Flamenco Copla Rumba Cancion Espanola Flamencoshop, copla and rumba are singing styles on the fringe of flamenco
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Flamenco Copla Rumba Cancion Espanola

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The copla and rumba are singing styles on the fringe of flamenco. Collectively they can be grouped into what is known as canción española, though the copla with orchestral backing is closer to this genre than the rumba on the lighter side of flamenco.


Both political repression and hard times during the first years of Francoism in the 1940s and 1950s led to varieties of escapism through music, the cinema and football. Spain became more isolated in the international community until it was accepted into the UN in 1955, an act that virtually saved it from the quagmire of economic and cultural stagnation.

Popluar singers of the copla and rumba were Juanita Reina (b. 1925), Concha Piquer (b. 1908), Lola Flores (La Faraona) (b. 1923), Miguel de |Molina (b. 1908), Marife de Triana, Gracia Montes, Rocio Jurado (b. 1944), Peret, Los Chichos, Maria Jimenez, Las Grecas.

At that time Franco's approach to flamenco in general was to suppress it, until a diluted form lent itself to tourism in the 60s and 70s, mainly for foreigners with the opening of the tourist market, especially on the costa del sol as it became known. You can still sometimes see signs in bars "prohibido el cante" (singing prohibited), a vestige of the Franco years when flamenco singing and too much drinking late a night was actively discouraged by the authorities. After all who would get up in time for work the next morning? The cancion espanola was a form of light entertainment for the masses, a part of the package deal of bread and circuses, but essentially associated with the Franco regime. The copla suffered under this label, especially in the 70s and 80s when it lost prestige. It was considered an outdated song form and never really shook off its association with Franco.


However since Franco's passing in 1975, there has been a turn-around in taste, especially in flamenco but also in attitudes to cancion espanola, which have acquired more popularity again inside Spain. Singer-authors (called cantautores) such as Carlos Cano have regenerated interest. Ana Belen recuperated some of the popular songs (double CD Lorquiano - in hommage to Federico Garcia Lorca.) Old masters of this style such as Leon, Quintero y Quiroga achieved a revival for example in 1999 with an album entitled "Tatuaje". All this happened in line with an experimentation in flamenco, a virtual revolution in the Spanish music scene. Groups such as Ketama, Pata Negra (blues influence), Navajita Platea (from Jerez) brought flamenco to the frontier of the pop culture. All this while pure flamenco was being redefined by guitarist Paco de Lucia, singers Camaron de la Isla and Enrique Morente among others.
Content Flamenco Copla Rumba Cancion Espanola
© Simon Zolan 2006



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