Interconnectivity: the Dance of Andalusia

The “colorful history of oriental dance” notes that between 800-900 C.E. it is believed that a second migratory route left the Punjabi region of India down to and across North Africa (including Egypt) and up into Southern Spain—Andalusia—through the Straights of Gibraltar. These people are believed to be members of the “Untouchables,” a group within the Indian caste system comprised of animal traders and trainers, acrobats, dancers, musicians, palmists and metalworkers. This faction, known as “Cale,” has been far more difficult to verify and trace due to the great similarity of appearance and lifestyle to the indigenous peoples along the route.

During this migration process, the flamenco dance developed. This dance is accompanied by a particular style of flamenco music. The strongest influences evident in the evolution of Flamenco singing and music can be traced from:

• Punjabi singing of India
• Persian Zyriab song form
• Classical Andalusian Orchestras of the Islamic Empire
• Jewish Synagogue Chants
• Mozarabic forms such as Zarchyas and Zambra
• Arabic Zayal which themselves are the foundation for Fandangos
• Andalusian regional folk forms
• Western African influences via the slaves of the New World Caribbean, Central and South American colonies. These include Rumba, Garotin, Guajiras, Columbianas, etc.

It is evident here that Andalusia was not only a seat of interreligious living between Jews, Christians, and Muslims, but also many other cultures and religions, and these cultures and religions influenced flamenco music and dance. This is also evident in flamenco dance forms, namely the very strong resemblance to East Indian dance is seen in the Katak, NianiPuri, Kathakal and Bharatanatyam forms. Elements such as the deep-seated plea, outturned leg position, sharp angles of the body and arms, splayed fingers, rapid barrel turns and, most certainly, the percussive foot movements are all evident in flamenco dance. This dance, in 2/4 time, combined elements of Andalusian folk dance with Arabic elements, such as finger cymbals, tambourines and atypical theatrical costuming.

Additionally, the “colorful history of oriental dance” has maintained that the “gypsies have no true religious beliefs,” and no music of their own, so successfully have they taken on the flavor of each culture where they have lived. However, in reality their entire culture centers around shamanistic beliefs in the spirits that dwell in nature, a distinct remnant of Central Asian shamanistic beliefs. Gypsies believe that certain demons and spirits hold sway over each individual's daily life. For example the Gypsy artist must wait and hope for his personal "duende" or demon, to enter into him and flood him with inspiration before achieving true artistry, even when he/she must perform to eat. Thus, the entertainment of Gadjo becomes a game of fooling the uninformed that the spirit has entered the performer even when it has not. This deep emotion helped create in Andalusia the "cante jondo" or deep song, which contrasts to the lighter "canto flamenco.” Flamenco dance styling has a distinct similarity to classical Persian dance, as well as modern Central Asian dance, in the distinctive use of arms and the high body center. Whereas modern Arabic dance centers its moves in the abdomen and keeps the arms mostly at shoulder level, both Flamenco and Persian dance center the weight in the chest and use the maximum amount of space above the head to perform graceful and effect arm and hand movements.

Gypsy dancing is never "just to be dancing,” comments Gypsiologist Barbara Sellers. "Instead it seems to be part of an immense and significant non-verbal vocabulary of Gypsy communication and behavior. It is at the heart of an essential transformation, a transcended state, an escape from the reality of their daily lives to a more satisfying state of mind". This is especially important to remember because “oriental dance” is consistently related to both religion and eroticism in various contexts.