I say this as a prelude to the review of the new book that Almuzara is now publishing; 'The flamenco' in Chaves Nogales and which includes a good part of the booklet (very brief) some excerpts from the aforementioned book, very paradigmatic, you have to recognize it, from the epic of the mischievous dancer Juan Martínez and his flamenco troupe. This gold filling alone is not worth the purchase of the same, but a few articles that summarize his look at the most international cultural phenomenon of those that adorn our bull skin., no matter who no matter. The vision of Chaves Nogales goes through some aspects that follow from radiant news among flamencology and that I would place them under the greater support of a simple phrase but founded on an axiom: «desconfiad de los que solo se muestran partidarios de un tipo de cante».

SEE THE FULL NEWS IN THE OPINION OF MALAGA

En realidad, no fue así: la segunda jornada, hubo tormenta y lluvia. Eso no impidió el éxito de público. Los cronistas hablan de la recaudación de más de 30.000 pesetas, por la venta de entradas, and the asistencia de unas cuatro mil personas.

Entre ellos estaban Zuloaga, Andrés Segovia, Santiago Rusiñol, Fernando de los Ríos, Edgar Neville, Ramón Gómez de la Serna, Melchor Fernández Almagro, Adolfo Salazar, los musicólogos John B. Trend y Kurt Schlinder… No acudieron pero sí se habían adherido Pérez de Ayala, Bagaría, Díez Canedo, Julio Camba, Antonio y Manuel Machado, Guillermo de Torre, Gutiérrez Solana, Romero de Torres…

Abrió la primera sesión Ramón Gómez de la Serna: además de dirigirse al público presente, lo hizo también a las «moras errantes» y a los «reyes moros espectrales» pero la gente no estaba para discursos, quería oír cantar. (Años después, Isabel García Lorca, la hermana de Federico, recordaba que interrumpieron a Ramón varias veces con aplausos, para que abreviara).

LEE EL ARTÍCULO COMPLETO AQUÍ

You were the friendly face, the smile that many of us who were somewhat younger saw on the stage of the Peña Flamenca Torres Macarena sharing your presentations with a golden beak. And lots of flamenco. Defender of criticism, I bring the young people closer, fair with the veterans… inveterate fan, tireless worker, celestino, creator of flamenco clubs and entities, this or that way. That there is no headquarters? Well, in a hut and we take it to the street. Here there is a group of sensitive people and that neighborhood is orphaned of corners for the pinch. Allí que propiciaba él que se diera el duende para congregar a un puñao de nuevos y viejos apasionaos de este dulce veneno que hemos compartío hasta tu partida.

Not even the damn illness prostrated you in bed and, crawling, from the hand of your inseparable wife and beloved Well, who looked with his camera at your words telling the majesty of art, in a The Bambera, a Flamenco Aires, a He Carbonerillo the a Torres Macerena, to name a few where we enjoyed your presence the most, para restregarte por el pecho los últimos zamarreones de jondura para alivio del alma.

SEE FULL ARTICLE IN EXPOFLAMENCO

El presidente de Mazaco, Pepe Esquivel, dio la palabra a Concha Prieto, directiva de la Peña Flamenca de Tomares, presidenta de la Federación y de la Confederación de Peñas Flamencas de Andalucía, y primera mujer en ocupar este cargo que tan bien está llevando para gloria de la afición. Ella se encargó de abrir el acto glosando la figura de Manuel, presentando a los artistas y entregándole como deferencia el cartel enmarcado al hermano del homenajeado, Jesús Molina, presente entre el público.

Abrió Angelita por tientos tangos y las mecías de su gañote comenzaron a hacerme cosquillas. Jugueteó con los tiempos, parándose donde quiso, haciéndolo distinto. Nunca la he escuchao mal. Y aunque no se prodiga como cantaora larga, sí es extensa en las letras y en la entrega, porque no se guarda na y le bastan un puñao de cantes pa revolcarme de gusto. Eso es lo que hizo desde que despegó la comisura de los labios para el deleite del respetable, que la acurrucó con jaleos y oles en los momentos justos. Dura y bravía como rezaban sus letras, pero no amarga, sino dulce como el caramelo espetó su torrente cristalino de colores morenos.

DESCUBRE LA CRÓNICA COMPLETA DE KIKO VALLE

To understand the reasons of those who devised it, promoted and controlled, We must first know who were those people who gave it the known form, as well as the reasons that led them to make the decision to convene this event, by then, de magnitudes absolutamente inimaginables.

The organizers / Idea

Back in the twenties, in the never sufficiently considered city of Granada, an illustrious group of flamenco fans belonging to the intellectual universe of the arts in general, composed of musicians, painters, writers, the poet, set designers, philosophers, journalists, politicians, etc. People who met frequently in the Cafe Alameda from Granada, where they formed the famous Rinconcillo Gathering, while surely, They would share their hobby with the local singers of their time in the famous Montillana or else, in the tavern Polinario, how could they be Paquillo the Gas, The Zucchini, Rafael Galvez, John of the Cross, Antonio Barrios (a) The Polinario, Picorreondo, Miguel Milena (a) Child from Granada, in addition to many other flamencos, that in those parts let the Granada nightingales sprout that, in its sonorous display, They competed with the jets of fresh water that flow from the Sierra Nevada towards the Generalife and the Alhambra., and that the people of Granada delight in drinking from the sung Fuente del Avellano, where, as the song says, nace “La flor de la canelita”.
Our thoughtful members discussed the bad times that the Jondo style was going through.. Dissertations focused on the fact that the Jondo was synonymous with the old, authentic and genuine Andalusian. On the contrary, Flamenco was something mixed and therefore contaminated with the singing that professionals did to be able to bring a plate of food to their children. (evil professionals, who work for money).

I want to think that they must have also regretted the little qualitative space that was left for what was Spanish or traditional in the land., that was gradually cornered by foreign musical genres, which plenty of frivolity, female skin shows, laughter, dances and bohemian fun, They had enthroned themselves in the halls and party rooms, without giving any quarter to the singers of the vilified Andalusian art, those who really talked about this; professional artists, those who created the soleares and the seguiriyas, although at that time, for future jondistas, These were the cause of all the evils of flamenco contamination with “flamenquista inventions” such as malagueñas., granaínas o fandangos.

KNOW THE FULL STORY

So far this century, It is very common to find foreign students and young people who actively participate in these meeting places.; Welcome to these spaces of interpretation and learning, not only for club members and fans, in which various rocks converge with each other, which augurs for a good future of brotherhood and exercise of this art that we love so much.. Finally, I want to highlight that it can be a unique opportunity to renew the age groups of the members, already high, and to be able to attract young people to guarantee the permanence of our associative fabric, aware of our strength and capacity as agents of the flamenco universe, which, together with the gatherings of the oldest and most consolidated clubs with their own headquarters, multiplican la proyección universal del género en nuestros pueblos y ciudades.

What would you say differentiates this work from any other about flamenco singing and its didactics??

I certainly think it has its originality.. It's more, That's where the idea of ​​it comes from.. The editor proposed it to me, Manuel Ramos Ramos, by Colibrí Ediciones, thinking that there was no book specifically dedicated to how to make lyrics for flamenco singing. Management, for hobby and for being a researcher and critic of flamenco books, lots of bibliography, and I haven't found one similar, focused in depth and throughout an entire book on the creation of flamenco lyrics or couplets. There are teaching books, Of course, I have published some myself, where their literary characteristics are discussed, pero en un contexto más general.

José Luis Rodríguez Ojeda, author of the prologue, states in it that you know a large number of letters by heart. Do you remember the first song you learned?? When and how was it?

Bueno, I appreciate your words in the prologue. I became interested in flamenco shortly before I was twenty., and I'm sixty-four, after listening to a flamenco club in my town, Stops (Sevilla), to the singer Miguel Vargas, of whom I would later make a book and who would become my favorite singer. Remembering the first lyric that stuck in my mind is difficult, but yes I could point, on the one hand, some performed by Miguel, or by José Domínguez el Cabrero, who was another of my youth idols. Let's take for example, respectively, a lyric for soleá by Moreno Galván in Miguel's cante and another from a fandango by Elena Bermúdez, the goatherd's wife:

SEE FULL INTERVIEW

La dedicatoria a Manuel Molina recuerda la profunda huella que dejó el artista sevillano en la música andaluza. Integrante del legendario dúo Lole y Manuel, Molina fue uno de los creadores que abrieron nuevas sendas expresivas dentro del flamenco, combinando tradición y sensibilidad poética. Su influencia sigue presente en generaciones posteriores de artistas y aficionados, por lo que este circuito se plantea también como un reconocimiento a su legado creativo y a su manera singular de entender el cante y la guitarra.

El cartel reúne a un amplio abanico de intérpretes que actuarán en peñas de diferentes localidades sevillanas. En el apartado del cante participarán Angelita Montoya, Julián Jaramillo, Raquel Rooms, Fermin Garcia, Carmela Espinosa, Joni Torres, Marta Aguilar, Africa Granados, Lidia Rodríguez, Roberto Montaño, Juanel, Luis Ortega y Esperanza Garrido, mientras que el baile estará representado por Manuel de Lola and ANA OROPESA. Las actuaciones se celebrarán en espacios flamencos de municipios como Coria del Río, Spartinas, Herrera, The Viso del Alcor, Guardians Castle, Lora del Río, Santiponce, Martin de la Jara, Miguéltur, The Algaba, Major Island, Coripe, Ecija, Burguillos o Las Cabezas de San Juan.

Con esta programación, la Federación de Peñas Flamencas de Sevilla reafirma su compromiso con la difusión del flamenco en el territorio y con el impulso de artistas que mantienen vivo el género sobre los escenarios de las peñas. El circuito se convierte así en un espacio de encuentro entre tradición, afición y nuevas voces del cante y el baile, al tiempo que mantiene viva la memoria de figuras esenciales como Manuel Molina.

En colaboración con las Federaciones Provinciales de Peñas Flamencas, el Circuito Andaluz de Jóvenes Flamencos tiene como propósito “visibilizar el flamenco y generar oportunidades para la creación y también para la atracción de nuevos públicos entre los jóvenes”, ha señalado la consejera de Cultura y Deporte, Patricia del Pozo.

Desde la Federación Provincial de Sevilla de Entidades Flamencas, animamos a nuestros jóvenes flamencos a participar en este atractivo Circuito que organiza el Instituto Andaluz del Flamenco y en el que colaboran las peñas flamencas de Andalucía.

CONSULTAR BASES

This edition promises to exceed all expectations with a selection of artists from the capital of Seville and many of its towns., from all the provinces of Andalusia, from Extremadura, Madrid, Catalonia and outside Spain. A territorial and generational representation, Well, they will meet until 4 different generations. Among the prominent names are figures such as Miguel Poveda, Archangel, Esperanza Fernandez, y muchos otros que cautivarán al público con su talento y pasión por el flamenco.

The Biennial not only promotes flamenco art in Seville

This event also transcends borders by appearing in important cities outside of Andalusia., like Berlin. A presentation launched the past 6 March by the Deputy Mayor, Juan Bueno, and the director of the Flamenco Biennial, Luis Ybarra, within the framework of the International Tourism Fair ITB Berlin Flamenco Biennial, bringing the essence and magic of flamenco to international audiences.

The complete program will be announced in April, at which time tickets for all shows will also go on sale. This event promises to be an unforgettable experience for those who immerse themselves in the unique atmosphere of the Biennial., where the music, el baile y el cante se fusionan para celebrar la rica tradición del flamenco.