“Each art, as is natural, has a distinct mode and form of Duende, but their roots unite at the point from which flow the dark sounds of Manuel Torre, the ultimate matter, and uncontrollable mutual depth and extremity of wood, sound, canvas, word.
Dark sounds, behind which in tender intimacy exist volcanoes, ants, zephyrs, and the vast night pressing its waist against the Milky Way.
Ladies and Gentlemen, I have raised three arches and with clumsy hands placed within them the Muse, the angel and the Duende.
The Muse remains motionless: she can have a finely pleated tunic or cow eyes like those which gaze out in Pompeii, at the four-sided nose her great friend Picasso has painted her with. The angel can disturb Antonello da Messina’s heads of hair, Lippi’s tunics, or the violins of Masolino or Rousseau.
The Duende… Where is the Duende? Through the empty archway a wind of the spirit enters, blowing insistently over the heads of the dead, in search of new landscapes and unknown accents: a wind with the odour of a child’s saliva, crushed grass, and medusa’s veil, announcing the endless baptism of freshly created things.”
–García Lorca
from “Theory and Play of the Duende“
