Gypsies and Flamenco : The Emergence of the Art of Flamenco in Andalusia, Interface Collection Volume 6

Picture credits ix Part One Introduction xiii 1 The Gypsies, professional musicians 1(13) From East to West 3(2) Turkey and Greece 5(1) Hungary 6(2) Gypsy 'flavour' and the duende* 8(2) Spain 10(1) The 'Gypsy' repertoire 11(2) Instruments 13(1) 2 Spain and the Gypsies: a policy of forced settlement 14(18) The intolerance of the Catholic monarchs* and their successors 17(2) 'There is no such thing as a gypsy' 19(1) Recipes for extermination 20(1) The law of Philip IV, 1633 21(1) Gypsy hunting and ecclesiastical immunity 22(2) The laws of forced assimilation, 1695, 1717, 1745 and 1746 24(5) The general internment of 1749 29(1) A dark age of enlightenment 30(1) The law of 1783 31(1) 3 Gypsy-Andalusians: the 'flamenco families' 32(15) The Moorish heritage 33(1) The first settled families 34(2) 'Old Castilian' certificates 36(1) Changes in a privileged situation 37(1) Saved by their music 37(1) Official recognition of the Gypsies' contribution to society 37(2) After 1783 39(1) The censuses of 1784 and 1785 39(3) The case of Andalusia 42(1) The Andalusian miracle 42(1) Flamenco: a philosophy and a way of life 43(1) The geographical framework 44(1) The great flamenco family 45(2) 4 The obscure origins of flamenco art 47(38) Gypsies' professional music 47(2) Gypsy ballads 49(2) The Seguiriya* 51(4) The Gypsy ethos 55(2) The Vlax Rom of Hungary 57(4) The Gypsy signature 61(1) The anti-Gypsy polemic 62(3) Gypsy Andalusia and Payo* Andalusia 65(1) The origins debate 66(1) The Jewish theory 66(1) The Byzantine theory 67(2) Arabic music 69(1) de Falla' s demonstration 70(1) Current knowledge 71(2) Conclusion 73(12) Part Two Two hundred Gitano flamenco artists 85(44) Glossary 129(5) Select bibliography 134(2) Select discography 136(1) Videos 137