The paths of flamenco
Flamenco originated in Lower Andalusia, within the historic triangle (Málaga, Cadiz, Seville), and has existed in its present form since the 18th century. It is the result of a fusion between the culture of the gypsies from India and that of the Andalusian world. There are Byzantine elements from the early Spanish Church, as well as Arab influences from the Middle Ages. Flamenco was not formalized until the early 19th century. At first, it was sung in the streets, workplaces and religious festivals. In 1842, the first café cantante was founded in Seville, and it soon spread throughout Andalusia, sparking both the professionalization of flamenco and awareness of the art among the wealthier classes.
At the time, flamenco was still performed mainly by gypsies. As it spread beyond its ancestral boundaries, flamenco also became increasingly commercialized, helping to forge the stereotypical style of the Spanish dancer with long brown hair and a long polka-dot dress, whirling to the rhythm of the castanets. As it reached an ever-wider audience, it came to be reduced to a kind of folkloric cabaret show, intended for the consumption of an uninformed public, and thus provoked the rejection of the many Spaniards and Andalusians who did not find themselves in this no longer very artistic proposition. Despite all this, on the bangs of the commercial trend, true flamenco has never ceased to live and vibrate in the souls of Gypsies and many Andalusians. At family reunions and peñas in towns and villages, amateur groups have continued to perpetuate the tradition of cante, guitarra and baile, with no commercial intent. Flamenco continues to develop its emotional intensity and bewitching power.
Flamenco is based on a unique synthesis of several elements that determine its corpus: the song, the complex rhythm provided by the guitar, the palmas (hand clapping) to which may be added the tempos of the cajónes (wooden boxes - originally soap boxes - on which the percussionists sit) or the taconeo (footwork) of the dancer. Depending on the rhythms and regions of Andalusia, different types of song have evolved (for example, tarantas from Levante, granaínas from Granada, malagueñas from Málaga or rondeñas from Ronda). In Andalusia, this truly popular culture has its own specialized stores, craftsmen and schools (academies in Jerez, Seville and Granada, among others). While the most important forms of flamenco are commonplace, they can also be linked to a religious context (such as the saetas of Holy Week or the villancicos flamencos of Christmas), or to a socio-professional environment (the martinetes of the blacksmith's shop, the mirabrás of the vegetable market or thecarceleras of the prisons). There are also songs known as ida y vuelta ("to and fro") that originated in Latin America and have been reintegrated into the flamenco repertoire, such as the colombiana, the Argentine milonga, or the Cuban rumba and guajira. Artists are expected to master the common forms and, to the best of their ability, develop their own versions.
The promoters of flamenco
Never static in its expression, flamenco interpretation has never ceased to evolve, while remaining faithful to its basic structures. Each generation has contributed to enriching and renewing it, imprinting its own creativity and influences. In 1922, the first cante jondo competition - flamenco singing in its primitive form - was held in Granada, helping to establish the genre. Supported by artists and intellectuals such as Manuel de Falla and Federico García Lorca, flamenco gained official recognition. This was confirmed by the talent of some exceptional artists who have today become "classics", including Manolo Caracol, Don Antonio Chacón, la Niña de los Peines and Antonio Mairena for singing, Sabicas Ramón Montoya and Niño Ricardo for guitar, and la Macarrona, la Argentina and 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, to such an extent that all contemporary artists must, in a way, situate their approach in relation to theirs. Throughout the twentieth century, flamenco was built in this way. We also owe it to cantaores such as Antonio Chacón, Manuel Torre and Pastora Pavón, known as La Niña de los Peines, who gave substance to Andalusian songs, while taking the liberty of broadening flamenco styles.
In search of the spirit of duende
To see an authentic show, we recommend reading the local press or consulting the posters (and preferably choosing the shows advertised by the more "modest" posters!). For flamenco dance, consult the programs of Andalusian municipal theaters, which generally offer very good shows directed by inspired choreographers. In Jerez de la Frontera, for example, you'll find more than 15 peñas (circles and associations of flamenco enthusiasts) perpetuating the flamenco tradition, as well as a quality festival held every year, usually in late February or early March. The importance of flamenco in Andalusian culture is particularly evident in ferias and ceremonies. For example, the "Sevillana", a flamenco dance typical of the city of Seville, is danced by women in the Andalusian capital during the April feria. From April until the end of summer, dancers dressed in finely crafted costumes can be seen at ferias in Andalusian towns and villages. For flamenco aficionados, the Bienal del Flamenco, a month-long feria held every two years in Malaga (in odd-numbered years) or Seville (in even-numbered years), is a must. If you plan to visit Andalusia at any other time of year, you can still catch flamenco performances in the countless tablaos and theaters that offer shows all year round.
A form of intransigence befits local flamenco enthusiasts. For the purist, too much programming is detrimental to flamenco, whose very essence cannot be decreed. If you have to wait because the moment isn't right, then you'll have to be patient until the perfect moment arrives. The flamenco enthusiast must set out in search of the spirit of flamenco, and take his or her time sipping fino (a dry white wine), waiting for the duende, the artistic catharsis of the Andalusians, to occur. You can do this by visiting some of the bars and peñas to find out about their often random programming. In Seville, try your luck at the peña Torres Macarena. If a sign says that the entrance and bar are for members only, don't hesitate to push open the door. In fact, all visitors are welcome if they're into flamenco puro.
In the 1960s, tablaos began to spring up as part of a movement to rediscover the flamenco of its origins. These intimate venues have helped to maintain and restore the art of flamenco. Many of these venues also offer daily shows at set times, with or without dinner shows. In the Giralda district, the Tablao Los Gallos is the oldest of them all (1966). The venue has hosted such emblematic flamenco artists as La Paquera de Jerez, Gabriela Ortega, Antonio Mairena and Fosforito. A major restoration carried out a few years ago has preserved the ambience of the place intact.
In another part of Seville, close to the bullring, is a tablao named after its location. El Arenal offers a flamenco show capable of overcoming any reluctance to this type of performance. Forget the food, grab a few tapas and concentrate on the flamenco, performed by excellent guitarists and dancers. El Arenal's decor and lighting also contribute to its attraction.
El Patio Sevillano is also one of Seville's flamenco hotspots, located on the banks of the Guadalquivir River and featuring a well-appointed show. It opened its doors in 1973. In addition to shows, it offers flamenco classes, workshops and private shows. The decor features interesting works of art with all the charm of an Andalusian tablao. You can also visit the Palacio Andaluz, now located in the Cartuja district. An Andalusian palace that also offers the chance to discover the flamenco tradition in an innovative adaptation of Bizet's Carmen in a grandiloquent setting.
Granada's Sacromonte gypsy quarter offers shows in magnificent cellars, where flamenco spectacle blends with Andalusian architectural beauty. This is where you'll find the indispensable Cueva de la Rocío: originally a gypsy party venue founded in 1951 by "Los Maya", great flamenco artists. Nowadays, you can even celebrate weddings and christenings here. Michelle Obama is one of the recent visitors. Since 1953, the Zambra María la Canastera has seen many crowned heads and celebrities such as Ernest Hemingway and Ingrid Bergman pass through its doors. This is one of the city's best-preserved spots, which has retained all the flavour of its history thanks to meticulous decoration and a highly interesting artistic proposal. Los Tarantos is also located in the Sacromonte district. Founded in 1972, its owners have preserved the purity of flamenco and offer a 30-minute show. A word of advice: buy your tickets in advance and get there 20 minutes before the show, as the hall is small and fills up quickly.
Founded in 1984, the Escuela Carmen de las Cuevas is a flamenco school located between the Albaicín and Sacromonte districts, offering both Spanish language and culture courses and flamenco classes. The Liceo Flamenco de Malaga is located in the heart of the city, on Calle Beatas, in a former town house. What makes it so special is that it combines modernity and tradition, offering young people the chance to discover their cultural heritage, without remaining stuck in tradition. The Liceo Flamenco offers exhibitions, wine tastings and flamenco classes, as well as home shows. Finally, if you still haven't had your fill of flamenco, Seville inaugurated the world's first and only Flamenco Dance Museum in 2006. The museum itself is impressive, being one of the most technologically advanced in Spain. Interactive exhibits present the origins and evolution of flamenco, covering the different styles of music and dance.
