Lorca and his Flamenco: An Ethno-Performative Approach to the Process of Creation and Reception of a Perfomance

Abstract

The relationship between Federico García Lorca and his flamenco has been researched on many occasions by poets, anthropologists, ethnomusicologists, sociologists, and specialists in flamenco, etc. However, it has not been researched in depth from a production point of view. Using albums and performances by Enrique Morente, Eva Yerbabuena, and others as a reference, young dancers, musicians, and musicologists from different backgrounds worked together in a cultural context to put together a performance called Lorca y su Flamenco, not in Granada, but in the Northeast of the United Kingdom, which toured through the cities of Leeds, North Tyneside, and York. Similar to other multicultural flamenco performances, it was conceived as a collaborative project, with rehearsals in Newcastle upon Tyne, which was then performed in other cities. Having carried out fieldwork with the participants of those events, in this article I will analyse the process of creation and the reception of the audience, in particular, the British audience.