Los Moriscos Golf Course, Playa Granada, Costa Tropical
Club Los Moriscos (18 holes)
Urb. Playa Granada
Motril (Granada)
Tel/Fax: 958 82 55 27 - please add international dialling code
Necessary to book your tee off time 24 hours in advance on above telephone number. English spoken.
Designed by Ibergolf and Manuel Piñero, this is a flat course next to the sea. Open since 1974.
Green Fees 2006 (published prices at 1 August 2006)
Individual - €40
Couple - €70
Under 18 years - €20
One year ´membership´ card (30 x 18 holes) - €900
One year ´membership´ card (30 x 18 holes) - €900
Half hour lesson - €20
1 hour lesson - €30
Golf cart hire for 9 holes - €15
Golf cart hire for 18 holes - €20
Trolley hire - €3
Full club set hire - €15
No discounts for ´seniors´ with this new pricing structure.
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Beaches and Coves on the Costa Tropical de Granada
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Visiting Almunecar, Costa Tropical de Granada
Almuñecar is considered to be one of the oldest towns of the Western world dating back some 3,000 years. According to legend, it was once known as EX, while the Phoenicians named it Sexi. Today the town has become an important tourist centre offering hotels and a good range of services.
There is a popular outdoor market on Friday mornings which you cannot miss as it is on the main N340 road through town - and on the first Saturday of the month there is always a ´boot sale´.The beach area is nice for strolling or watching the world go by. For those with children, there is a water park (high season only) at one end of the beach where you could spend a full day.
Try to locate the town hall and the church - there is a nice square and lots of little shops.
Visiting the Alhambra Palace, Granada
The Alhambra Palace is only 50 minutes drive inland towards Granada from the coast and is a very popular and worthwhile destination for everyone who visits the area.
Telephone bookings: 91 346 59 36 - please add international dialling code
Internet bookings: http://www.alhambratickets.com
Internet bookings: http://www.alhambratickets.com
Flamenco Roots
If one were asked “What is the essential spirit of Spain?”, probably most would readily answer “Flamenco” or perhaps “Bullfighting’. Indeed the Granada-born poet and writer, Garcia Lorca, claimed that Flamenco is “…deeply related to bullfighting, not only sharing root emotions and passions, flashes of erratic genius, but because both are possible ways to break out of social and economic marginality.”
In fact, Flamenco belongs to the south of Spain, to Andalucia, and while its history is obscure and disputed, its origins were contemporary with the Moorish era. Its sources were probably related to the waves of immigrants in this period: from Morocco, Egypt, Greece, and the Middle East. Jews in the Spanish Netherlands may well have had an influence; indeed one (unlikely) theory is that the word flamenco is synonymous with Flanders. In the 15th century, with the re-Christianisation of Spain, the Catholic Church marginalized many of these immigrant communities, and the arrival of gypsies (gitanos) from India at about the same time perhaps became a focus for these deprived sections of society. However, arguably, there is no such thing as ‘gypsy music’, there is ‘gypsy musicality’ – where ever they end up and settle, they take the local music and make their own versions of it.
In the following centuries it fused with elements of Arab and Jewish music in the Andalucia mountains where those sections of society took refuge to escape forced religious conversions. Today it is often thought to be a gypsy art, but there are in fact two strains: gitano and payo (non-gypsy). What is apparent, is that the roots of its expression are essentially without religion, or more specifically non-Catholic, and in a culture of deprivation - ‘life must be lived for the day, with a passionate need to preserve self-esteem’ and ‘without a God, death must be faced with intense courage, pride, dignity and humour’. This attitude to life and death must have engendered an intense feeling of community, and the developing flamenco music its deepest expression.
It is ironic, therefore that its characteristics may well have been most heavily influenced by the early Church in Spain with its adoption of Byzantine ecclesiastical music. The Spanish classical composer, Manuel de Falla, argued in his writings on “Cante Jondo” that this was the decisive historic event in flamenco’s development. It is suggested that this influence led to the general use of the ‘Phrygian Mode’ in flamenco. (simply put, this is the scale based on the musical note ‘E’ rather than the typical western scales, Major – based on C and Minor – based on A, and that gives it its characteristic oriental, plaintive melancholy sound). Spanish Classical music has also been strongly influenced by Flamenco - in works by composers such as de Falla, Albeniz, Rodrigo, Tarrega and Granados, the connection is clear.
Earliest Flamenco seems to have been purely vocal (Cante), accompanied only by rhythmical hand clapping (Toque de Palmas). Only during its ‘golden age’ in the 19th century was the guitar introduced, and its full expression in Cante the song, Baile the dance, and Guitarra or Toque the guitar accompaniment came about. At this time, the main centres were the Barrio Triana in Seville, Moron de la Frontera, Cadiz, and Jerez and later in Granada. Performances usually took place in ‘Peñas’ or ‘Café Cantantes’.
Castanets or Palillos were traditionally used with the regional dances, in particular Sevillanas, Fandangos de Huelva, and Tanguillo de Cadiz, and came into more general use in the mid-20th century, when perhaps a less ‘earthy’ and more ‘sanitised, kitsch and politically acceptable’ form of the music was fostered in Franco’s era. Their use is frowned on today in the more serious dances, since they detract from the use of the hands; they are used primarily if no singer is available to interpret the Cante.
ELEMENTS OF FLAMENCO
The Guitar (Guitarra or Toque)
The basic element of rhythm in Flamenco is called the ‘Compas’ – a recurring pattern of accented beats that gives it a regular pulse, repeated again and again like a heartbeat and it is the guitarist who strictly maintains this in a performance. It is the deepest understanding of the Compas, and the physical identification with the rhythm that brings the performance to life. The different forms are called Toques – Soleares, Seguiriyas, Tientos, Fandangos and so on. Some are folk influenced e.g. Sevillanas, Peteneras; others are regionally based e.g. Malagueñas, Granadinas. Some of the names describe the mood e.g. ‘Soleares’ – ‘solitude or loneliness’ or ‘Alegrias’ – ‘joy or gaiety’. These are not single musical pieces, but are forms on which the guitarist and singer improvise. The guitarist accompanies the singer in a close understanding of the mood and at various times extemporizes ‘falsetas’ or short variations.
The two guitar techniques that all will recognise as flamenco are the ‘rasgueado’, or long backward strike with all fingers across all the strings and ‘tremolo’ which is the rapid plucking of a single string by each finger in succession. Virtuosos can reach extraordinary speeds of tremolo – at least fifteen notes per second.
While the guitar seems to have come late to flamenco, and then at first only as accompaniment, it is now recognised as a powerful solo instrumental form in its own right. Early solo performers were Ramon Montoya, Andrés Segovia initially in Granada (but who later became more famous for classical guitar) and Niño Ricardo. Currently the best-known players internationally are Paco Peña, Paco de Lucia and Juan Martin.
The Song (Cante)
Urged into mood by ‘jaleo’, or palmas hand clapping, and often with a harsh sounding voice, flamenco singers express great emotion, pain and melancholy. Together with facial expressions of anger and desperation and expressive body movements, the singer occasionally achieves ‘duende’ - a total emotional connection with their audience, which even when expressing happiness can create a profound effect. One of the greats of the century, accompanied by Montoya, was Antonio Chacon, and in more recent times, the distinctive cracking voiced, intense El Camaron de la Isla.
The Dance (Baile)
As opposed to the popular ‘Sevillanas’ folk dancing, real flamenco dancing can express all the high emotion that the singer or guitarist can evoke. Through interaction with the guitarist, the dancer improvises with huge physical and emotional control and extraordinary footwork expressed in heel to toe movements. Traditionally, women dress in the characteristic red polka-dot Sevillana dresses, while male dancers wear high waisted black trousers and waistcoats.
The Audience
An essential component of the performance is the connection with and the reaction of the audience. The total emotional connection and appreciation will be expressed with hand clapping, and calls such as ‘Olé!’, ‘Eso Es!’ or ‘Asi se toca!’ Toca bien o toca en el campo!’ is reserved for familiar surroundings – ‘Play well or play in the fields!’
MODERN FLAMENCO – NUEVO FLAMENCO
After a fairly uninspired period under Franco, Flamenco has enjoyed a resurgence, starting in the late ‘70s with Pace Peña and perhaps more significantly the ‘payo’, Paco de Lucia, born in Algeciras. He, less constrained by tradition, has fused his music with jazz, Latin American and rock. More recent are groups such as the (French) Gypsy Kings – mixing with rumba, and Ketama and Radio Tarifa – mixing with North African and other world roots.
There are numerous other comparatively unknown performers, and CD recordings that are only available locally are commonplace in street markets.
WHERE TO FIND FLAMENCO
Flamenco is fairly easy to find in Granada. Granada city is the best place to plan to see it - where it is played frequently, but much in the Sacramonto, the gitano district, is pretty bad and geared to tourists. In the Albaicin district below the Alhambra there are good places to go for aficionados – El Niño de los Almendras -“unforgettable flamenco when it happens” Peña Plateria – “come in small groups and speak Spanish”
There are annual flamenco festivals in the bigger cities – information is available on the Internet. Sometimes you may notice flyposters for a forthcoming performance almost anywhere in the province, and some restaurants at coastal resorts in the summer months will have players. Sometimes it will be performed at village or town fiestas. But perhaps the most unforgettable way is to come across it unexpectedly, or by word of mouth, - usually late at night and into the early hours, played impromptu by unknown performers at some insignificant bar or cafe – but - when ‘duende’ might just happen.
Further references and discography:
“El Arte Flamenco de la Guitarra’ – Guitar Method by Juan Martin
“Flamenco Guitar’ – Paco Peña – double CD
“An Introduction to Flamenco” – Charles Keyser
“Flamenco” – Jan Fairley
“Andalucia – The Rough Guide”
“El Arte Flamenco de la Guitarra’ – Guitar Method by Juan Martin
“Flamenco Guitar’ – Paco Peña – double CD
“An Introduction to Flamenco” – Charles Keyser
“Flamenco” – Jan Fairley
“Andalucia – The Rough Guide”
Salobrena, Costa Tropical de Granada
Salobreña is a very pretty little beachside town. The old area of the town is very steep - and hairy driving - but worth it for the views from the top. There is also the Moorish castle to visit and during the season there are often Fiestas at the weekends. You will see posters advertising them.
The Castle of Salobreña
Situated on top of a solid rocky promontory between the Mediterranean sea and the valley of the river Guadalfeo. Dating back more than 1,000 years it began life as a fortress in the 10th century, later was a prison and citadel. It was adapted to suit defence needs during the Christian period. Lovely views. Spectacularly lit at night. Access can be gained from 10 am - 2 pm and in the evenings from 5 pm - 10 pm. Ticket has dual entry into the Museum also.
Paseo de las Flores
The Paseo de las Flores is located on the northern and western slopes of the Castle spread around a modern horse shoe shaped arch. Since ancient times this area has been a place of recreation and enjoyment for the inhabitants. Lovely views.
Virgen del Rosario
A sculpture of the patron saint of Salobreña, the Virgen del Rosario (the Virgin of the Rosary) dating from the 16th century can be seen in the chancel of the parish church. It stands in the centre of the 19th century neo-baroque altarpiece between San Antonio and San Jose with child.
Ingenio Azucarero en La Caleta
The only refinery in Europe still dedicated to the processing of sugar cane into raw sugar. It also produces the best known cane rum in the area. The Guadalfeo sugar refinery is situated in the Caleta district of the town.