Sal's Flamenco Soapbox-Duende essay Part 1.
About Duende. Duende like art itself has faces that are both appealing and dangerous. It can be dark and hard to pin down. Coming from southern Spain, “Duende” has only recently migrated to English. Dictionaries give meanings sometimes at odds with each other. The New Oxford English Dictionary gives: 1. A ghost, an evil spirit; 2. Inspiration, magic, fire. The Random House Dictionary gives.
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On my mind is duende: that sometimes wicked, sometimes ugly, often mischievous third force in art that Lorca writes about in his essay Theory and Play of the Duende. The first force is the angel, Lorca says. The angel guides, grants, proclaims, forewarns, and dazzles. The second force is the muse, which dictates, prompts, and stirs the intellect. The third “mysterious force that everyone.
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Duende, that magical ingredient that makes the difference in the arts. Lorca's essays are fantastic, and this small volume is a lovely introduction to the history and development of Flamenco, as well as to some of Lorca's work, though not nearly as much of his poetry as I'd like to have encountered. Don't let that sway you, however - this book is a gem, one of the best I've read to date. If.
In the essay on duende he writes: “A dead man in Spain is more alive as a dead man than any place else in the world.” Spicer seems to have taken him at his word. Impish play and disconsolate spirit—”The dead are notoriously hard to satisfy,” we read—repeatedly embrace one another in an introduction whose antic humor gathers troubling undertones. The words execution and executed.
And so one must turn to Lorca’s own writings about poetry—and particularly to his essay “Play and Theory of the Duende”—before examining Maurer’s Lorca in detail.