspite of himself! Probably it was futhered by other factors such as the singer's facial ｅxpressions, the sound of shouting 'ole!' and palmas , white glasses of vino blanco on the round table and tobacco smoke several companions giving off in their comfortable hideout ..