The main components and styles of flamenco will be discussed briefly while an in depth presentation of the characteristics of flamenco dance (baile) and its evolution shall emerge subsequently.

Present day flamenco consists of singing (cante), dancing (baile) and guitar playing (toque); each of which is a distinctive art. Those only vaguely introduced to flamenco may be surprised to learn that the cante was and is the centrepiece of the flamenco art form. In contemporary times singers perform in the background and their singing is usually perceived as musical accompaniment to the dancers.

Throughout history, however, flamenco has been based on the art of singing and the cantaor (singer) often provided his own rhythmic accompaniment with rapping of the knuckles or a stick.

Throughout all of the debates about the evolution of flamenco it is clear that the art of flamenco had been brewing for many centuries in Andalusia. During the time of the Moors flamenco dance was popular and still somewhat religious yet after their expulsion from Spain all religious affiliation was lost. It was then that the baile along with cante and toque went underground and became the art of a persecuted people. Consequently, the mingling of the various cultural styles of these persecuted people can be cited as the creation of an art form we today call flamenco.

Traditionally the bailaora's (female dancer) main concentration was from the hips up and the bailaor's (male dancer) from the waist down. However, two incomparable figures; Antonio el de Bilbao and Carmen Amaya revolutionized flamenco dance. These two individuals altered the trend of flamenco dance by incorporating both feminine and masculine aspects into their dances. They transformed flamenco baile from non-technical, simple and direct to difficult, complex and extremely technical. Although their style incorporated more technical precision these artists were capable of relaying duende and thus remained true to flamenco's original purpose - personal expression.

The dance of the arms, hands, shoulders and fingertips is the very essence of the feminine dance. The female dancer (bailaora) uses various arm movements, "rhythmically linked, flowing one into the other, forming continuous spirals that culminate in curving, meandering, sinuous fingers. The hands and fingers receive the emotions articulated by the arms framing a slightly arched body." (Flamenco, Body and Soul p.116). She dances, "with a bending, undulating waist designed by nature itself to express her voluptuous imagination, with her curving shoulders and undulating seeking arms slender promising fingertips begging for sanctuary. With her head and her eyes, and her flashing teeth and her very heart." (Flamenco, Body and Soul, p. 116). Hands and fingers may also be incorporated or rhythm by finger snapping, hand clapping or the use of castanets. It has been suggested, however, that the use of these instruments occurs due to inability to work the upper torso.

Flamenco intermedio consists of styles that tend toward flamenco grande but the intermedio is not as difficult to perform properly and not as moving.

During the cafe cantante period choreography dominated flamenco dancing. The possibilities in choreographing flamenco dance were numerous yet the dance became delightful, festive and jovial but also boring and routine. The essence of flamenco was lost and no longer were dancers exploring their emotional selves on stage.

Flamenco chico is sensuous, tender and poetic and is usually not intensely moving. This style of flamenco usually consists of shouting, stomping and fast movements.

The recorded history of flamenco dance does not begin until the start of the cafe cantante period in 1842 and the majority of flamenco dancers, at that time, were gypsies with fundamental technique and sparse repertoires. The footwork of the men was relatively simple and primitive while women, with very few exceptions, used almost no footwork and concentrated on the arms, hands and upper torso. In gypsy or primitive flamenco dance neither man nor women used castanets but relied on movement of the upper torso and their own personalities (gracia). It was a completely spontaneous dance and provides a look at what flamenco was intended to be.

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Approximate Word count = 2913
Approximate Pages = 12 (250 words per page double spaced)