Hidden communication codes in flamenco dance choreography

ABSTRACT

Flamenco dance is emblematic of southern Spain. Its performance uniquely combines dancing, singing, and guitar playing. Improvisation differentiates it from other dances and this requires communication codes so that performers remain synchronised. The communication codes are: ‘llamada’, a signal to start singing; ‘remate’, for ending a section; ‘subida’, for speeding up the rhythm; and ‘desplante’, a static pose ending the others communication codes. This article describes these codes and analyses how they are used during performances. Thirty professional flamenco shows have been analysed and at least one of these communication codes was recorded in all these performances. The remate is observed in all; the desplante in 96.6%; and the llamada and subida were both identified in 66.7%. This information is relevant for choreographers, teachers, and students. The incorporation of communication codes into the curriculum for flamenco dance at schools would guarantee that students are properly trained for professional performances.

Keywords:

• Interaction
• flamenco dancer
• musician
• curriculum
• performer
• step footwork

Disclosure statement

No potential conflict of interest was reported by the authors.

Additional information

Funding

The work was supported by the BIOMECHANICS OF FLAMENCO DANCING [PI/A1/2015].

Notes on contributors

Irene Baena-Chicón

Irene Baena-Chicón, PhD. She is a member of the Telethusa Centre for Flamenco Research in Cadiz, Spain. She has been a professional dancer in different flamenco companies. She teaches Flamenco Dance at the Conservatorio Profesional de Danza Pepa Flores (Malaga, Spain). In recent years, she has been a member of the Performing Arts Research Group at the Universidad Católica San Antonio de Murcia, Spain.

Sebastián Gómez-Lozano

Sebastian Gómez-Lozano, PhD is a Lecturer in Somatic Practices and Dance and graduated with a doctoral degree from the Physical Therapy Department, University of Murcia, Spain, in 2007. He is the Head Researcher of the Performing Arts Research Group at the Catholic University San Antonio of Murcia since 2011. Responsible for the line Analysis of the Choreographic and performing practices.

María R. Fernández-Falero

Maria del Rosario Fernández-Falero, PhD. She is an expert in network analysis and historical archives of flamenco. She is a professor of the Master's Degree in Information Management in social networks and digital products on the Internet. She is also a lecturer of the University Master in Social Sciences Research at the University of Extremadura (Badajoz, Spain). She currently teaches in the Department of Information and Communication at the University of Extremadura (Badajoz, Spain).

Olaia Abadía García de Vicuña

Olaia Abadía-García de Vicuña, PhD. She is a member of the Telethusa Centre for Flamenco Research (Cádiz, Spain). She is a specialist in Sports Performance and focuses her research on the analysis of flamenco dance as a high-intensity physical activity. As General Secretary of Education and Vocational Education Training of the Andalusian Government (Spain) she promoted research in Artistic Education, especially in Dance Studies.

Alfonso Vargas-Macías

Alfonso Vargas-Macías, PhD. He is the Director of the Telethusa Centre for Flamenco Research (Cádiz, Spain). He is a lecturer in three study programs in Spain: Flamenco and Health of the “Interuniversity Master in Flamenco Research and Analysis” of the University of Cadiz; Biomechanics of Flamenco Dancing of the “University Expert Program in Flamenco Dance” of the International University of Andalusia; and Biomechanics of Movement through Technologies of the “Master's Degree in Dance Studies” at the International University of La Rioja. He is currently a member of the Research Group Hermes-CTS601, Podiatry Department of the University of Seville (Seville, Spain).