ABSTRACT
In a recent interview, singer Carmen Linares referred to cante as “La Madre del Flamenco” (the mother of flamenco). This sentiment is shared by flamenco performers and serious aficionados. It is the cante that is considered most important for it expresses the core, the essence of flamenco. Cante, whose different genres are referred to as palos, was originally performed unaccompanied, a palo seco, with palmas (handclaps) or nudillos (knuckles played on table-top) keeping a rhythmic accompaniment. Much cante is still performed this way, such as serious martinetes, and festive bulerías that are sung and danced to the accompaniment of complex palmas. Guitar accompaniment became a prominent feature of the style later on, in the era of the cafés cantantes (the singing cafes). 2 The cante has been classified in a number of ways. Flamencologist Molina and singer Mairena distinguished between cante gitano, those early forms developed by the Gypsies, and cante Andaluz, Andalusian folk music forms that were adapted by the Gypsies later on. 3 The earlier categorization into genres of cante jondo and cante chico, that is the more serious, authentic palos in contrast to lighter, more adulterated types, has been replaced in recent scholarship. Current scholars prefer the division of the cante into two groups: jondo (deep song) and festero (lighter), more festive song. This classification tends to be based on assessments of the degree of gitano influence as opposed to Andalusian folk forms, and to the extent of their intermingling.
