Fandango (dance)
The fandango is a popular dance typical of various areas of Spain, the center and south of the state of Veracruz, Mexico, and the state of Paraná, Brazil. As in the American provinces, it was also widely adapted and performed in the Philippines. Likewise, it is also the dance that accompanies the homonymous palo del flamenco characteristic of Andalusian folklore, which has undergone a process of flamencoization when acclimatizing to each specific area of that region. Those of the province of Huelva were declared in 2010 Assets of Cultural Interest.
Performed by a lively movement couple, it has ternary time signature and octosyllabic verses, and the frequent use of guitar and castanets marks a close kinship with the jota. The most typical harmonic descending sequence (A minor, G major, F major, E major) is an ostinato motif known since the late Baroque.
Origins
Several romantic writers have tried to link it to an ancient sensual dance from Roman times known as the cordax (also called iconici motus by the poet Horace and by the playwright Plautus). The satirist Juvenal makes specific mention of the testárum crépitus (cracking the castanets) which, in their early Greek expression, were used as cymbals or finger cymbals.
According to the Dictionary of Authorities of 1732, by then the fandango in Spain was a "dance introduced by those who have been to the kingdoms of the Indies", that is, it is understood that their origin is Hispanic American and not peninsular Spanish. Given the popularity of the fandango as a demonstration dance in the late 18th century and early XIX, its presence and roots in the tradition of Asturias, Castilla-La Mancha, Extremadura, Catalonia, Murcia, Valencia, the Basque Country or Portugal is not surprising. In its gallant form, the genre came to have a certain projection in the European cultured tradition through the work of Luigi Boccherini, Father Antonio Soler, Dionisio Aguado and Domenico Scarlatti. It transcended borders as a representative dance of the Spanish. Wolfgang Amadeus Mozart included him in the third act of The Marriage of Figaro and Christoph Willibald Gluck in his opera Don Juan. The first example of a fandango recorded in musical writing dates from 1705. It is collected in an anonymous handwritten tablature kept in the National Library of Madrid, "Libro de diferentes cifras de guitarra". The considered fandango is called "Indiano" (spelled "Yndiano" in the table).
Fandango and flamenco
Since the beginning of the XIX century, flamenco adopted features of Andalusian fandangos, thus giving rise to the so-called & #34;fandangos aflamencaos", which are considered today one of the fundamental flamenco styles. The form of the fandango is possibly the one that has more variations than any other expression of flamenco. The variant from the oil lamp dances takes special mention in Andévalo, Huelva, where it is presented in a particularly prolific manner; in Malaga with its characteristic verdiales or jabegotes, possibly the original mode of this kind of artistic manifestation; in the provinces of Murcia, Albacete, Alicante and Menorca, better known as malagueña, and the area of Granada influence, in the case of Almería, popularly known in Spain as "fandanguillo". In La Alpujarra, the fandango is the typical trovo dance. In Jimena de la Frontera (Cádiz) there is a song and dance called the Jincaleta, with a certain air of the verdiales from Malaga. The music that is danced is flamenco.
Similarly, there are many other types of fandangos named after reference authors who interpret themː fandango del Gloria, del Sordera, del Chocolate or del Carbonerillo, among many others.
More modalities
In the town of Mota del Cuervo in Cuenca, a fandango is danced similar to the seguidilla but simpler; the dance adds the slow crossing and the final leg kick with stop and cross. It is known as Manchego fandanguillo.
In general, in Portuguese folklore, the dance alternates moments in duet with alternating exhibitions of each of the two dancers, while the other is limited to marking the rhythm soberly.
It should also be mentioned that the term fandango refers to folkloric dance festivities that arose in the Americas during the Spanish colonial period, which became popular, for example, in various parts of New Spain, today Mexico, festivities that can receive other more local names in each region, such as huapango in southern Veracruz, which have their roots mainly in Spanish music, some indigenous and perhaps African influences, such as the term fandango, which has been argued to have originated from a Bantu language, such as Kimbundu.
Other uses of the name
Given the nature of the dance, the term "fandango" has been used as a synonym for hustle, tumult, or even display of mastery.
The fandango in classical music
- Joaquín Rodrigo: 1st of Three Spanish pieces for classical guitar.
- Joaquín Turina: Fandanguillo.
- Gluck: Don Juan1761.
- Mozart: The weddings of Figaro1786.
- Saverio Mercadante: Symphony Spanish character of opera I due Figaro 1826.
- Antonio Soler, Fandango for code, authorship, however, discussed.
- Nikolái Rimski-Kórsakov: Spanish Capricho1887.
- Isaac Albéniz: Malaga, from the suite Iberia1905-1908.
- Enrique Granados: El Fandango del candil and Serenade of the spectrumOf the Suite Goyescas1912-1914
- Manuel de Falla: Dance of the molineraOf the ballet The three-peak hat1919.
- Federico Moreno Torroba: Fandanguillo of the Suite Castellana1926.
- Ernesto Halffter: Dance of young peopleballet. Sonatin1928.
- Luigi Boccherini: Fifth string with guitar Del FandangoG. 448
- Dionisio Aguado: Fandango varied (Le Fandango Varié), Op. 16, for guitar
- Amadeo Vives Roig Fandango for orchestra of the zarzuela Doña Francisquita
- José de Nebra: "Tempestad big friend", from the zarzuela Sold is love, not blind, 1744.