Introduction: Research

I have been doing some research into one of the earliest forms of flamenco- the Zambra Mora- for two and a half to three years now, and if there are any passionate Zambra Mora enthusiasts/dancers and researchers out there, do come out and share ideas , thoughts and experiences.

I have written some short articles about Zambra Mora, (history, dance vocabulary, music, costuming, websites/links etc) on my myspace account : www.myspace.com/qurtubiyya . (Click on blog archives) Information is indeed scarce, as it seems such an elusive dance and no one seems to know what it's supposed to look like!

It is clear, however, this dance has Moorish/Maghrebi origins, as suggested in the name.

Given the fact, that it was very dangerous to be Moorish or Jewish, post 1492, it's not surprising many passed themselves off as Gitano (Moors and Gitanos being dark-skinned were seen as interchangeable ethnicities/identities- Morocco et al), nor was it surprising it was danced in secret ( deemed the "Forbidden Dance"- Puela Lunaris)-so it is no wonder, any one had any idea what this dance was! In many ways, the Gitanos who adopted the Zambras and flamenco , are inheritors of Moorish culture and history.


1. Types of Zambra
However, there are several types of zambra, also called Danza Mora (Moorish Dance), which I've tried to pin down and analyse , during my research. I've understood that there is the zambra, which is traditionally danced at Gitano (Rom) weddings and for tourists in the Sacramento Hills/Caves of Andalucia. The caveat here is , how one dances for the public, and for the tourists, can be two very different things......

The word " zambra" can mean "party" or " music" (from Arabic) and found its way into Castilian Spanish ( Robin Totton, Song of the Outcasts). In this form of dance, a group of dancers, (often women) singers, musicians sit and perform together.
Dancers come out one by one and dance, and are encouraged by each other and the audience. Footwork is used
here ( see Amaya's Gipsy Fire Vol 1 dvd, for examples of Zambra in the Sacramento Caves). In www.esflamenco.com , Susana Navalon says that the Zambra is not part of the Flamenco canon, which is pity, since it could afford the flamenco dancer many opportunities for artistry and expression. On youtube, Estrella Morentes dances a very beautiful Zambra , which is definitely flamenco.


2. Zambra/Danza Mora ( flamenco/bellydance )

Then there is the second category, which many dancers and commentators describe as very oriental, undulatory and "hippy" , softer in form- a flamenco belly dance- which was danced alongside the more "flamenco" version, from the start.
In fact ,this form of Zambra was made very popular, in its resurrection, by flamenco dancers and artists such as Carmen Amaya and La Chunga (Morocco) during the 1940's/50's, with some fine music composed and eloquent, fiery dances choreographed especially for this dance form. I think the second form has generated much interest and fascination amongst bellydancers, for obvious reasons... The costuming for this zambra, is blouse tied under the bust, with a skirt with frills on the edges, a scarf tied around the waist; danced barefoot, (Morocco, www.atlantabellydance.com et al) and danced often with zills/tambourine.

Morocco of New York, Amaya ( New Mexico), Elena Lentini, www.sabihah. net, Puela Lunaris etc all have done extensive research on this dance form; Dalia Carella, Dondi, Amaya and others have all danced some powerful and evocative zambra/danza moras. Mesmera uses Moorish stylings in her Rom -inspired dances ( Gypsy Bellydance video), www.sabihah.net lists possible zambra mora dance vocabulary to use.


3. Learning the Zambra

In the UK, there are bellydancers such as Afra al-Kahira, Al Warner, Lucy Tanner, Raheesha, others and myself, who are at the moment developing flamenco- rooted dance, since many of us are flamenco dancers as well.

I think to dance the various forms of zambra, one needs to work on one's flamenco, either through regular flamenco drilling, flamenco classes, flamenco workshops- in order to tap into the reservoir of feeling,emotion and vocabulary. It needs that strong proud posture, (Amaya) that doesn't let up, for even one minute, floreos ( isolated wrist rotations ) strong torso, spins, sensuous hips. Otherwise, `i think, without these, it would lose that flamneco edge, purpose, and poise.

Suffice to say, it takes years to perfect!

4. Puela Lunaris' Interpretation

Puela Lunaris , of New York (www.puellalunaris.com) produced a video in 2002 , called Zambra Flamenco, and it is, I think quite an invaluable and wonderful look at an interpretation of the zambra mora. Spanish born Lunaris (real name Pilar Sanchez) grew up in Andalucia, and danced the zambra as a child. She went on to study flamenco with the great flamenco Master El Farruco. Puela passionately says, that this dance form is dying out, and the more people become involved and interested in this dance, the future for it, remains exceptionally bright...




So I guess there is one more burning question- in light of all this, just when did Moorish dance eventually become flamenco proper?
Now , that would be an incredible answer!




Resources:


www.maria.amaya.com (Gypsy Fire, Vols 1 and 2 - Zambra/Danza Mora/ Gitano-Arabe dance)

www.casbahdance.org ( Morocco's website)

www.esflamenco.com (articles on flamenco styles /palos, and flamenco artistes, with Susana Navalon)

www.emmapyke.co.uk (review of Dondi's Zambra Mora dance workshop ) : see also www.afraalkahira.com for the same review)

www.flamenco-world.com

www.mesmera.com ( for the Gypsy Bellydance video)

www.puellalunaris.com ( Zambra Flamenco)

www.sabihah.net


Totton Robin Song of the Outcasts


Any books on Moorish/Sephardic/Gitano/Spanish histories/cultures/language or visits to Spain, all of which give this dance a great context.
If I have left anyone out, I do apologise.

Many of these sites have good links as well.