Flamenco y derechos de autor. El caso de Camarón de la Isla

Abstract

En el artículo, utilizando elementos conceptuales de derecho comparado (originalidad) y de economía de la cultura (valor cultural), se expone que la contribución realizada por el intérprete a la obra flamenca no cuenta con una protección acorde con su importancia. La metodología utilizada incluye entrevistas a personalidades del flamenco, que permitieron determinar la estructura de la obra musical flamenca y el diseño de su proceso de creación. Posteriormente, a partir de encuestas, se obtiene una aproximación a la valoración cultural de los agentes que dan lugar a la obra: palo (acervo cultural), autor e intérprete. Conmemorando el 25 aniversario de su muerte, se presenta un caso representativo de la problemática tratada, protagonizado por Camarón de la Isla. En este sentido el trabajo contribuye al estudio de la valoración del intérprete como parte fundamental de la obra musical flamenca y, por tanto, sustenta la demanda de una protección por derechos de autor.

Flamenco Performer’s Perceived Value: Development of a Measurement Index

“…This does not mean that the other elements are not important, since without its cooperative contribution the perception of the feelings would be incomplete. This indicates that consumers highlight the importance of the performers' personal way to externalise the work in its valuation (Heredia-Carroza et al, 2019a).…”

“…Flamenco is a traditional popular music genre with its own characteristics such as: aesthetics, performance, and socio-cultural significance, amongst others. Its wealth and variety can be observed from its three types of artistic manifestations such as cante -vocal music-toque -instrumental music-and baile -art of dancing (Heredia-Carroza et al, 2019a). However, one of the most relevant features of flamenco is its consideration as an arte vivo due to its oral tradition.…”

“…Both economists and music researchers suggest that the performer is an important intervening agent of the flamenco work (Romero, 1996;Cleeremans et al, 2016;Heredia-Carroza et al, 2019a). They complete the creation process of given work with its externalization (Gorton and Ostersjo, 2016;McNeil, 2017), which allows it to reach most of the audience who, at the same time, give it an appreciation (Felton, 1978;Bourdieu, 1984).…”

Determinants of attendance frequency to flamenco shows in Spain. A cultural economic approach

“…• Variables that express which elements of the flamenco work are most valued by the individual (Klamer, 2003;Levison, 2015): its structural elements (harmony 3 , rhythm, melody and lyrics) (Rosón, 2010;Heredia-Carroza, Palma & Aguado, 2017), the agents that create the work (author, performer), awards recieved, place where it is performed, fashions or tickets selling, among others (Heredia-Carroza et al, 2019b). We note that the variable "harmonics" is omitted from the econometric model, due to collinear problems with the variable melody.…”

Explanatory factors of university student participation in flamenco

“…Seville, where our empirical work was carried out, is one of the main centres for its development, and is where there has been sustained growth recently in terms of its supply (Palma et al al., 2017). In fact, the great international event of the world of flamenco, La Bienal, takes place every two years in Seville, where fans and professionals from all over the world meet (Heredia-Carroza, Palma & Aguado, 2019a).…”