The paths of flamenco
Flamenco was born in Lower Andalusia, within a historical triangle linking Malaga, Cadiz and Seville, and has existed in its present form since the 18th century. There are many hypotheses about its origin, but it is most often believed that it is the result of a fusion between the culture of the gypsies from India and the Andalusian world. However, there are also Byzantine elements from the early Spanish church and Arabic influences from the Middle Ages, and it was not really formalized until the early 19th century. It was first sung in the street, in the workplace and then on religious holidays. It was in Seville that the first café cantante was created in 1842, which quickly spread throughout Andalusia. This led to both its professionalization and the awareness of the existence of this art among the wealthier classes. At first performed mainly by Gypsies, flamenco gradually left its ancestral limits to become a more and more commercial show, reducing itself to a kind of folkloric cabaret show, intended for the consumption of an uninformed public. On the margins of this commercial trend, rejected by many Spaniards and Andalusians, the true flamenco that makes the soul of the Gypsies vibrate has never stopped. In family gatherings and peñas in towns and villages, amateur groups have continued to perpetuate the tradition of cante, guitarra and baile without any commercial aim
To the rhythm of flamenco
Today, three elements characterize this art: the song, the guitar and the dance. They will be accompanied by the rhythm of the palmas (hand clapping) and the taconeo (footwork) of the dancer, to which can be added the tempos of the cajónes (wooden boxes - originally soapboxes - on which the percussionists sit). Depending on the rhythms and regions of Andalusia, different types of songs(palos flamencos) have appeared, the best known being bulería, soleá, alegría, fandango, jaleo.. Although the most important forms of flamenco are common, they can also be linked to a religious context (such as the saetas of Holy Week or the villancicos flamencos of Christmas), to a socio-professional environment (the martinetes of the blacksmith's shop, the mirabrás of the vegetable market or the carceleras of the prisons). There are also songs called ida y vuelta ("to and fro") that originated in Latin America and have been reintegrated into the flamenco repertoire, such as the colombiana, the Argentinean milonga, or the Cuban rumba and guajira. The artists must possess the common forms and, to the extent of their talent, develop their own version.
The promoters of flamenco
Never fixed in its expression, the interpretation of flamenco has never ceased to evolve, while remaining faithful to the basic structures. Each generation has contributed to enriching and renewing it, imprinting the mark of its creativity and the influences of its time. In 1922, the first cante jondo competition, the primitive version of flamenco singing, was held in Granada and contributed to its recognition. Supported by artists and intellectuals such as Manuel de Falla and Federico García Lorca, flamenco gained official recognition. This recognition was confirmed by the talent of some exceptional artists who have become "classics" today. Among them are Manolo Caracol, Don Antonio Chacón, La Niña de los Peines or Antonio Mairena for singing, Sabicas Ramón Montoya or Niño Ricardo for guitar, La Macarrona, La Argentina or Carmen Amaya for dancing. Performers such as Paco de Lucía for guitar, Camarón de la Isla for song, or Antonio Gades and Cristina Hoyos for dance, have left their mark on the recent period, so much so that every contemporary artist must, in some way, situate his or her approach in relation to theirs. Throughout the twentieth century, flamenco has been built in this way. We also owe it to cantaores such as Antonio Chacón, Manuel Torre or Pastora Pavón, known as La Niña de los Peines, who gave substance to Andalusian songs, while allowing themselves to broaden the styles of flamenco.
In search of the spirit of duende
A form of intransigence suits the local flamenco lovers. For the purist, too much programming is detrimental to flamenco, whose very essence cannot be decreed. If it is necessary to wait because the moment is not propitious, then one must be patient until the perfect moment. The flamenco lover must go in search of the spirit of flamenco, and take his time tasting fino (a dry white wine), waiting for the duende, the artistic catharsis of the Andalusians. To do this, enter some bars or peñasto find out about their often random programming. If a sign says that the entrance and the bar are reserved for members, do not hesitate to push the door. In reality, all visitors are welcome if they have a mind for flamenco puro . If you want to see an authentic show, we recommend you read the local press or look at the posters, preferably choosing the shows announced by the "smaller" posters. And you should know that flamenco also takes shape at this time, and perhaps especially at the time of the ferias
Some stages of the circuit
Like paella, which has become an icon of Spanish gastronomy, flamenco is often presented as a cultural symbol of all Spain, which is far from being the case. Certainly in many large cities, you can see flamenco shows, rather intended for tourists but of good quality. For example, in Madrid, you can see great performances every day at the Teatro Flamenco Madrid, the Corral de la Morería and the Cultural Center of Flamenco or attend the Suma Flamenco festival (from October to November). In Barcelona, you can go to the Tablao Cordobés, the most renowned tablao in the city, which even hosted the famous Rosalía, who reportedly improvised bulerías there in 2018. Or rally the Tarantos, the oldest in the city, to get acquainted with a palo (particular song) native to Almería. However, beyond the show, three regions have a more intimate relationship with flamenco: the region of Murcia, Extremadura and Andalusia. Influenced by Andalusian flamenco, Murcia's flamenco blends singing and fandango and its festivals are among the most highly rated in the field. First of all, the Festival del Cante de las Minas de la Unión. Since 1961, it has been one of the most important flamenco events and, in August, it hosts great names in flamenco and awards new talent in four categories (singing, guitar, dance and instruments) through a " Lámpara minera " which guarantees the winners the best careers in their field. Two other events in Murcia will allow you to learn more about flamenco: the Festival de Canto Flamenco Lo Ferro, which in July is also the occasion for a great competition, and the Cumbre Flamenca de Murcia, which in February offers multiple flamenco shows in the Teatro Circo de Murcia. And during your stay, don't hesitate to visit one of themany peñas in the region, such as the peña melón de oro in Lo Ferro or the peña cultural flamenca in Lorca. In Extremadura, in Badajoz, in the Plaza de la Soledad, not far from the Plaza Alta, you will find the statue of the icon of flamenco estremeño, José Molina Salazar, also known as Porrina de Badajoz, or the Marquis of Badajoz, immortalized with his carnation and his black glasses. And who gave his name to a festival "Porrina de Badajoz" that every year in June attracts the best flamenco voices of the region. To discover and appreciate the specific styles of this region, the jaleos and tangos, you can also go to the Festival de las Minas de Aldea Moret, in Cáceres. Since 2005, every 5th of December, it pays homage to Saint Barbara, the patron saint of miners, but also to the families of the miners of this village by hosting young flamenco talents from Estremègne. Or enjoy the operation "flamenco in the high square" that takes place from May to October in Badajoz
The Andalusian cradle
In Seville, it is in the tablaos that you will discover flamenco. Direct heirs of the old cafés cantantes, they developed in the sixties as part of a movement to find the flamenco of the origins. The oldest, Los Gallos, has seen emblematic artists such as La Paquera de Jerez de la Frontera, Gabriela Ortega, Antonio Mairena and Antonio Fernández Díaz, also known as Fosforito, since 1966. El Arenal, whose decoration reflects the golden age of tablaos, is another point of reference, as is El Palacio Andaluz, housed in a 19th century Andalusian palace. Your Sevillian tour will be well advised to visit the most famous peña in Seville, the Peña Flamenca Torres Macarena, and to visit the Baile Flamenco Cristina Hoyos Museum to better understand this art form (history, technique, costumes...) and to attend its shows, which allow you to see the best artists of the moment in action. Finally, every two years (even years), between September and October, the Flamenco Biennial allows you to see superb shows and renowned artists. In Granada, the gypsy neighborhood of Sacromonte offers zambra shows in magnificent cellars such as the Cueva de la Rocío, founded in 1951 by Los Maya, great flamenco artists, the Zambra María la Canastera, one of the best preserved places in the city, or Los Tarantos, which has preserved the purity of flamenco since 1972. As for the peñas, head to the Platería, one of the most important venues in the Albaycín. In Jerez de la Frontera, home of Lola Flores and José Mercé, flamenco is lived in the tablaos, but also in the tabancos where you can enjoy wine and flamenco, or on the occasion of the Bulería festival and the flamenco Fridays, which take place all summer long. And every year, in February and March, its flamenco festival is held in all the spaces of the city: theaters, palaces, cellars, tablaos, tabancos, peñas... Finally, a visit to the Centro Andaluz de Flamenco, located in the beautiful Pemartín Palace, will allow you to immerse yourself in the memory of this art. In Córdoba, regardless of the date of your stay, you can visit the Fosforito Flamenco Center, dedicated to the singer Antonio Fernández and housed in a 16th century corral, and on June 18, you will have the chance to participate in the all-nighter that the city dedicates to flamenco
