The image of the active agent/guitar player wounding the woman/mother/guitar in such a way that she cries endlessly, deeply and inconsolably shows how strong the impulse to hurt must have been. they have either 6 or more. I don’t want this to come off as a pretentious exercise in undergraduate-level double-talk, so I’ll first explain some terms and then I’ll give you some background on both flamenco and Object Relations Theory; I want you to have a sense of what these are about. Now where’d I leave the t.v. Powered by WordPress. © Poems are the property of their respective owners. 4: It is true that flamenco guitars often take a real pounding. guide?) And if this defense is in turn attacked, then the child enters a surreal, Kafkaesque world of hopelessness and despair which must cover his enormous narcissistic rage7. Sand of the hot South that begs for white camellias. The most directly human image of the poem, and really the only one, is of (the guitar as) a heart seriously wounded, perhaps mortally wounded, by five swords. To explain Object Relations we have to start by mentioning Sigmund Freud, who is the most important presence in the modern mental health field, period. (As a matter of fact that’s why flamenco guitars have golpeadores [tap plates: literally, hitters or pummelers, or the things for hitting and pummeling] while classical guitars don’t: they need them.) But the story points to a drastic failure with the mother, one’s first and most powerful self-object. And what suppositions about these can be supported by the images, themes, and content of the poem? All information has been reproduced here for educational and informational purposes to benefit site visitors, and is provided at no charge... Recite this poem (upload your own video or voice file). Heart mortally woundedby five swords.- - - - - - - - - - - - - - - - - - - - - - - -Empieza el llantode la guitarra.Se rompen las copasde la madrugada.Empieza el llanto de la guitarra.Es inútil callarla.Es imposiblecallarla.Llora monótonacomo llora el agua,como llora el vientosobre la nevada.Es imposiblecallarla.Llora por cosaslejanas.Arena del Sur calienteque pide camelias blancas.Llora flecha sin blanco,la tarde sin mañana,y el primer pájaro muertosobre la rama.¡Oh guitarra! Children are in no position to abuse their mothers — only to defend themselves. But no other social or interpersonal learning, insight, growth, or maturation is otherwise necessarily involved. As far as my love of flamenco goes, I am a bit nervous at the thought that something I have enjoyed so deeply over the years might be a cultural expression of a psychopathology that I would necessarily have a connection to, or investment in. Like, Dude, it all started with him. Deep Song with duende has incredible emotional and lyrical power and can be a hair-raising experience even for non-Spaniards who cannot understand the words: it can discharge with the emotional power of a Greek tragedy. Se rompen las copas de la madrugada. (Wow, you say; how interesting. It is a plaintive, solitary cry, somewhat like the quintessential “high lonesome” sound of American bluegrass — but with a vengeance. Author Alice Miller’s books, particularly For Your Own Good and Thou Shalt Not Be Aware are the most articulate and convincing writings on this topic. 1: ‘Volume knobs’ and ‘Off buttons’ are pretty much what adult defenses — ego strength, denial, repression, projection, sublimation, rationalization, etc. It point of fact this is an image which explains why the guitar has been crying all through the poem: it’s been being wounded by the player. That the flamenco seems not to notice this split and instead institutionalizes the idealization of the mother would seem to validate that area of modern psychological thought that asserts that the impulse to protect the mother — and to protect ourselves from an awareness of knowing our bad experiences with our mothers (and fathers) — is in operation. For where else in one’s self can one find such scale of feeling for abandonment, useless longing and sense of alienation, loneliness and bereavement — except in one’s own and repeated and emphatic rejection by (i.e. Here, we’re going to be looking at “La Guitarra” from the perspective of one of today’s cutting-edge thrusts in psychological thought: Object Relations Theory. Also, as a final example, and referring back again to Spain, today’s most prominent and revered flamenco-playing God is Paco de Lucia. As far as flamenco is concerned, cante jondo is the essence of flamenco — which has with some accuracy been described as gypsy Blues music. Maybe one difference is cultural between European and American parenting patterns. As a Holocaust survivor and a child of Holocaust survivors I can resonate to a world view of such grief and devastation. Granted that the mother-images in “La Guitarra” are much more hidden and violent than the openly expressed and positive mother-images of everyday flamenco, they both get their energy from the same spark plug — a protective reverence for the memory of the mother.