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Flamenco

Flamenco is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia. In a wider sense, the term is used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization. However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage.

The oldest record of flamenco music dates to 1774 in the book Las Cartas Marruecas (The Moroccan Letters) by José Cadalso. The development of flamenco over the past two centuries is well documented: "the theatre movement of sainetes (one-act plays) and tonadillas, popular song books and song sheets, customs, studies of dances, and toques, perfection, newspapers, graphic documents in paintings and engravings. ... in continuous evolution together with rhythm, the poetic stanzas, and the ambiance."

On 16 November 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.

Etymology
Historically, the term Flamenco was used to identify the Romani people (Gitanos) of Spain. The English traveller George Borrow who travelled through Spain during the 1830s stated that the Gitanos were also called Flemish (in Spanish, 'flamenco') due to German and Flemish being erroneously considered synonymous. According to flamencologist Cristina Cruces-Roldán, a year prior to Borrow's account, there already existed a Gitano party in Madrid that was clearly identified as Flamenco. This equivalency between Gitano and Flamenco is also noted by Manuel Fernández y González, Demófilo, and the scholar Iriving Brown who stated in 1938 that "Flamenco is simply another term for Gitano, with special connotations."

The origins of the term lie in the sociological prejudice towards the Roma who were seen as ruffians and cocky troublemakers by the Spaniards and were thus associated with the 18th century German colonists of the Sierra Morena who formed groups of urban Bohemians that lived outside the law and were seen as idle and lazy. Other less successful hypotheses include those of Felipe Pedrell and Carlos Alemendros who state that while the term Flamenco is Spanish for Flemish, it is actually synonymous with Cantador (professional singer) in reference to the group of Flemish singers brought by Spanish King Carlos I in 1516. Another hypothesis that is not widely accepted is the Arabist theory of Blas Infante, which presents in his book Orígenes de lo flamenco (Origins of flamenco) , Flamenco as a phonetic deformation of Arabic fellah-mengu (runaway laborer) or was derived from the Arabic terms Felah-Mengus, which together mean "wandering peasant".

The first use of the term Flamenco to refer to the music genre appears in a 1847 newspaper article of El Espectador where it was referred to as a "Gitano genre." In the early years of Flamenco, the term was versatile and was used to refer to a variety of concepts in the Gitano-Andalusian world. For example, in the 1860s-70s this versatility was exemplified through its use to refer to a musical style and a certain aesthetic, manners, and way of life that were perceived to be Gitano. At that time, Flamenco was not a strict genre but a way of performing music in a Gitano-Andalusian style.

Cultural Origins
There are hypotheses that point to the influence on flamenco of types of dance from the Indian subcontinent; the place of origin of the Romani people. The Indo-Pakistani scales of Flamenco were introduced to Andalusia by the Romani migrations from Northern India. These Roma migrants also brought bells, and an extensive repertoire of songs and dances. Upon arrival to Andalusia in the 15th century, they were exposed to the rich Arab-Andalusian music culture, itself a hybrid of Spanish music tradition going back to the 8th century with the establishment of Al-Andalus, which brought in traditions and music from the Arabian peninsula, Northern Africa and Sephardic features. Some of the instruments associated with Flamenco and Spanish folklore in different regions today, are the wooden castanets and tambourines, both believed to originate during the Al Andalus period. This centuries-long period of cultural intermingling, formed the roots of Flamenco song and dance genres.

Birth of Flamenco
It is believed that the flamenco genre emerged at the end of the 18th century in cities and agrarian towns of Baja Andalusia, highlighting Jerez de la Frontera as the first written vestige of this art, although there is practically no data related to those dates and the manifestations of this time are more typical of the bolero school than of flamenco. It appeared as a modern art form from the convergence of the urban subaltern groups, Gitano communities, and journeyman of Andalusia that formed the marginalized Flamenco artistic working class who established Flamenco as a singular art form, marked from the beginning by the Gitano brand. Andalusia was the origin and cradle of the early Flamenco cantaores and of the three or four dozen Gitano families who created and cultivated Flamenco.

The casticismo
During the end of the 18th and beginning of the 19th century, a number of factors led to rise in Spain of a phenomenon known as "Costumbrismo Andaluz" or "Andalusian Mannerism".

In 1783 Carlos III promulgated a pragmatics that regulated the social situation of the Gitanos. This was a momentous event in the history of Spanish gitanos who, after centuries of marginalization and persecution, saw their legal situation improve substantially.

After the Spanish War of Independence (1808–1812), a feeling of racial pride developed in the Spanish conscience, in opposition to the "gallified" "Afrancesados" - Spaniards who were influenced by French culture and the idea of the enlightenment. In this context, gitanos were seen as an ideal embodiment of Spanish culture and the emergence of the bullfighting schools of Ronda and Seville, the rise of the Bandidos and Vaqueros led to a taste for Andalusian romantic culture which triumphed in the Madrid court.

At this time there is evidence of disagreements due to the introduction of innovations in art.

Los cafés cantantes
In 1881 Silverio Franconetti opened the first flamenco singer café in Seville. In Silverio's café the cantaores were in a very competitive environment, which allowed the emergence of the professional cantaor and served as a crucible where flamenco art was configured. Locals learned the cantes, while reinterpreting the Andalusian folk songs in their own style, expanding the repertoire. Likewise, the taste of the public contributed to configure the flamenco genre, unifying its technique and its theme.

The antiflamenquismo of "La generación del 98"
Flamenquismo, defined by the Royal Spanish Academy as a "fondness for flamenco art and customs", is a conceptual catch-all where flamenco singing and a fondness for bullfighting, among other traditional Spanish elements, fit. These customs were strongly attacked by the generation of 98, all of its members being "anti-flamenco", with the exception of the Machado brothers, Manuel and Antonio. Being Sevillians and sons of the folklorist Demófilo Machado, the brothers had a more complex view of the matter. The greatest standard bearer of anti-flamenquism was the Madrid writer Eugenio Noel, who, in his youth, had been a militant casticista. Noel attributed to flamenco and bullfighting the origin of the ills of Spain which he saw as manifestations of the country's Oriental character which hindered economic and social development. These considerations caused an insurmountable rift to be established for decades between flamenco and most "intellectuals" of the time.

The flamenca opera
Between 1920 and 1955, flamenco shows began to be held in bullrings and theaters, under the name "flamenco opera". This denomination was an economic strategy of the promoters, since opera only paid 3% while variety shows paid 10%. At this time, flamenco shows spread throughout Spain and the main cities of the world. The great social and commercial success achieved by flamenco at this time eliminated some of the oldest and most sober styles from the stage, in favor of lighter airs, such as cantiñas, los cantes de ida y vuelta and fandangos, of which many personal versions were created. The purist critics attacked this lightness of the cantes, as well as the use of falsete and the gaitero style.

In the line of purism, the poet Federico García Lorca and the composer Manuel de Falla had the idea of concurso de cante jondo en Granada en 1922. Both artists conceived of flamenco as folklore, not as a scenic artistic genre; for this reason, they were concerned, since they believed that the massive triumph of flamenco would end its purest and deepest roots. To remedy this, they organized a cante jondo contest in which only amateurs could participate and in which festive cantes (such as cantiñas) were excluded, which Falla and Lorca did not consider jondos, but flamencos. The jury was chaired by Antonio Chacón, who at that time was the leading figure in cante. The winners were "El Tenazas", a retired professional cantaor from Morón de la Frontera, and Manuel Ortega, an eight-year-old boy from Seville who would go down in flamenco history as Manolo Caracol. The contest turned out to be a failure due to the scant echo it had and because Lorca and Falla did not know how to understand the professional character that flamenco already had at that time, striving in vain to seek a purity that never existed in an art that was characterized by mixture and the personal innovation of its creators. Apart from this failure, with the Generation of '27, whose most eminent members were Andalusians and therefore knew the genre first-hand, the recognition of flamenco by intellectuals began.

At that time, there were already flamenco recordings related to Christmas, which can be divided into two groups: the traditional flamenco carol and flamenco songs that adapt their lyrics to the Christmas theme. These cantes have been maintained to this day, the Zambomba Jerezana being spatially representative, declared an Asset of Intangible Cultural Interest by the Junta de Andalucía in December 2015.

During the Spanish Civil War, a large number of singers were exiled or died defending the Republic and the humiliations to which they were being subjected by the National Party: Bando Nacional: Corruco de Algeciras, Chaconcito, El Carbonerillo, El Chato De Las Ventas, Vallejito, Rita la Cantaora, Angelillo, Guerrita are some of them. In the postwar period and the first years of the Franco regime, the world of flamenco was viewed with suspicion, as the authorities were not clear that this genre contributed to the national conscience. However, the regime soon ended up adopting flamenco as one of the quintessential Spanish cultural manifestations. The singers who have survived the war go from stars to almost outcasts, singing for the young men in the private rooms of the brothels in the center of Seville where they have to adapt to the whims of aristocrats, soldiers and businessmen who have become rich.

In short, the period of the flamenco opera was a time open to creativity and that definitely made up most of the flamenco repertoire. It was the Golden Age of this genre, with figures such as Antonio Chacón, Manuel Vallejo Manuel Vallejo, Manuel Torre, La Niña de los Peines, Pepe Marchena and Manolo Caracol.

Flamencología
Starting in the 1950s, abundant anthropological and musicological studies on flamenco began to be published. In 1954 Hispavox published the first Antología del Cante Flamenco, a sound recording that was a great shock to its time, dominated by orchestrated cante and, consequently, mystified. In 1955, the Argentine intellectual Anselmo González Climent published an essay called "Flamencología", whose title he baptized the "set of knowledge, techniques, etc., on flamenco singing and dancing." This book dignified the study of flamenco by applying the academic methodology of musicology to it and served as the basis for subsequent studies on this genre.

As a result, in 1956 the National Contest of Cante Jondo de Córdoba was organized and in 1958 the first flamencology chair was founded in Jerez de la Frontera, the oldest academic institution dedicated to the study, research, conservation, promotion and defense of the flamenco art. Likewise, in 1963 the Cordovan poet Ricardo Molina and the Sevillian cantaor Antonio Mairena published Alalimón Mundo y Formas del Cante flamenco, which has become a must-have reference work.

For a long time the Mairenistas postulates were considered practically unquestionable, until they found an answer in other authors who elaborated the "Andalusian thesis", which defended that flamenco was a genuinely Andalusian product, since it had been developed entirely in this region and because its styles basic ones derived from the folklore of Andalusia. They also maintained that the Andalusian Gitanos had contributed decisively to their formation, highlighting the exceptional nature of flamenco among gypsy music and dances from other parts of Spain and Europe. The unification of the Gitanos and Andalusian thesis has ended up being the most accepted today. In short, between the 1950s and 1970s, flamenco went from being a mere show to also becoming an object of study.

Flamenco protest during the Franco regime
Flamenco became one of the symbols of Spanish national identity during the Franco regime, since the regime knew how to appropriate a folklore traditionally associated with Andalusia to promote national unity and attract tourism, constituting what was called national-flamenquismo. Hence, flamenco had long been seen as a reactionary or retrograde element. In the mid-60s and until the transition, cantaores who opposed the regime began to appear with the use of protest lyrics. These include: José Menese and lyricist Francisco Moreno Galván, Enrique Morente, Manuel Gerena, El Lebrijano, El Cabrero, Lole y Manuel, el Piki or Luis Marín, among many others.

In contrast to this conservatism with which it was associated during the Franco regime, flamenco suffered the influence of the wave of activism that also shook the university against the repression of the regime when university students came into contact with this art in the recitals that were held, for example, at the Colegio Mayor de San Juan Evangelista: "flamenco amateurs and professionals got involved with performances of a manifestly political nature. It was a kind of flamenco protest charged with protest, which meant censorship and repression for the flamenco activists ".

As the political transition progressed, the demands were deflated as flamenco inserted itself within the flows of globalized art. At the same time, this art was institutionalized until it reached the point that the Junta de Andalucía was attributed in 2007 "exclusive competence in matters of knowledge, conservation, research, training, promotion and dissemination".

Flamenco fusion
In the 1970s, there were airs of social and political change in Spain, and Spanish society was already quite influenced by various musical styles from the rest of Europe and the United States. There were also numerous singers who had grown up listening to Antonio Mairena, Pepe Marchena and Manolo Caracol. The combination of both factors led to a revolutionary period called flamenco fusion.

The singer Rocío Jurado internationalized flamenco at the beginning of the 70s, replacing the bata de cola with evening dresses. Her facet in the "Fandangos de Huelva" and in the Alegrías was recognized internationally for her perfect voice tessitura in these genres. She used to be accompanied in her concerts by guitarists Enrique de Melchor and Tomatito, not only at the national level but in countries like Colombia, Venezuela and Puerto Rico.

The musical representative José Antonio Pulpón was a decisive character in that fusion, as he urged the cantaor Agujetas to collaborate with the Sevillian Andalusian rock group "Pata Negra", the most revolutionary couple since Antonio Chacón and Ramón Montoya, initiating a new path for flamenco. It also fostered the artistic union between the virtuoso guitarist from Algeciras Paco de Lucía and the long-standing singer from the island Camarón de la Isla, who gave a creative impulse to flamenco that would mean its definitive break with Mairena's conservatism. When both artists undertook their solo careers, Camarón became a mythical cantaor for his art and personality, with a legion of followers, while Paco de Lucía reconfigured the entire musical world of flamenco, opening up to new influences, such as Brazilian music, Arabic and jazz and introducing new musical instruments such as the Peruvian cajon, the transverse flute, etc.

Other leading performers in this process of formal flamenco renewal were Juan Peña El Lebrijano, who married flamenco with Andalusian music, and Enrique Morente, who throughout his long artistic career has oscillated between the purism of his first recordings and the crossbreeding with rock, or Remedios Amaya from Triana, cultivator of a unique style of tangos from Extremadura, and a wedge of purity in her cante make her part of this select group of established artists. Other singers with their own style include Cancanilla de Marbella. In 2011 this style became known in India thanks to María del Mar Fernández, who acts in the video clip of the film You Live Once, entitled Señorita. The film was seen by more than 73 million viewers.

New flamenco
In the 1980s a new generation of flamenco artists emerged who had been influenced by the mythical cantaor Camarón, Paco de Lucía, Morente, etc. These artists were interested in popular urban music, which in those years was renewing the Spanish music scene, it was the time of the Movida madrileña. Among them are "Pata Negra", who fused flamenco with blues and rock, Ketama, of pop and Cuban inspiration and Ray Heredia, creator of his own musical universe where flamenco occupies a central place.

Also the recording company Nuevos Medios released many musicians under the label nuevo flamenco and this denomination has grouped musicians very different from each other like Rosario Flores, daughter of Lola Flores, or the renowned singer Malú, niece of Paco de Lucía and daughter of Pepe de Lucía, who despite sympathizing with flamenco and keeping it in her discography has continued with her personal style. However, the fact that many of the interpreters of this new music are also renowned cantaores, in the case of José Mercé, El Cigala, and others, has led to labeling everything they perform as flamenco, although the genre of their songs differs quite a bit from the classic flamenco. This has generated very different feelings, both for and against.

Other contemporary artists of that moment were O'Funkillo and Ojos de Brujo, Arcángel, Miguel Poveda, Mayte Martín, Marina Heredia, Estrella Morente or Manuel Lombo, etc.

But the discussion between the difference of flamenco and new flamenco in Spain has just gained strength during since 2019 due to the success of new flamenco attracting the taste of the youngest Spanish fans but also in the international musical scene emphasizing the problem of how should we call this new musical genre mixed with flamenco.

One of these artist who has reinvented flamenco is Rosalía, an indisputable name on the international music scene. "Pienso en tu mirá", "Di mi nombre" or the song that catapulted her to fame, "Malamente", are a combination of styles that includes a flamenco/south Spain traditional musical base. Rosalía has broken the limits of this musical genre by embracing other urban rhythms, but has also created a lot of controversy about which genre is she using. The Catalan artist has been awarded several Latin GrammyAwards and MTV Video Music Awards, which also, at just 30 years old, garners more than 40 million monthly listeners on Spotify.

But it is not the only successful case, the Granada-born Dellafuente, C. Tangana, MAKA, RVFV, Demarco Flamenco, Maria Àrnal and Marcel Bagés, El Niño de Elche, Sílvia Pérez Cruz; Califato 3/4, Juanito Makandé, Soledad Morente, María José Llergo o Fuel Fandango are only a few of the new spanish musical scene that includes flamenco in their music.

It seems that the Spanish music scene is experiencing a change in its music and new rhythms are re-emerging together with new artists who are experimenting to cover a wider audience that wants to maintain the closeness that flamenco has transmitted for decades.

Flamenco Culture Overseas
The state of New Mexico, located in the southwest of the United States maintains a strong identity with Flamenco culture. The University of New Mexico located in Albuquerque offers a graduate degree program in Flamenco. Flamenco performances are widespread in the Albuquerque and Santa Fe communities, with the National institute of Flamenco sponsoring an annual festival, as well as a variety of professional flamenco performances offered at various locales. Emmy Grimm, known by her stage name La Emi is a professional Flamenco dancer and native to New Mexico who performs as well as teaches Flamenco in Santa Fe. She continues studying her art by traveling to Spain to work intensively with Carmela Greco and La Popi, as well as José Galván, Juana Amaya, Yolanda Heredia, Ivan Vargas Heredia, Torombo and Rocio Alcaide Ruiz.

Main Palos
Palos (formerly known as cantes) are flamenco styles, classified by criteria such as rhythmic pattern, mode, chord progression, stanzaic form and geographic origin. There are over 50 different palos, some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down: the Farruca, for example, once a male dance, is now commonly performed by women too.

There are many ways to categorize Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande), while lighter, frivolous forms are called Cante Chico. Forms that do not fit either category are classed as Cante Intermedio. These are the best known palos :

Alegrías
The alegrías are thought to derive from the Aragonese jota, which took root in Cadiz during the Peninsular war and the establishment of the Cortes de Cadiz. That is why its classic lyrics contain so many references to the Virgen del Pilar, the Ebro River and Navarra.

Enrique Butrón is considered to have formalized the current flamenco style of alegrías and Ignacio Espeleta who introduced the characteristic "tiriti, tran, tran...". Some of the best known interpreters of alegrías are Enrique el Mellizo, Chato de la Isla, Pinini, Pericón de Cádiz, Aurelio Sellés, La Perla de Cádiz, Chano Lobato and El Folli.

One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (Literally "a tap of the foot") and bulerías. This structure though, is not followed when alegrías are sung as a standalone song (with no dancing). In that case, the stanzas are combined freely, sometimes together with other types of cantiñas.

Alegrías has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]. Alegrías originated in Cádiz. Alegrías belongs to the group of palos called Cantiñas and it is usually played in a lively rhythm (120–170 beats per minute). The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone.

Bulerías
Bulerías a fast flamenco rhythm made up of a 12 beat cycle with emphasis in two general forms as follows: [12] 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 or [12] 1 2 [3] 4 5 6 [7] [8] 9 [10] 11. It originated among the Calé Romani people of Jerez during the 19th century, originally as a fast, upbeat ending to soleares or alegrias. It is among the most popular and dramatic of the flamenco forms and often ends any flamenco gathering, often accompanied by vigorous dancing and tapping.

Music
"There are three fundamental elements which can help define whether or not something really is flameco: A flamenco mode -or musical tonality-; the compás -rhythm- and the performer. .. who should be a Flamenco! All three of these elements: tonality, compás, a flamenco performer and then something less easily identifiable- Flamencura- must be present together if we are to wend up with a piece of music which can be labelled 'flamenco'. By themselves, these elements won't turn a piece of music into flamenco." "Three fundamental elements that help define whether or not a dance belongs to the Flamenco genre are the presence of a Flamenco mode (musical tonality), compas, and a Flamenco performer (Martinez, 2003). These three elements contribute to the authenticity of a Flamenco performance also known as flamencura (Martinez, 2003). There is also no such thing as a passive audience during Flamenco performances [participatory music]. The audience joins in the performance by clapping their hands and even sometimes singing along (Totton, 2003)."

Structure
A typical flamenco recital with voice and guitar accompaniment comprises a series of pieces (not exactly "songs") in different palos. Each song is a set of verses (called copla, tercio, or letras), punctuated by guitar interludes (falsetas). The guitarist also provides a short introduction setting the tonality, compás (see below) and tempo of the cante. In some palos, these falsetas are played with a specific structure too; for example, the typical sevillanas is played in an AAB pattern, where A and B are the same falseta with only a slight difference in the ending.

Harmony
Flamenco uses the flamenco mode (which can also be described as the modern Phrygian mode (modo frigio), or a harmonic version of that scale with a major 3rd degree), in addition to the major and minor scales commonly used in modern Western music. The Phrygian mode occurs in palos such as soleá, most bulerías, siguiriyas, tangos and tientos.

A typical chord sequence, usually called the "Andalusian cadence" may be viewed as in a modified Phrygian: in E the sequence is Am–G–F–E. According to Manolo Sanlúcar E is here the tonic, F has the harmonic function of dominant while Am and G assume the functions of subdominant and mediant respectively.

Guitarists tend to use only two basic inversions or "chord shapes" for the tonic chord (music), the open 1st inversion E and the open 3rd inversion A, though they often transpose these by using a capo. Modern guitarists such as Ramón Montoya, have introduced other positions: Montoya himself started to use other chords for the tonic in the modern Dorian sections of several palos; F♯ for tarantas, B for granaínas and A♭ for the minera. Montoya also created a new palo as a solo for guitar, the rondeña in C♯ with scordatura. Later guitarists have further extended the repertoire of tonalities, chord positions and scordatura.

There are also palos in major mode; most cantiñas and alegrías, guajiras, some bulerías and tonás, and the cabales (a major type of siguiriyas). The minor mode is restricted to the Farruca, the milongas (among cantes de ida y vuelta), and some styles of tangos, bulerías, etc. In general traditional palos in major and minor mode are limited harmonically to two-chord (tonic–dominant) or three-chord (tonic–subdominant–dominant) progressions. However modern guitarists have introduced chord substitution, transition chords, and even modulation.

Fandangos and derivative palos such as malagueñas, tarantas and cartageneras are bimodal: guitar introductions are in Phrygian mode while the singing develops in major mode, modulating to Phrygian at the end of the stanza.

Melody
Dionisio Preciado, quoted by Sabas de, established the following characteristics for the melodies of flamenco singing:

 * 1) Microtonality: presence of intervals smaller than the semitone.
 * 2) Portamento: frequently, the change from one note to another is done in a smooth transition, rather than using discrete intervals.
 * 3) Short tessitura or range: Most traditional flamenco songs are limited to a range of a sixth (four tones and a half). The impression of vocal effort is the result of using different timbres, and variety is accomplished by the use of microtones.
 * 4) Use of enharmonic scale. While in equal temperament scales, enharmonics are notes with identical pitch but different spellings (e.g. A♭ and G♯); in flamenco, as in unequal temperament scales, there is a microtonal intervalic difference between enharmonic notes.
 * 5) Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency.
 * 6) Baroque ornamentation, with an expressive, rather than merely aesthetic function.
 * 7) Apparent lack of regular rhythm, especially in the siguiriyas: the melodic rhythm of the sung line is different from the metric rhythm of the accompaniment.
 * 8) Most styles express sad and bitter feelings.
 * 9) Melodic improvisation: flamenco singing is not, strictly speaking, improvised, but based on a relatively small number of traditional songs, singers add variations on the spur of the moment.

Musicologist Hipólito Rossy adds the following characteristics :

 * Flamenco melodies are characterized by a descending tendency, as opposed to, for example, a typical opera aria, they usually go from the higher pitches to the lower ones, and from forte to piano, as was usual in ancient Greek scales.
 * In many styles, such as soleá or siguiriya, the melody tends to proceed in contiguous degrees of the scale. Skips of a third or a fourth are rarer. However, in fandangos and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this is proof of the more recent creation of this type of songs, influenced by Castilian jota.

Compás or time signature
Compás is the Spanish word for metre or time signature (in classical music theory). It also refers to the rhythmic cycle, or layout, of a palo.

The compás is fundamental to flamenco. Compás is most often translated as rhythm but it demands far more precise interpretation than any other Western style of music. If there is no guitarist available, the compás is rendered through hand clapping (palmas) or by hitting a table with the knuckles. The guitarist uses techniques like strumming (rasgueado) or tapping the soundboard (golpe). Changes of chords emphasize the most important downbeats.

Flamenco uses three basic counts or measures: Binary, Ternary and a form of a twelve-beat cycle that is unique to flamenco. There are also free-form styles including, among others, the tonás, saetas, malagueñas, tarantos, and some types of fandangos:

 * Rhythms in or . These metres are used in forms like tangos, tientos, gypsy rumba, zambra and tanguillos.
 * Rhythms in . These are typical of fandangos and sevillanas, suggesting their origin as non-Roma styles, since the and  measures are not common in ethnic Roma music.
 * 12-beat rhythms usually rendered in amalgams of +  and sometimes . The 12-beat cycle is the most common in flamenco, differentiated by the accentuation of the beats in different palos. The accents do not correspond to the classic concept of the downbeat. The alternating of groups of 2 and 3 beats is also common in Spanish folk dances of the 16th century such as the zarabanda, jácara and canarios.

There are three types of 12-beat rhythms, which vary in their layouts, or use of accentuations: soleá, seguiriya and bulería:

 * 1) peteneras and guajiras: 1 2 3 4 5 6 7 8 9 10 11 12. Both palos start with the strong accent on 12. Hence the meter is 12 1 2 3 4 5 6 7 8 9 10 11.
 * 2) The seguiriya, liviana, serrana, toná liviana, cabales: 12 1 2 3 4 5 6 7 8 9 10 11 12. It could also be counted like starting a bulerías scheme from 8 (see below).
 * 3) soleá, within the cantiñas group of palos which includes the alegrías, cantiñas, mirabras, romera, caracoles and soleá por bulería (also "bulería por soleá"): 1 2 3 4 5 6 7 8 9 10 11 12. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular.

The Bulerías is the emblematic palo of flamenco: today its 12-beat cycle is most often played with accents on the 3rd, 6th, 8th, 10th and 12th beats. The accompanying palmas are played in groups of 6 beats, giving rise to a multitude of counter-rhythms and percussive voices within the 12 beat compás. In certain regions like, Jerez, Spain, the rhythm stays in a simpler six-count rhythm, only including the twelve count in a musical resolve. This is like starting the counting at 9 so it goes this way: 9 10 11 12 1 2 - again, bold means the emphasis when clapping. In real life it is counted from 1 like: 1 2 3 4 5 6 and so on.

Toque (guitar)
The posture and technique of flamenco guitarists, called "tocaores", differs from that used by the players of classical guitar. While the classical guitarist supports the guitar on his left leg in an inclined way, the flamenco guitarist usually crosses his legs and supports it on the one that is higher, placing the neck in an almost horizontal position with respect to the ground. Modern guitarists usually use classical guitars, although there is a specific instrument for this genre called flamenco guitar. This is less heavy, and its body is narrower than that of the classical guitar, so its sound is lower and does not overshadow the cantaor. It is usually made of cypress wood, with the handle of cedar and the top of fir. The cypress gives it a brilliant sound very suitable for the characteristics of flamenco. Formerly, the palo santo from Rio or India was also used, being the first of higher quality, but currently it is in disuse due to its scarcity. The palo santo gave guitars an amplitude of sound especially suitable for solo playing. At present, the most widely used headstock is the metal one, since the wooden one poses tuning problems.

The main guitar makers were Antonio de Torres Jurado (Almería, 1817–1892) considered the father of the guitar, Manuel Ramírez de Galarreta, the Great Ramírez (Madrid, 1864 -1920), and his disciples Santos Hernández (Madrid, 1873–1943), who built several guitars for the maestro Sabicas, Domingo Esteso and Modesto Borreguero. Also noteworthy are the Conde Brothers, Faustino (1913–1988), Mariano (1916–1989) and Julio (1918–1996), nephews of Domingo Esteso, whose children and heirs continue the saga.

The guitarists use the technique of alzapúa, picado, the strum and the tremolo, among others. One of the first touches that is considered flamenco, such as the "rondeña", was the first composition recorded for solo guitar, by Julián Arcas (María, Almería, 1832 – Antequera, Málaga, 1882) in Barcelona in 1860. The strum can be performed with 5, 4 or 3 fingers, the latter invented by Sabicas. The use of the thumb is also characteristic of flamenco playing. Guitarists rest their thumb on the guitar's soundboard and their index and middle fingers on the string above the one they are playing, thus achieving greater power and sound than the classical guitarist. The middle finger is also placed on the pickguard of the guitar for more precision and strength when plucking the string. Likewise, the use of the pickguard as an element of percussion gives great strength to flamenco guitar playing. The melodic or flourishing phrase that is inserted between the chord sequences intended to accompany the couplet is called "falseta".

The accompaniment and solo playing of flamenco guitarists is based on both the modal harmonic system and the tonal system, although the most frequent is a combination of both. Some flamenco songs are performed "a palo seco" (a cappella), without guitar accompaniment.

Cante (song)
According to the Royal Spanish Academy, "cante" is called the "action or effect of singing any Andalusian singing", defining "flamenco singing" as "agitated Andalusian singing" and cante jondo as "the most genuine song. Andalusian, of deep feeling ". The interpreter of flamenco singing is called cantaor instead of singer, with the loss of the intervocalic characteristic of the Andalusian dialect.

The most important award in flamenco singing is probably the Llave de Oro del Cante, which has been awarded five times to: Tomás el Nitri, Manuel Vallejo, Antonio Mairena, Camarón de la Isla and Fosforito.

Baile (dance)
El baile flamenco is known for its emotional intensity, proud carriage, expressive use of the arms and rhythmic stamping of the feet, unlike tap dance or Irish dance which use different techniques. As with any dance form, many different styles of flamenco have developed.

In the 20th century, flamenco danced informally at gitano (Roma) celebrations in Spain was considered the most "authentic" form of flamenco. There was less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same. The arms are noticeably different from classical flamenco, curving around the head and body rather than extending, often with a bent elbow. "Flamenco puro" otherwise known as "flamenco por derecho" is considered the form of performance flamenco closest to its gitano influences. In this style, the dance is often performed solo, and is based on signals and calls of structural improvisation rather than choreographed. In the improvisational style, castanets are not often used.

"Classical flamenco" is the style most frequently performed by Spanish flamenco dance companies. It is danced largely in a proud and upright style. For women, the back is often held in a marked back bend. Unlike the more gitano influenced styles, there is little movement of the hips, the body is tightly held, and the arms are long, like a ballet dancer. In fact, many of the dancers in these companies are trained in Ballet Clásico Español more than in the improvisational language of flamenco. Flamenco has both influenced and been influenced by Ballet Clásico Español, as evidenced by the fusion of the two ballets created by 'La Argentinita' in the early part of the 20th century and later, by Joaquín Cortés, eventually by the entire Ballet Nacional de España et al.

In the 1950s Jose Greco was one of the most famous male flamenco dancers, performing on stage worldwide and on television including the Ed Sullivan Show, and reviving the art almost singlehandedly. Greco's company left a handful of prominent pioneers, most notably: Maria Benitez and Vicente Romero of New Mexico. Today, there are many centers of flamenco art. Albuquerque, New Mexico is considered the "Center of the Nation" for flamenco art. Much of this is due to Maria Benitez's 37 years of sold-out summer seasons. Albuquerque boasts three distinct prominent centers: National Institute of Flamenco, Casa Flamenca and Flamenco Works. Each center dedicates time to daily training, cultural diffusion and world-class performance equaled only to world-class performances one would find in the heart of Southern Spain, Andalucía.

Modern flamenco is a highly technical dance style requiring years of study. The emphasis for both male and female performers is on lightning-fast footwork performed with absolute precision. In addition, the dancer may have to dance while using props such as castanets, canes, shawls and fans.

"Flamenco nuevo" is a recent marketing phenomenon in flamenco. Marketed as a "newer version" of flamenco, its roots came from world-music promoters trying to sell albums of artists who created music that "sounded like" or had Spanish-style influences. Though some of this music was played in similar pitches, scales and was well-received, it has little to nothing to do with the art of flamenco guitar, dance, cante Jondo or the improvisational language. "Nuevo flamenco" consists largely of compositions and repertoire, while traditional flamenco music and dance is a language composed of stanzas, actuated by oral formulaic calls and signals.

The flamenco most foreigners are familiar with is a style that was developed as a spectacle for tourists. To add variety, group dances are included and even solos are more likely to be choreographed. The frilly, voluminous spotted dresses are derived from a style of dress worn for the Sevillanas at the annual Feria in Seville.

In traditional flamenco, only the very young or older dancers are considered to have the emotional innocence or maturity to adequately convey the duende (soul) of the genre. Therefore, unlike other dance forms, where dancers turn professional through techniques early on to take advantage of youth and strength, many flamenco dancers do not hit their peak until their thirties and will continue to perform into their fifties and beyond. One artist that is considered a young master is Juan Manuel Fernandez Montoya, otherwise known as "Farruquito". At age 12, Farruquito was considered a pioneer and for "Flamenco Puro", or "Flamenco por Derecho", because of his emotional depth.

Regulated teaching of flamenco in educational centers
In Spain, regulated flamenco studies are officially taught in various music conservatories, dance conservatories and music schools in various autonomous communities.

Conservatories of music
Flamenco guitar studies in official educational centers began in Spain in 1988 at the hands of the great concert performer and teacher from Granada Manuel Cano Tamayo, who obtained a position as emeritus professor at the Superior Conservatory de Música Rafael Orozco from Córdoba.

There are specialized flamenco conservatories throughout the country, although mainly in the Andalusia region, such as the aforementioned Córdoba Conservatory, the Murcia Superior Music Conservatory or the Superior Music School of Catalonia, among others. Outside of Spain, a unique case is the Rotterdam Conservatory, in the Netherlands, which offers regulated flamenco guitar studies under the direction of maestro Paco Peña since 1985, a few years before they existed in Spain.

University
In 2018 the first university master's degree in flamenco research and analysis begins, after the previous attempts of the "Doctorate Program of Approach to Flamenco", taught by several universities such as Huelva, Seville, Cádiz and Córdoba, among others.

History
The fandango, which in the 17th century was the most widespread song and dance throughout Spain, eventually ended up generating local and regional variants, especially in the province of Huelva. In Alta Andalucía and bordering areas, the fandangos were accompanied with the bandola, an instrument with which they accompanied themselves following a regular beat that allowed dancing and from whose name the style derives " abandoned ". Thus arose the fandangos of Lucena, the drones of Puente Genil, the primitive malagueñas, the rondeñas, the jaberas, the jabegotes, the verdiales, the chacarrá, the granaína, the taranto and the taranta. Due to the expansion of the Sevillanas in Baja Andalusia, the fandango gradually lost its role as a support for the dance, which allowed the singer to shine and freedom, generating a multitude of fandangos of personal creation in the 20th century. Likewise, thousands of Andalusian peasants, especially from the Eastern Andalusian provinces, emigrated to the mining sites Murcian, where the tarantos and taranta s evolved. The Tarante de Linares, evolved into the mining of the Union, the Cartagena and the Levantica. At the time of the cafés cantantes, some of these cantes were separated from the dance and acquired a free beat, which allowed the performers to show off. The great promoter of this process was Antonio Chacón, who developed precious versions of malagueñas, granainas and cantes mineros.

The stylization of romance and cord sheets gave rise to corrido. The extraction of the romances from quatrains or three significant verses gave rise to the primitive tonás, the caña and the polo, which share meter and melody, but differing in their execution. The guitar accompaniment gave them a beat that made them danceable. It is believed that their origin was in Ronda, a city in Alta Andalucía close to Baja Andalucía and closely related to it, and that from there they reached the Sevillian suburb of Triana, with a great tradition of corridos, where they became the soleá. From the festive performance of corridos and soleares, the jaleos arose in Triana, who traveled to Extremadura and in Jerez and Utrera led to the bulería, from where they spread throughout Baja Andalucía, generating local variations.

Ole
Adolfo Salazar states that the expressive voice ole, with which Andalusian cantaores and bailaores are encouraged, can come from the Hebrew verb oleh which means "to throw upwards", showing that the dervish girovaghi of Tunisia, Maghreb, also dance around to the sound of repeated "ole" or "joleh". The use of the word "arza", which is the Andalusian dialect form, of pronouncing the voice imperative "rise", with the characteristic Andalusian equalization of / l / and / r / implosives. The indiscriminate use of the voices "arza" and "ole" is frequent when it comes to jalear, but the most evidence of the origin of this word can be from the caló: Olá, which means "come". Likewise, in Andalusia it is known as jaleo al ojeo de hunt, that is, the act of glancing, which is "driving away the game with voices, shots, blows or noise, so that they 'get up.

Duende
According to the RAE dictionary (1956!) The "duende" in Andalusia is a "mysterious and ineffable charm", a charisma that the Gitanos call duende. Federico García Lorca, in his lecture Teoría y juego del duende confirms this ineffability of the duende by defining it with the following words from Goethe: "Mysterious power that everyone feels and that no philosopher explains". In the flamenco imaginary, the duende goes beyond technique and inspiration, in Lorca's words "To search for the duende there is no map or exercise". When a flamenco artist experiences the arrival of this mysterious charm, the expressions "have duende" or sing, play or dance "with duende" are used.

Along with those previously mentioned, there are many other words and expressions characteristic of the flamenco genre, such as "tablao flamenco", "flamenco spree", "third", "aflamencar", and "flamenco".

title: Flamenco


text:
Father Christmas

Father Christmas is the traditional English name for the personification of Christmas. Although now known as a Christmas gift-bringer, and typically considered to be synonymous with Santa Claus, he was originally part of a much older and unrelated English folkloric tradition. The recognisably modern figure of the English Father Christmas developed in the late Victorian period, but Christmas had been personified for centuries before then.

English personifications of Christmas were first recorded in the 15th century, with Father Christmas himself first appearing in the mid 17th century in the aftermath of the English Civil War. The Puritan-controlled English government had legislated to abolish Christmas, considering it popish, and had outlawed its traditional customs. Royalist political pamphleteers, linking the old traditions with their cause, adopted Old Father Christmas as the symbol of 'the good old days' of feasting and good cheer. Following the Restoration in 1660, Father Christmas's profile declined. His character was maintained during the late 18th and into the 19th century by the Christmas folk plays later known as mummers' plays.

Until Victorian times, Father Christmas was concerned with adult feasting and merry-making. He had no particular connection with children, nor with the giving of presents, nocturnal visits, stockings, chimneys or reindeer. But as later Victorian Christmases developed into child-centric family festivals, Father Christmas became a bringer of gifts.

The popular American myth of Santa Claus arrived in England in the 1850s and Father Christmas started to take on Santa Claus's attributes. By the 1880s the new customs had become established, with the nocturnal visitor sometimes being known as Santa Claus and sometimes as Father Christmas. He was often illustrated wearing a long red hooded gown trimmed with white fur.

Most residual distinctions between Father Christmas and Santa Claus largely faded away in the early years of the 20th century, and modern dictionaries consider the terms Father Christmas and Santa Claus to be synonymous.

Early midwinter celebrations
The custom of merrymaking and feasting at Christmastide first appears in the historical record during the High Middle Ages (c 1100–1300). This almost certainly represented a continuation of pre-Christian midwinter celebrations in Britain of which—as the historian Ronald Hutton has pointed out—"we have no details at all". Personifications came later, and when they did they reflected the existing custom.

15th century—the first English personifications of Christmas
The first known English personification of Christmas was associated with merry-making, singing and drinking. A carol attributed to Richard Smart, Rector of Plymtree in Devon from 1435 to 1477, has 'Sir Christemas' announcing the news of Christ's birth and encouraging his listeners to drink: "Buvez bien par toute la compagnie, / Make good cheer and be right merry, / And sing with us now joyfully: Nowell, nowell."

Many Christmas customs of the Late Middle Ages incorporated both sacred and secular themes. In Norwich in January 1443, at a traditional battle between the flesh and the spirit (represented by Christmas and Lent), John Gladman, crowned and disguised as 'King of Christmas', rode behind a pageant of the months "disguysed as the seson requird" on a horse decorated with tinfoil.

16th century—feasting, entertainment and music
In most of England the archaic word 'Yule' had been replaced by 'Christmas' by the 11th century, but in some places 'Yule' survived as the normal dialect term. The City of York maintained an annual St Thomas's Day celebration of The Riding of Yule and his Wife which involved a figure representing Yule who carried bread and a leg of lamb. In 1572, the riding was suppressed on the orders of Edmund Grindal, the Archbishop of York (term 1570–1576), who complained of the "undecent and uncomely disguising" which drew multitudes of people from divine service.

Such personifications, illustrating the medieval fondness for pageantry and symbolism, extended throughout the Tudor and Stuart periods with Lord of Misrule characters, sometimes called 'Captain Christmas', 'Prince Christmas' or 'The Christmas Lord', presiding over feasting and entertainment in grand houses, university colleges and Inns of Court.

In his allegorical play Summer's Last Will and Testament, written in about 1592, Thomas Nashe introduced for comic effect a miserly Christmas character who refuses to keep the feast. He is reminded by Summer of the traditional role that he ought to be playing: "Christmas, how chance thou com’st not as the rest, / Accompanied with some music, or some song? / A merry carol would have graced thee well; / Thy ancestors have used it heretofore."

Puritan criticisms
Early 17th century writers used the techniques of personification and allegory as a means of defending Christmas from attacks by radical Protestants.

Responding to a perceived decline in the levels of Christmas hospitality provided by the gentry, Ben Jonson in Christmas, His Masque (1616) dressed his Old Christmas in out-of-date fashions: "attir'd in round Hose, long Stockings, a close Doublet, a high crownd Hat with a Broach, a long thin beard, a Truncheon, little Ruffes, white shoes, his Scarffes, and Garters tyed crosse". Surrounded by guards, Christmas asserts his rightful place in the Protestant Church and protests against attempts to exclude him: "Why Gentlemen, doe you know what you doe? ha! would you ha'kept me out? Christmas, old Christmas? Christmas of London, and Captaine Christmas? ... they would not let me in: I must come another time! a good jeast, as if I could come more then once a yeare; why, I am no dangerous person, and so I told my friends, o'the Guard. I am old Gregorie Christmas still, and though I come out of Popes-head-alley as good a Protestant, as any i'my Parish."

The stage directions to The Springs Glorie, a 1638 court masque by Thomas Nabbes, state, "Christmas is personated by an old reverend Gentleman in a furr'd gown and cappe &c." Shrovetide and Christmas dispute precedence, and Shrovetide issues a challenge: "I say Christmas you are past date, you are out of the Almanack. Resigne, resigne." To which Christmas responds: "Resigne to thee! I that am the King of good cheere and feasting, though I come but once a yeare to raigne over bak't, boyled, roast and plum-porridge, will have being in despight of thy lard-ship."

This sort of character was to feature repeatedly over the next 250 years in pictures, stage plays and folk dramas. Initially known as 'Sir Christmas' or 'Lord Christmas', he later became increasingly referred to as 'Father Christmas'.

Puritan revolution—enter 'Father Christmas'
The rise of puritanism led to accusations of popery in connection with pre-reformation Christmas traditions. When the Puritans took control of government in the mid-1640s they made concerted efforts to abolish Christmas and to outlaw its traditional customs. For 15 years from around 1644, before and during the Interregnum of 1649-1660, the celebration of Christmas in England was forbidden. The suppression was given greater legal weight from June 1647 when parliament passed an Ordinance for Abolishing of Festivals which formally abolished Christmas in its entirety, along with the other traditional church festivals of Easter and Whitsun.

It was in this context that Royalist pamphleteers linked the old traditions of Christmas with the cause of King and Church, while radical puritans argued for the suppression of Christmas both in its religious and its secular aspects. In the hands of Royalist pamphlet writers, Old Father Christmas served as the symbol and spokesman of 'the good old days' of feasting and good cheer, and it became popular for Christmastide's defenders to present him as lamenting past times.

The Arraignment, Conviction and Imprisoning of Christmas (January 1646) describes a discussion between a town crier and a Royalist gentlewoman enquiring after Old Father Christmas who 'is gone from hence'. Its anonymous author, a parliamentarian, presents Father Christmas in a negative light, concentrating on his allegedly popish attributes: "For age, this hoarie headed man was of great yeares, and as white as snow; he entred the Romish Kallender time out of mind; [he] is old ...; he was full and fat as any dumb Docter of them all. He looked under the consecrated Laune sleeves as big as Bul-beefe ... but, since the catholike liquor is taken from him, he is much wasted, so that he hath looked very thin and ill of late ... But yet some other markes that you may know him by, is that the wanton Women dote after him; he helped them to so many new Gownes, Hatts, and Hankerches, and other fine knacks, of which he hath a pack on his back, in which is good store of all sorts, besides the fine knacks that he got out of their husbands' pockets for household provisions for him. He got Prentises, Servants, and Schollars many play dayes, and therefore was well beloved by them also, and made all merry with Bagpipes, Fiddles, and other musicks, Giggs, Dances, and Mummings."

The character of 'Christmas' (also called 'father Christmas') speaks in a pamphlet of 1652, immediately after the English Civil War, published anonymously by the satirical Royalist poet John Taylor: The Vindication of Christmas or, His Twelve Yeares' Observations upon the Times. A frontispiece illustrates an old, bearded Christmas in a brimmed hat, a long open robe and undersleeves. Christmas laments the pitiful quandary he has fallen into since he came into "this headlesse countrey". "I was in good hope that so long a misery would have made them glad to bid a merry Christmas welcome. But welcome or not welcome, I am come...." He concludes with a verse: "Lets dance and sing, and make good chear, / For Christmas comes but once a year."

In 1658 Josiah King published The Examination and Tryall of Old Father Christmas (the earliest citation for the specific term 'Father Christmas' recognised by the Oxford English Dictionary). King portrays Father Christmas as a white-haired old man who is on trial for his life based on evidence laid against him by the Commonwealth. Father Christmas's counsel mounts the defence: "Me thinks my Lord, the very Clouds blush, to see this old Gentleman thus egregiously abused. if at any time any have abused themselves by immoderate eating, and drinking or otherwise spoil the creatures, it is none of this old mans fault; neither ought he to suffer for it; for example the Sun and the Moon are by the heathens worship’d are they therefore bad because idolized? so if any abuse this old man, they are bad for abusing him, not he bad, for being abused." The jury acquits.

Restoration
Following the Restoration in 1660, most traditional Christmas celebrations were revived, although as these were no longer contentious the historic documentary sources become fewer.

In 1678 Josiah King reprinted his 1658 pamphlet with additional material. In this version, the restored Father Christmas is looking better: "[he] look't so smug and pleasant, his cherry cheeks appeared through his thin milk white locks, like [b]lushing Roses vail'd with snow white Tiffany ... the true Emblem of Joy and Innocence."

Old Christmass Returnd, a ballad collected by Samuel Pepys, celebrated the revival of festivities in the latter part of the century: "Old Christmass is come for to keep open house / He scorns to be guilty of starving a mouse, / Then come boyes and welcome, for dyet the chief / Plumb pudding, Goose, Capon, minc't pies & Roast beef".

18th century—a low profile
As interest in Christmas customs waned, Father Christmas's profile declined. He still continued to be regarded as Christmas's presiding spirit, although his occasional earlier associations with the Lord of Misrule died out with the disappearance of the Lord of Misrule himself. The historian Ronald Hutton notes, "after a taste of genuine misrule during the Interregnum nobody in the ruling elite seems to have had any stomach for simulating it." Hutton also found "patterns of entertainment at late Stuart Christmases are remarkably timeless [and] nothing very much seems to have altered during the next century either." The diaries of 18th and early 19th century clergy take little note of any Christmas traditions.

In The Country Squire, a play of 1732, Old Christmas is depicted as someone who is rarely-found: a generous squire. The character Scabbard remarks, "Men are grown so ... stingy, now-a-days, that there is scarce One, in ten Parishes, makes any House-keeping. ... Squire Christmas ... keeps a good House, or else I do not know of One besides." When invited to spend Christmas with the squire, he comments "I will ... else I shall forget Christmas, for aught I see." Similar opinions were expressed in Round About Our Coal Fire ... with some curious Memories of Old Father Christmas; Shewing what Hospitality was in former Times, and how little there remains of it at present (1734, reprinted with Father Christmas subtitle 1796).

David Garrick's popular 1774 Drury Lane production of A Christmas Tale included a personified Christmas character who announced "Behold a personage well known to fame; / Once lov'd and honour'd – Christmas is my name! /.../ I, English hearts rejoic'd in days of yore; / for new strange modes, imported by the score, / You will not sure turn Christmas out of door!"

Early records of folk plays
By the late 18th century Father Christmas had become a stock character in the Christmas folk plays later known as mummers plays. During the following century they became probably the most widespread of all calendar customs. Hundreds of villages had their own mummers who performed traditional plays around the neighbourhood, especially at the big houses. Father Christmas appears as a character in plays of the Southern England type, being mostly confined to plays from the south and west of England and Wales. His ritual opening speech is characterised by variants of a couplet closely reminiscent of John Taylor's "But welcome or not welcome, I am come..." from 1652.

The oldest extant speech is from Truro, Cornwall in the late 1780s:

 * hare comes i ould father Christmas welcom or welcom not   i hope ould father Christmas will never be forgot    ould father Christmas a pair but woance a yare    he lucks like an ould man of 4 score yare

 * Here comes I, old Father Christmas, welcome or welcome not, I hope old Father Christmas will never be forgot. Old Father Christmas appear[s] but once a year, He looks like an old man of fourscore year [80].
 * }

19th century—revival
During the Victorian period, Christmas customs enjoyed a significant revival, including the figure of Father Christmas himself as the emblem of 'good cheer'. His physical appearance at this time became more variable, and he was by no means always portrayed as the old and bearded figure imagined by 17th century writers.

'Merry England' view of Christmas
In his 1808 poem Marmion, Walter Scott wrote:
 * "England was merry England, when / Old Christmas brought his sports again.
 * 'Twas Christmas broach'd the mightiest ale; / 'Twas Christmas told the merriest tale;
 * A Christmas gambol oft could cheer / The poor man's heart through half the year."

Scott's phrase Merry England has been adopted by historians to describe the romantic notion that there was a Golden Age of the English past, allegedly since lost, that was characterised by universal hospitality and charity. The notion had a profound influence on the way that popular customs were seen, and most of the 19th century writers who bemoaned the state of contemporary Christmases were, at least to some extent, yearning for the mythical Merry England version.

Thomas Hervey's The Book of Christmas (1836), illustrated by Robert Seymour, exemplifies this view. In Hervey's personification of the lost charitable festival, "Old Father Christmas, at the head of his numerous and uproarious family, might ride his goat through the streets of the city and the lanes of the village, but he dismounted to sit for some few moments by each man's hearth; while some one or another of his merry sons would break away, to visit the remote farm-houses or show their laughing faces at many a poor man's door." Seymour's illustration shows Old Christmas dressed in a fur gown, crowned with a holly wreath, and riding a yule goat.

In an extended allegory, Hervey imagines his contemporary Old Father Christmas as a white-bearded magician dressed in a long robe and crowned with holly. His children are identified as Roast Beef (Sir Loin) and his faithful squire or bottle-holder Plum Pudding; the slender figure of Wassail with her fount of perpetual youth; a 'tricksy spirit' who bears the bowl and is on the best of terms with the Turkey; Mumming; Misrule, with a feather in his cap; the Lord of Twelfth Night under a state-canopy of cake and wearing his ancient crown; Saint Distaff looking like an old maid ("she used to be a sad romp; but her merriest days we fear are over"); Carol singing; the Waits; and the twin-faced Janus.

Hervey ends by lamenting the lost "uproarious merriment" of Christmas, and calls on his readers "who know anything of the 'old, old, very old, gray-bearded gentleman' or his family to aid us in our search after them; and with their good help we will endeavor to restore them to some portion of their ancient honors in England".

Father Christmas or Old Christmas, represented as a jolly-faced bearded man often surrounded by plentiful food and drink, started to appear regularly in illustrated magazines of the 1840s. He was dressed in a variety of costumes and usually had holly on his head, as in these illustrations from the Illustrated London News:

Charles Dickens's 1843 novel A Christmas Carol was highly influential, and has been credited both with reviving interest in Christmas in England and with shaping the themes attached to it. A famous image from the novel is John Leech's illustration of the 'Ghost of Christmas Present'. Although not explicitly named Father Christmas, the character wears a holly wreath, is shown sitting among food, drink and wassail bowl, and is dressed in the traditional loose furred gown—but in green rather than the red that later become ubiquitous.

Later 19th century mumming
Old Father Christmas continued to make his annual appearance in Christmas folk plays throughout the 19th century, his appearance varying considerably according to local custom. Sometimes, as in Hervey's book of 1836, he was portrayed (below left) as a hunchback.

One unusual portrayal (below centre) was described several times by William Sandys between 1830 and 1852, all in essentially the same terms: "Father Christmas is represented as a grotesque old man, with a large mask and comic wig, and a huge club in his hand." This representation is considered by the folklore scholar Peter Millington to be the result of the southern Father Christmas replacing the northern Beelzebub character in a hybrid play. A spectator to a Worcestershire version of the St George play in 1856 noted, "Beelzebub was identical with Old Father Christmas."

A mummers play mentioned in The Book of Days (1864) opened with "Old Father Christmas, bearing, as emblematic devices, the holly bough, wassail-bowl, &c". A corresponding illustration (below right) shows the character wearing not only a holly wreath but also a gown with a hood.

In a Hampshire folk play of 1860 Father Christmas is portrayed as a disabled soldier: "[he] wore breeches and stockings, carried a begging-box, and conveyed himself upon two sticks; his arms were striped with chevrons like a noncommissioned officer."

In the latter part of the 19th century and the early years of the next the folk play tradition in England rapidly faded, and the plays almost died out after the First World War taking their ability to influence the character of Father Christmas with them.

Father Christmas as gift-giver
In pre-Victorian personifications, Father Christmas had been concerned essentially with adult feasting and games. He had no particular connection with children, nor with the giving of presents. But as Victorian Christmases developed into family festivals centred mainly on children, Father Christmas started to be associated with the giving of gifts.

The Cornish Quaker diarist Barclay Fox relates a family party given on 26 December 1842 that featured "the venerable effigies of Father Christmas with scarlet coat & cocked hat, stuck all over with presents for the guests, by his side the old year, a most dismal & haggard old beldame in a night cap and spectacles, then 1843 [the new year], a promising baby asleep in a cradle".

In Britain, the first evidence of a child writing letters to Father Christmas requesting gift has been found in 1895.

Santa Claus crosses the Atlantic
The figure of Santa Claus had originated in the US, drawing at least partly upon Dutch St Nicolas traditions. A New York publication of 1821, A New-Year’s Present, contained an illustrated poem Old Santeclaus with Much Delight in which a Santa Claus figure on a reindeer sleigh brings presents for good children and a "long, black birchen rod" for use on the bad ones. In 1823 came the famous poem A Visit from St. Nicholas, usually attributed to the New York writer Clement Clarke Moore, which developed the character further. Moore's poem became immensely popular and Santa Claus customs, initially localized in the Dutch American areas, were becoming general in the United States by the middle of the century.

The January 1848 edition of Howitt's Journal of Literature and Popular Progress, published in London, carried an illustrated article entitled "New Year's Eve in Different Nations". This noted that one of the chief features of the American New Year's Eve was a custom carried over from the Dutch, namely the arrival of Santa Claus with gifts for the children. Santa Claus is "no other than the Pelz Nickel of Germany ... the good Saint Nicholas of Russia ... He arrives in Germany about a fortnight before Christmas, but as may be supposed from all the visits he has to pay there, and the length of his voyage, he does not arrive in America, until this eve."

In 1851 advertisements began appearing in Liverpool newspapers for a new transatlantic passenger service to and from New York aboard the Eagle Line's ship Santa Claus, and returning visitors and emigrants to the British Isles on this and other vessels will have been familiar with the American figure. There were some early adoptions in Britain. A Scottish reference has Santa Claus leaving presents on New Year's Eve 1852, with children "hanging their stockings up on each side of the fire-place, in their sleeping apartments, at night, and waiting patiently till morning, to see what Santa Claus puts into them during their slumbers". In Ireland in 1853, on the other hand, presents were being left on Christmas Eve according to a character in a newspaper short story who says "... tomorrow will be Christmas. What will Santa Claus bring us?" A poem published in Belfast in 1858 includes the lines "The children sleep; they dream of him, the fairy, / Kind Santa Claus, who with a right good will / Comes down the chimney with a footstep airy ..."

A Visit from St. Nicholas was published in England in December 1853 in Notes and Queries. An explanatory note states that the St Nicholas figure is known as Santa Claus in New York State and as Krishkinkle in Pennsylvania.

1854 marked the first English publication of Carl Krinkin; or, The Christmas Stocking by the popular American author Susan Warner. The novel was published three times in London in 1854–5, and there were several later editions. Characters in the book include both Santa Claus (complete with sleigh, stocking and chimney), leaving presents on Christmas Eve and—separately—Old Father Christmas. The Stocking of the title tells of how in England, "a great many years ago", it saw Father Christmas enter with his traditional refrain "Oh! here come I, old father Christmas, welcome or not ..." He wore a crown of yew and ivy, and he carried a long staff topped with holly-berries. His dress "was a long brown robe which fell down about his feet, and on it were sewed little spots of white cloth to represent snow".

Merger with Santa Claus
As the US-inspired customs became popular in England, Father Christmas started to take on Santa Claus's attributes. His costume became more standardised, and although depictions often still showed him carrying holly, the holly crown became rarer and was often replaced with a hood. It still remained common, though, for Father Christmas and Santa Claus to be distinguished, and as late as the 1890s there were still examples of the old-style Father Christmas appearing without any of the new American features.

Appearances in public
The blurring of public roles occurred quite rapidly. In an 1854 newspaper description of the public Boxing Day festivities in Luton, Bedfordshire, a gift-giving Father Christmas/Santa Claus figure was already being described as 'familiar': "On the right-hand side was Father Christmas's bower, formed of evergreens, and in front was the proverbial Yule log, glistening in the snow ... He wore a great furry white coat and cap, and a long white beard and hair spoke to his hoar antiquity. Behind his bower he had a large selection of fancy articles which formed the gifts he distributed to holders of prize tickets from time to time during the day ... Father Christmas bore in his hand a small Christmas tree laden with bright little gifts and bon-bons, and altogether he looked like the familiar Santa Claus or Father Christmas of the picture book." Discussing the shops of Regent Street in London, another writer noted in December of that year, "you may fancy yourself in the abode of Father Christmas or St. Nicholas himself."

During the 1860s and the 1870s, Father Christmas became a popular subject on Christmas cards, where he was shown in many different costumes. Sometimes he gave presents and sometimes received them.

An illustrated article of 1866 explained the concept of The Cave of Mystery. In an imagined children's party this took the form of a recess in the library which evoked "dim visions of the cave of Aladdin" and was "well filled ... with all that delights the eye, pleases the ear, or tickles the fancy of children". The young guests "tremblingly await the decision of the improvised Father Christmas, with his flowing grey beard, long robe, and slender staff".

From the 1870s onwards, Christmas shopping had begun to evolve as a separate seasonal activity, and by the late 19th century it had become an important part of the English Christmas. The purchasing of toys, especially from the new department stores, became strongly associated with the season. The first retail Christmas Grotto was set up in JR Robert's store in Stratford, London in December 1888, and shopping arenas for children—often called 'Christmas Bazaars'—spread rapidly during the 1890s and 1900s, helping to assimilate Father Christmas/Santa Claus into society.

Sometimes the two characters continued to be presented as separate, as in a procession at the Olympia Exhibition of 1888 in which both Father Christmas and Santa Claus took part, with Little Red Riding Hood and other children's characters in between. At other times the characters were conflated: in 1885 Mr Williamson's London Bazaar in Sunderland was reported to be a "Temple of juvenile delectation and delight. In the well-lighted window is a representation of Father Christmas, with the printed intimation that 'Santa Claus is arranging within.'"

Even after the appearance of the store grotto, it was still not firmly established who should hand out gifts at parties. A writer in the Illustrated London News of December 1888 suggested that a Sibyl should dispense gifts from a 'snow cave', but a little over a year later she had changed her recommendation to a gypsy in a 'magic cave'. Alternatively, the hostess could "have Father Christmas arrive, towards the end of the evening, with a sack of toys on his back. He must have a white head and a long white beard, of course. Wig and beard can be cheaply hired from a theatrical costumier, or may be improvised from tow in case of need. He should wear a greatcoat down to his heels, liberally sprinkled with flour as though he had just come from that land of ice where Father Christmas is supposed to reside."

As secret nocturnal visitor
The nocturnal visitor aspect of the American myth took much longer to become naturalised. From the 1840s it had been accepted readily enough that presents were left for children by unseen hands overnight on Christmas Eve, but the receptacle was a matter of debate, as was the nature of the visitor. Dutch tradition had St Nicholas leaving presents in shoes laid out on 5 December, while in France shoes were filled by Père Noël. The older shoe custom and the newer American stocking custom trickled only slowly into Britain, with writers and illustrators remaining uncertain for many years. Although the stocking eventually triumphed, the shoe custom had still not been forgotten by 1901 when an illustration entitled Did you see Santa Claus, Mother? was accompanied by the verse "Her Christmas dreams / Have all come true; / Stocking o'erflows / and likewise shoe."

Before Santa Claus and the stocking became ubiquitous, one English tradition had been for fairies to visit on Christmas Eve to leave gifts in shoes set out in front of the fireplace.

Aspects of the American Santa Claus myth were sometimes adopted in isolation and applied to Father Christmas. In a short fantasy piece, the editor of the Cheltenham Chronicle in 1867 dreamt of being seized by the collar by Father Christmas, "rising up like a Geni of the Arabian Nights ... and moving rapidly through the aether". Hovering over the roof of a house, Father Christmas cries 'Open Sesame' to have the roof roll back to disclose the scene within.

It was not until the 1870s that the tradition of a nocturnal Santa Claus began to be adopted by ordinary people. The poem The Baby's Stocking, which was syndicated to local newspapers in 1871, took it for granted that readers would be familiar with the custom, and would understand the joke that the stocking might be missed as "Santa Claus wouldn't be looking for anything half so small." On the other hand, when The Preston Guardian published its poem Santa Claus and the Children in 1877 it felt the need to include a long preface explaining exactly who Santa Claus was.

Folklorists and antiquarians were not, it seems, familiar with the new local customs and Ronald Hutton notes that in 1879 the newly formed Folk-Lore Society, ignorant of American practices, was still "excitedly trying to discover the source of the new belief".

In January 1879 the antiquarian Edwin Lees wrote to Notes and Queries seeking information about an observance he had been told about by 'a country person': "On Christmas Eve, when the inmates of a house in the country retire to bed, all those desirous of a present place a stocking outside the door of their bedroom, with the expectation that some mythical being called Santiclaus will fill the stocking or place something within it before the morning. This is of course well known, and the master of the house does in reality place a Christmas gift secretly in each stocking; but the giggling girls in the morning, when bringing down their presents, affect to say that Santiclaus visited and filled the stockings in the night. From what region of the earth or air this benevolent Santiclaus takes flight I have not been able to ascertain ..." Lees received several responses, linking 'Santiclaus' with the continental traditions of St Nicholas and 'Petit Jesus' (Christkind), but no-one mentioned Father Christmas and no-one was correctly able to identify the American source.

By the 1880s the American myth had become firmly established in the popular English imagination, the nocturnal visitor sometimes being known as Santa Claus and sometimes as Father Christmas (often complete with a hooded robe). An 1881 poem imagined a child awaiting a visit from Santa Claus and asking "Will he come like Father Christmas, / Robed in green and beard all white? / Will he come amid the darkness? / Will he come at all tonight?" The French writer Max O'Rell, who evidently thought the custom was established in the England of 1883, explained that Father Christmas "descend par la cheminée, pour remplir de bonbons et de joux les bas que les enfants ont suspendus au pied du lit." [comes down the chimney, to fill with sweets and games the stockings that the children have hung from the foot of the bed]. And in her poem Agnes: A Fairy Tale (1891), Lilian M Bennett treats the two names as interchangeable: "Old Santa Claus is exceedingly kind, / but he won't come to Wide-awakes, you will find... / Father Christmas won't come if he can hear / You're awake. So to bed my bairnies dear." The commercial availability from 1895 of Tom Smith & Co's Santa Claus Surprise Stockings indicates how deeply the American myth had penetrated English society by the end of the century.

Representations of the developing character at this period were sometimes labelled 'Santa Claus' and sometimes 'Father Christmas', with a tendency for the latter still to allude to old-style associations with charity and with food and drink, as in several of these Punch illustrations:

20th century
Any residual distinctions between Father Christmas and Santa Claus largely faded away in the early years of the new century, and it was reported in 1915, "The majority of children to-day ... do not know of any difference between our old Father Christmas and the comparatively new Santa Claus, as, by both wearing the same garb, they have effected a happy compromise."

It took many years for authors and illustrators to agree that Father Christmas's costume should be portrayed as red—although that was always the most common colour—and he could sometimes be found in a gown of brown, green, blue or white. Mass media approval of the red costume came following a Coca-Cola advertising campaign that was launched in 1931.

Father Christmas's common form for much of the 20th century was described by his entry in the Oxford English Dictionary. He is "the personification of Christmas as a benevolent old man with a flowing white beard, wearing a red sleeved gown and hood trimmed with white fur, and carrying a sack of Christmas presents". One of the OED's sources is a 1919 cartoon in Punch, reproduced here. The caption reads:

 * Uncle James (who after hours of making up rather fancies himself as Father Christmas). "Well, my little man, and do you know who I am?"
 * The Little Man. "No, as a matter of fact I don't. But Father's downstairs; perhaps he may be able to tell you."

In 1951 an editorial in The Times opined that while most adults may be under the impression that [the English] Father Christmas is home-bred, and is "a good insular John Bull old gentleman", many children, "led away ... by the false romanticism of sledges and reindeer", post letters to Norway addressed simply to Father Christmas or, "giving him a foreign veneer, Santa Claus".

Differences between the English and US representations were discussed in The Illustrated London News of 1985. The classic illustration by the US artist Thomas Nast was held to be "the authorised version of how Santa Claus should look—in America, that is." In Britain, people were said to stick to the older Father Christmas, with a long robe, large concealing beard, and boots similar to Wellingtons.

Father Christmas appeared in many 20th century English-language works of fiction, including J. R. R. Tolkien's Father Christmas Letters, a series of private letters to his children written between 1920 and 1942 and first published in 1976. Other 20th century publications include C. S. Lewis's The Lion, the Witch and the Wardrobe (1950), Raymond Briggs's Father Christmas (1973) and its sequel Father Christmas Goes on Holiday (1975). The character was also celebrated in popular songs, including "I Believe in Father Christmas" by Greg Lake (1974) and "Father Christmas" by The Kinks (1977).

In 1991, Raymond Briggs's two books were adapted as an animated short film, Father Christmas, starring Mel Smith as the voice of the title character.

21st century
Modern dictionaries consider the terms Father Christmas and Santa Claus to be synonymous. The respective characters are now to all intents and purposes indistinguishable, although some people are still said to prefer the term 'Father Christmas' over 'Santa Claus', nearly 150 years after Santa Claus's arrival in England. According to Brewer's Dictionary of Phrase and Fable (19th edn, 2012), Father Christmas is considered to be "[a] British rather than a US name for Santa Claus, associating him specifically with Christmas. The name carries a somewhat socially superior cachet and is thus preferred by certain advertisers."

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Father Christmas


text:
Federal jurisdiction (United States)

Federal jurisdiction refers to the legal scope of the government's powers in the United States of America.

The United States is a federal republic, governed by the U.S. Constitution, containing fifty states and a federal district which elect the President and Vice President, and having other territories and possessions in its national jurisdiction. This government is variously known as the Union, the United States, or the federal government.

Under the Constitution and various treaties, the legal jurisdiction of the United States includes territories and territorial waters. Puerto Rico is a Territory of the United States Puerto Rico Report " The U.S. federal government has full responsibility for the conduct of foreign relations of all areas subject to United States jurisdiction, including all U.S. states, territories, and possessions. (Colin Powell), Gonzales v. Williams, 192 U.S. 1, 16 (1904).  [Appellant, a Puerto Rican native and resident born before the signing of the Treaty of Paris who was traveling to New York] was not a passenger from a foreign port, and was a passenger “from territory or other place” subject to the jurisdiction of the United States., Nat. Bank v. Yankton County, 101 U.S. 129, 133 (1879).  All territory within the jurisdiction of the United States not included in any State must necessarily be governed by or under the authority of Congress.,   ''Boumediene v. United States, 476 F.3d 981, 992 (D.C. Cir. 2007). [With regard to Guantanamo Bay,] Congress and the President have specifically disclaimed the sort of territorial jurisdiction they asserted in Puerto Rico [.], Congressional Research Service (CRS), Political Status of Puerto Rico:  Options for Congress, Report Number RL32933, May 29, 2008, pp. 8 – 10 and 18.  Puerto Rico remains a territory of the United States, subject to congressional jurisdiction under the Territorial Clause of the U.S. Constitution.,  General Accounting Office, U.S. Insular Areas:  Application of the U.S. Constitution, November 1997, Page 1.  More than 4 million U.S. citizens and nationals live in insular areas [defined as “all territories over which the U.S. exercises sovereignty,” including Puerto Rico] under the jurisdiction of the United States.  The Territorial Clause of the Constitution authorizes the Congress to “make all needful Rules and Regulations respecting the Territory or other Property” of the United States. Relying on the Territorial Clause, the Congress has enacted legislation making some provisions of the Constitution explicitly applicable in the insular areas., Whenever a bill comes up that relates to Puerto Rico, it is referred to the committee on Resources. Why? Because the Committee on Resources has jurisdiction over Indian and insular affairs, meaning territories. Meaning no matter what we may say about the Supreme Court decisions, no matter what we may say about U.N. resolutions, the proof is in the pudding. We are sitting here debating this. We would not be debating this if there was a bilateral pact. If Puerto Rico really had the say in this matter, they would have said, “Hey, U.S. Congress, we don’t need you to give us the right to vote. We have the right to vote.” Puerto Rico could not do that because they are under the Territorial Clause of the United States Constitution, like it or not.''

Legislative Branch
One aspect of federal jurisdiction is the extent of legislative power. Under the Constitution, Congress has power to legislate only in the areas that are delegated to it. Under clause 17 Article I Section 8 of the Constitution however, Congress has power to "exercise exclusive Legislation in all cases whatsoever" over the federal district (Washington, D.C.) and other territory ceded to the federal government by the states, such as for military installations.

Federal jurisdiction in this sense is important in criminal law because federal law does not supersede state criminal law. Congress has enacted the Assimilative Crimes Act, which provides that any act that would have been a crime under the laws of the state in which a federal enclave is situated is also a federal crime. As most such enclaves are occupied by the military, military law is especially concerned with these enclaves, especially the issue of establishing who has jurisdiction and what type of jurisdiction. In such areas, the federal government may have proprietary jurisdiction (rights as landowner), concurrent jurisdiction (with federal and state law applicable), or exclusive jurisdiction over the land where an act was committed. Courts-martial involving military members subject to the Uniform Code of Military Justice apply regardless of location.

Article Four of the United States Constitution also states that the Congress has the power to enact laws respecting the Territory or other Property belonging to the United States. Federal jurisdiction exists over any territory thus subject to laws enacted by the Congress.

Judicial branch

The American legal system includes both state courts and federal courts. State courts hear cases involving state law, and such federal laws as are not restricted to hearing in federal courts. Federal courts may only hear cases where federal jurisdiction can be established. Specifically, the court must have both subject-matter jurisdiction over the matter of the claim and personal jurisdiction over the parties.

The Federal Courts are courts of limited jurisdiction, meaning that they only exercise powers granted to them by the Constitution and Federal Laws. There are several forms of subject-matter jurisdiction, but the two most commonly appealed to are federal-question jurisdiction and diversity jurisdiction. Federal question jurisdiction is available when the plaintiff raises a claim that arises under the laws, treaties, or Constitution of the United States, as opposed to claims arising under state law. By the "Well-Pleaded Complaint" rule, federal question jurisdiction is not available if the federal issue arises only as a defense to a state-law claim. Diversity jurisdiction, on the other hand, is available regarding state-law claims if every plaintiff is from a different state from every defendant (the requirement for so-called complete or total diversity) and the amount in controversy exceeds $75,000.

If a Federal Court has subject matter jurisdiction over one or more of the claims in a case, it has discretion to exercise ancillary jurisdiction over other state law claims.

The Supreme Court has "cautioned that ... Court[s] must take great care to 'resist the temptation' to express preferences about [certain types of cases] in the form of jurisdictional rules. Judges must strain to remove the influence of the merits from their jurisdictional rules. The law of jurisdiction must remain apart from the world upon which it operates".

Generally, when a case has successfully overcome the hurdles of standing, Case or Controversy and State Action, it will be heard by a trial court. The non-governmental party may raise claims or defenses relating to alleged constitutional violation(s) by the government. If the non-governmental party loses, the constitutional issue may form part of the appeal. Eventually, a petition for certiorari may be sent to the Supreme Court. If the Supreme Court grants certiorari and accepts the case, it will receive written briefs from each side (and any amici curiae or friends of the court—usually interested third parties with some expertise to bear on the subject) and schedule oral arguments. The Justices will closely question both parties. When the Court renders its decision, it will generally do so in a single majority opinion and one or more dissenting opinions. Each opinion sets forth the facts, prior decisions, and legal reasoning behind the position taken. The majority opinion constitutes binding precedent on all lower courts; when faced with very similar facts, they are bound to apply the same reasoning or face reversal of their decision by a higher court.

title: Federal jurisdiction (United States)


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Fossil Record

Fossil Record is a biannual peer-reviewed scientific journal covering palaeontology. It was established in 1998 as the Mitteilungen aus dem Museum für Naturkunde in Berlin, Geowissenschaftliche Reihe and originally published on behalf of the Museum für Naturkunde by Wiley-VCH. On 1 January 2022, Fossil Record changed publisher to Pensoft Publishers, the editor-in-chief is Florian Witzmann.

Abstracting and indexing
The journal is abstracted and indexed in the Science Citation Index Expanded, BIOSIS Previews, The Zoological Record, and Scopus. According to the Journal Citation Reports, the journal has a 2020 impact factor of 2.081.

title: Fossil Record


text:
User talk:Forgotten gentleman

Welcome on board the Wikipedia, Forgotten gentleman! -- The Anome

Thanks. The one time I actually write something more in a user page than, "I never know what to write in these things, but feel free to email me.. though I suppose it's obvious from posting my email here," someone deletes it and calls it crap.

I will consider that as an eventful, fun welcome into the community. -- forgotten gentleman

forgotten gentleman, Welcome to the big world of ego driven experts, who disagree just to publish, caring not if a hundred people tell them that they are wrong. Carry on, and don't expect anything worthy to last in this public place. Let them obfuscate your clear explanation. Come back each year to fix it. -- dhesslersr

title: User talk:Forgotten gentleman