Fandangos

Heavily influenced by the Arabic culture, the Fandango traces its lineage to the Moorish occupation of southern Spain. From its beginnings in the southern region, Andalusia, this early Flamenco form expanded its influence throughout the nation. Regional influences down through the centuries have impacted its evolution as a musical form, its performers giving it a local flavor that captured the hearts of its hearers. Northern provinces based the Jota on the ancient form. In the southern provinces, the Fandango gave birth to the Rondena, the Malaguena, the Granadina, the Taranta, the Minera, and the Cartagenera.

Fandangos, as well as fandanguillos, are popular throughout Andalusia, each local area branding these songs with their own names. Earlier in the twentieth century, Fandango performers, called ‘fandangueros,’ were wildly popular, causing the Fandango to surpass all other styles in its popularity.

Modern-day guitarists recognize two primary categories of Fandangos. The first, profoundly eloquent Fandangos such as the Fandangos Grandes, allow the musicians to freely express their individuality, so long as they play in compas. These would be classified as belonging to the Cante. The second group, on the other hand, is a highly rhythmic lot, used for both dancing and singing.

The town of Huelva, in the province of the same name, is the birthplace of these danceable pieces. Widely varying themes characterize the Cante por Fandangos, their coplas telling stories which range from disillusion and betrayal, in the more solemn pieces, to ironic twists, even absurdity in the lighter pieces. The Fandangos Grandes tell a story, every line (‘letra’) of its copla leading up to the story’s climax. The more comedic ones end in a punch line at the story’s end. Whatever the genre, when the performers finish, the audience explodes in a chorus of ‘Ole’s. The guitarist begins again, interspersing rasgueo and falsetas before launching the next copla. These performances are an intense dialogue between the musicians and the audience.

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