Adaptation of Spanish Flamenco Dance to the Cultural and Language Environment Conditions of Contemporary Russia

Abstract

The article reveals the phenomenon
of the existence of Spanish flamenco dance
in the cultural and language environment
of modern Russia. The premises for introducing
of this art form in the Russian society
of the 19th century have been considered,
as well as its dissemination throughout Russia
up to the present time. A brief analysis
of the etymology of the term “flamenco”
is carried out, emphasizing the inconsistency
and ambiguity of this concept, which
complicates its adequate interpretation
in the Russian language.
The authors have developed a classification
of flamenco styles from the perspective
of a non-bearer of flamenco culture.
This classification defines the styles according
to the complexity degree of perception
by Russian performers. It is concluded that
the most difficult for the Russians are
the authentic ancient manifestations
of flamenco, such as sigiriya, kanya, solea, etc.,
which are quite different in musical size
and rhythm.
The lexico-semantic analysis of certain
Spanish terms and exclamations characterizing
the flamenco dance was carried out.
Such expressions have been adopted into
the vocabulary of the Russian flamenco
performers representing: zapateado, floreo, braceo, bata de cola etc. The general structure
of flamenco dance is represented by means
of typical positions and movements.
The structure was worked out on the basis
of content analyses of the Spanish film-ballets,
devoted to flamenco dance.
The article also analyzes the polysemy of the
term “duende” – a phenomenon
that has a spiritual nature and is an integral
part of the flamenco art. It is concluded
that the professional performance
of the flamenco dance in the non-native social
and cultural environment requires from
a performer not only technical mastery,
but also a deep understanding of the meaning
of the flamenco dance, its history, as well
as the semantics of some Spanish terms
and expressions.