Comments on: What is the future of Flamenco on the internet? http://www.falseta.com/asking-flamenco-pros/what-is-the-future-of-flamenco-on-the-internet/ Flamenco Fri, 21 Nov 2008 19:31:43 +0000 http://wordpress.org/?v=2.3.2 By: Bob Weisenberg http://www.falseta.com/asking-flamenco-pros/what-is-the-future-of-flamenco-on-the-internet/#comment-324 Bob Weisenberg Tue, 17 Jun 2008 19:24:05 +0000 http://www.falseta.com/asking-flamenco-pros/what-is-the-future-of-flamenco-on-the-internet/#comment-324 This is a very interesting question, especially when one considers that one of the factors that led to the wide array of individual styles ("propio sello") in traditional flamenco was isolation and guarding one's material. Even when I was living in Moron in 1971-2, Diego and his nephews had very little access to what was going on in other flamenco towns. They didn't travel much (except Paco, of course, who was already an international figure). They didn't have much access to recordings. Not many other flamencos passed through town. And they considered this isolation a musical advantage, if they considered it at all, because they were forced to invent their own stuff. Today it is the complete opposite. Everything is readily available, probably even in Moron. (In any case, those guys are now over here!) One might think that the internet might lead to a convergence of styles and attitudes, but, that doesn't seem to be the case. To the contrary, the internet allows smaller styles and groups to thrive because the community can be now be made up of participants from all over the world. Bob Weisenberg www.myspace.com/padreehijo This is a very interesting question, especially when one considers that one of the factors that led to the wide array of individual styles (”propio sello”) in traditional flamenco was isolation and guarding one’s material.

Even when I was living in Moron in 1971-2, Diego and his nephews had very little access to what was going on in other flamenco towns. They didn’t travel much (except Paco, of course, who was already an international figure). They didn’t have much access to recordings. Not many other flamencos passed through town. And they considered this isolation a musical advantage, if they considered it at all, because they were forced to invent their own stuff.

Today it is the complete opposite. Everything is readily available, probably even in Moron. (In any case, those guys are now over here!) One might think that the internet might lead to a convergence of styles and attitudes, but, that doesn’t seem to be the case. To the contrary, the internet allows smaller styles and groups to thrive because the community can be now be made up of participants from all over the world.

Bob Weisenberg
http://www.myspace.com/padreehijo

]]> By: Estela Zatania http://www.falseta.com/asking-flamenco-pros/what-is-the-future-of-flamenco-on-the-internet/#comment-308 Estela Zatania Fri, 06 Jun 2008 06:27:49 +0000 http://www.falseta.com/asking-flamenco-pros/what-is-the-future-of-flamenco-on-the-internet/#comment-308 I wrote a similar lengthy study for Deflamenco which explores the many ways of using internet in relation to flamenco, and includes the comments of people like Kiko Veneno, Arcángel, the director of the Centro Andaluz de Flamenco (CAF), Gerardo Núñez, Diego Clavel and others. The article is at: http://www.deflamenco.com/especiales/internet/index.jsp Estela Zatania I wrote a similar lengthy study for Deflamenco which explores the many ways of using internet in relation to flamenco, and includes the comments of people like Kiko Veneno, Arcángel, the director of the Centro Andaluz de Flamenco (CAF), Gerardo Núñez, Diego Clavel and others.

The article is at: http://www.deflamenco.com/especiales/internet/index.jsp

Estela Zatania

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