Duende or tener duende ("to have duende") is a Spanish term for a heightened state of emotion, expression and authenticity, often connected with flamenco. Originating from folkloric Andalusian vocal music (canto jondo) and first theorized and enhanced by Andalusian poet Federico García Lorca, the term derives from "dueño de casa" (master of the house), which similarly inspired the duende of folklore. Origins of the term El duende has been defined as the spirit of evocation, "a state of tragedy-inspired ecstasy," "a poetic emotion which is uncontrolled." It comes from inside as a physical/emotional response to art. It is what gives you chills, makes you smile or cry as a bodily reaction to an artistic performance that is particularly expressive. Folk music in general, especially flamenco, tends to embody an authenticity that comes from a people whose culture is enriched by diaspora and hardship; vox populi, the human condition of joys and sorrows. Drawing on popular usage and Spanish folklore, Federico García Lorca first developed the aesthetics of Duende in a lecture he gave in Buenos Aires in 1933, "Juego y teoría del duende" ("Play and Theory of the Duende"). According to Christopher Maurer, editor and translator of García Lorca's In Search of Duende, at least four elements can be isolated in Lorca's vision of duende: irrationality, earthiness, a heightened awareness of death, and a dash of the diabolical. The duende is an earth spirit who helps the artist see the limitations of intelligence, reminding them that "ants could eat him or that a great arsenic lobster could fall suddenly on his head"; who brings the artist face-to-face with death, and who helps them create and communicate memorable, spine-chilling art. The duende is seen, in Lorca's lecture, as an alternative to style, to mere virtuosity, to God-given grace and charm (what Spaniards call "ángel"), and to the classical, artistic norms dictated by the muse. Not that the artist simply surrenders to the duende; they have to battle it skillfully, "on the rim of the well", in "hand-to-hand combat". To a higher degree than the muse or the angel, the duende seizes not only the performer but also the audience, creating conditions where art can be understood spontaneously with little, if any, conscious effort. It is, in Lorca's words, "a sort of corkscrew that can get art into the sensibility of an audience... the very dearest thing that life can offer the