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| TRADUCCIÓN REALIZADA POR | ALBOREÁ f. [From dawn, light of dawn, and that the lat. Dawn, oris.] A song with copla, usually four verses (six syllables) and a chorus. they threw so much wheat / that the king’s hat which was very wide, was filled with a large handful". Gypsies, on the other hand, have by singing alborea, tried to maintain the exclusive preservations of their customs in celebrations of weddings, as a proof of the purity of the bride, an unique heritage of their specific culture, an attitude that Manuel Barrios, in his book Process to Gitanismo, has commented, and clarified that the habit was common for Spanish people during many centuries: "As a sign of the discrimination practised, presumed to deny access, for non gypsies, to their more secret and intimate ceremonies. Such is the case of the wedding, no payo (person not gipsy) is able to see: not even hear them singing the alborea: a rite inclusive and exclusive, while accusing one point quite vulnerable, and that is the same wedding. With a handkerchief in which the three roses are born - that is, manual deflowering with its three blood stains, it is not rite calé (typical of the gipsies), but Spanish. It produces some sadness that destroys myths that are wild and beautiful, but we are here to talk seriously, and say that the Spanish barbarian custom repealis when Spain fail to reign by the Austrias.” As an example, Isabella the Catholic underwent the virginity test. Demófilo, in the prologue and in the footnote, in his collection Cantes Flamencos, the glosary begins by saying "In a green meadow / I threw my handkerchief”, which offers its version of siguiriya, also refers to the habit of showing evidence of the bride's virginity in Sicily, according to testimony cited by the Italian author Giuseppe Pitré. E. Pohren, in his book The Flamenco Art, comments regarding the alboreá: <<Until recently, gypsies believed that it would bring bad luck to sing the alboreás outside weddings and within the radius of attention of the non-Gypsies. Today, with these alboreás recorded on anthologies are already sung at least in a movie, without any consequences arising importancy, this belief is generally discredited. " According to Ricardo Molina: "Almost the entire range of Flamenco or the various forms of Flamenco come from the mysterious synthesis of alboréa. For its artistic completion, it is, moreover, danceable. Its beat is the same as for the primitive soleares for dancing." Manuel Martin Martin, on his part, considers the following nuances: "Much has been said and written, to turn it into legend, about this song extolling chastity before marriage of the bride. Nor missing, based on the letters, any doubt about that the same takes place within Gypsy families of the lower Andalusia, which of course we mean the real alboreá flamenco, Seville or Cadiz, without those of Cordoba. Granada, Jaen, and some localities from Extremadura. Within the same song it might perceive differences between Cadiz and Los Puertos (soleá romanceada danceable), Jerez, Lebrija and Utrera (soleá por bulerías romanceadas) and the purest we know-in terms of wealthy musical variations and nuances, those of Ecija, which represent the most perfect relic of the bulerías for listening." Gypsy singers, as Rafael Romero and Joselero, among others, have recorded versions of alboreás, but its practice to the public remains minimal at festivals and concerts. |
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El Niņo de la Albarizuela |
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