Guitarra. Palmas. Cajón. Compás. Arte. All Spanish. Completely Flamenco.

Although most people think “dance” when they think of Flamenco, actually for Flamenco aficionados, the most important element is the singing. The lament and happy songs of a cantaor/a (singer) was thought to be the first in the evolution of Flamenco, even before the rhythms that are tapped out with the most portable of instruments: hands. Palmas, as it’s known, is the keeping of rhythm by clapping with the palms of your hands. It’s not as simple as 1, 2, 3, 4, though.  Most Flamenco rhythms are 12 beats long (versus the 4-beat pop music we are used to) and have various accents that makes it difficult to internalise quickly. Once the secrets of the rhythms are unlocked, you can move on to the second phase, which is the excitement of the seemingly spontaneous, high-energy climaxes that suddenly end and suspend in the air, only to resume again in a different mood.

The addition of the melodic and sometimes percussive guitar adds a great filler to something that can already be quite full, what with the fact that in a good Flamenco group, you always support each other with an “olé” or a “arsa.” In fact, in a medium-sized concert, the audience can also show their appreciation by giving an “olé” or a “¡qué arte!” (what artistry!).

The beauty of Flamenco music is its unique voice, its ups and downs and suspensions, the complexity and master of the guitar. Add to that a dancer who also acts as a percussionist and what more could you want in a performance?

Emad, in relation to the repertoire for Sunday’s performance asked excitedly “You know Bamboleo, right? From the Gypsy Kings?” He will also venture into a Brazilian genre song called Chico Chico, possibly an Argentine Tango, and definitely Farruca and Tango Flamenco.

Farru-what? you might ask? Farrucca is one of the song-types (palo in Flamenco-speak) usually danced by men. It’s characterised by its strong cadence and sharp breaks in the song, as well as an occasional, intricate falceta to soften the manliness. When speaking with Emad Hamdy over the phone, I could hear the sweet, deep chords of the Farruca. The dancer seeks to make sharp lines to enhance the style of the song. Hint: think “bullfighter.”

Tangos Flamencos are different from the Argentine Tango. While they are both counted on fours and have an accent on the 2 and 4 and is very catchy, the Flamenco version is often a solo dance, as is most of Flamenco. However, Tangos are also a great riot at a Flamenco fiesta (party) as they are normally short, saucy pieces tailored for female hips and women and men often take turns dancing it alone or in pairs, while others clap animatedly.

Emad Hamdy is known for technical work on the guitar and a love for classical and other genres. Yasmin Eid has a bright personality that fills the stage and a warmness in welcoming the audience, not to mention strong footwork and a beautiful, round voice. Christine Khalil, soprano, has been on stage with Emad Hamdy in the Cairo Opera House, as has Yasmin Eid. All met through their love of music: Emad Hamdy, being a guitar teacher at AUC and through the Development Talent Centre at the Opera House, taught Christine and met Yasmine through the university.

Emad Hamdy’s Flamenco and Latin concert with Yasmin Eid and Christine Mourad Khalil will take place on Sunday, 10 April at 8 pm in the Small Hall of the Cairo Opera House Theatre.