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Norberto Torres speaks on the differences between classical and flamenco guitar, and John Vergillos establishes a connection with the emotional flamenco as a form of music therapy.
The flamenco guitar has starred in the first presentation of the last day of the Congress Flamenco Research University, which has been developing since Thursday in the House of the pinion of the Union.
The researcher guitarist Norberto Torres, PhD in Social and Human Sciences, has lectured on "pre-flamenco guitar and classical guitar romantic in the first half of the nineteenth century: trade and loans."
Flamenco guitar appears in the second half of the nineteenth century, but Torres has wanted to document the history that existed since the sixteenth century, finally stopping in the first half of the nineteenth century.
In his thesis has analyzed the strummed guitar tradition, how he kept in Spain and Andalusia in particular, also providing literary and musical sources for it.
Also marked differences between classical and flamenco guitar and its separation as disciplines, but common ground has been established, as the fact that an academic cult guitarist, Trinidadian Huertas, strummed guitar tradition maintained, despite being disowned it historically.
The second conference this Saturday morning has developed the writer, journalist and National Award in critical Flamencología Flemish Juan Vergillos, under the title "Four emotions Flemish", wanted to connect with the emotional flamenco, applying his personal background in both the Flemish and in psychology, based on his training in Gestalt Therapy.
On the basis of the healing qualities of music, Vergillos argues that "flamenco helps us connect with the most basic emotions of human beings, which is what is most needed today. Has sophisticated culture today lot and have lost connection to the instinctual, and flamenco musical characteristics, much more primitive, connects us with the most primal of human beings ".
Vergillos argues that "flamenco is a way to access the best of ourselves, that we have forgotten, and that the difference with other Western arts, as well as connecting with Greek civilization, which was the first to establish the link between the music and the most genuine human being. "
And for this example has four styles of flamenco form of access four basic emotions: the joy, that brings joy as basic emotion, the seguirilla, as a way of expressing in Flemish aggression or anger, melancholy, related to the solea, and fear with mining songs.
As examples, it has been seen and heard joys dance, to sing Agujetas seguirillas teacher, Fernanda de Utrera singing a Solea Cros Pencho and a mining company.
This last day of the Fourth Congress Research University complete with flamenco singer conference, Mining Lamp and director Flamencology University of Cordoba, Luis Perez Cardoso, "Luis de Córdoba", which will focus on "The Flamenco , a living art. "
The closing ceremony will be borne by the Mayor of La Union and Foundation Executive Chairman Cante de las Minas, Francisco Bernabé, Secretary General of the Ministry of Universities, Business and Research in the Region of Murcia, Antonio Navarro, and Vice-Chancellor Strategic Development and Training, University of Murcia, Fernando Martin.
The day will close with a recital by mining songs Encarnación Fernández (1979 and 1980 Mining Lamp), accompanied on guitar by Antonio Muñoz (1983 Minero Bordon Official Guitar Festival).
Moreover, yesterday afternoon conference featured the cultural agitator and flamenco expert, José Manuel Gamboa, and flamenco expert and director of Suma Flamenca of Madrid, Juan Verdu.
In the first case, a historical review Gamboa by Flemish anthologies that occurred since the 50's, which have been one of the major means through which has been compiled flamenco music.
In his presentation was unraveling the internal history of the anthologies that illustrious Valderrama, Pepe Marchena, Pepe de la Matrona or Sabicas recorded at the time.
Moreover, John Verdú conference, entitled "The Renaissance of Flamenco in Madrid: 1980-2000 and remains", was nothing more than a claim of Madrid as quintessential home of flamenco, where 'all good fans should spend, no matter where they come from. "
Verdú had to present their experiences with Carmen Linares, Enrique Morente or the Habichuelas, with whom promoted large number of festivals around Madrid and helped expand flamenco in which he calls "the move of flamenco".
Stories nights only with the greatest artists in characteristic places as "the cave" in the bar Candela, Cecilio Rodriguez Gardens in Madrid Retiro or flamenco concerts Monday in the rocking "Revolver Room," among leather jackets and colored crests.
To Verdú, "Madrid is a city of culture, universal and cozy, it's like when I come to the Union, when you arrive, you need five minutes to feel like one."
The agenda of the day ended with a performance by guitarist unionense Antonio Muñoz, featuring songs from his album Saffron, in the hall of the House of the pinion.
Source: Festival del Cante de las Minas
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