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 to be 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 firstcafé 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 the Sevillian Manolo Caracol, flamenco cantaor of the first half of the 20th century, whose most famous palos are the zambra and the fandango; the Niña de los Peines, one of the greatest voices of Flamenco, whose statue adorns the plaza Alameda de Hercules; Antonio Mairena, an exceptional singer, but also a great connoisseur of all forms of flamenco and, of course, Niño Ricardo, considered the best guitarist accompanist of all time and of whom Paco de Lucía, perhaps the greatest flamenco artist, said "Ricardo was the master of us all". On the other hand, performers such as Paco de Lucía for the guitar, Camarón de la Isla for singing, or Antonio Gades and Cristina Hoyos for dancing, have left their mark on the recent period, so much so that every contemporary artist must, in a certain 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 expand the styles of flamenco.
In search of the spirit of duende
To attend an authentic show, we advise you to read the local press or consult the posters, preferably choosing the shows announced by the "smaller" posters. While in Seville and its province, don't hesitate to ask about the local peñas, circles and associations of enthusiasts that keep the tradition alive, especially in Utrera and Ecija. But be aware that 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, go into some bars or peñas to 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. In Seville, as in all of Andalusia, flamenco also takes shape, perhaps especially during the ferias. Seville launches the movement with its April feria , during which the women dance the "Sevillana", a typical flamenco dance of the city, and the other cities and towns follow suit, practically all summer long, with another appointment in Seville, the Velà de Triana, which, at the end of July, multiplies flamenco shows, in bars or in squares. The other highlight of flamenco is the Bienal del Flamenco, a feria that the city dedicates to this art form every two years (even numbered years) between September and October and that for a month will allow you to see superb shows and renowned artists. If you are not lucky enough to be in Seville during these periods, you can always visit the Cristina Hoyos Baile Flamenco Museum. Opened in 2006, it is the first and only museum of Flamenco dance in the world and an excellent introduction to the subject. You will learn all about its history, technique, costumes... through interactive exhibitions. You can also attend shows that will allow you to see the best talents of the moment at work.
From tablao to tablao or from bar to bar
These flamenco tablaos are the direct heirs of the old cafés cantantes. They developed in the 1960s as part of a movement to find the flamenco of its origins, and these places, with their intimate atmosphere, have contributed to the maintenance and restoration of the art of flamenco. In Seville, you will find many venues that offer shows at fixed times, with or without dinner shows. In the Santa Cruz neighborhood, not far from the Real Alcazares and the Murillo gardens, you will find the oldest of them all, the Los Gallos tablao. Since 1966, the hall has seen the participation of emblematic flamenco artists such as La Paquera de Jerez de la Frontera, Gabriela Ortega, Antonio Mairena and Antonio Fernández Díaz, known as Fosforito, and the restoration of the place carried out a few years ago has preserved its atmosphere. The Casa de la Guitarra, which is much less old since it only opened in 2012, has hosted fewer stars but still gives good shows, and, still in the same neighborhood but near the church of Santa Maria la Blanca, the cult Carbonaría, which is more like a bar than a tablao, continues to be the landmark of a flamenco that is a little more alternative and popular. In another part of Seville, close to the bullring, there is a tablao named after the neighborhood where it is located, El Arenal. It offers a flamenco show capable of overcoming any reticence against this type of show. Forget the meal, which is generally recommended, and take some tapas to focus on the flamenco, performed by excellent guitarists and dancers. The decoration, recreating the golden age of tablaos and the lighting of El Arenal also contributes to the attraction of the place. El Patio Sevillano is another of the flamenco reference points in the city of Seville. Located on Paseo de Cristóbal Cólon, not far from the Maestranza and Torre de Oro bullring, it offers a well-kept show in a setting with interesting works of art and the charm of an Andalusian tablao. In addition to the show, you can take flamenco classes or workshops and attend private shows. If you're heading to the Sevillian neighborhood of La Macarena, you'll be well advised to visit one of the most popular peñas in Seville, if not the most popular: the Peña Flamenca Torres Macarena. Located just a few meters from the Macarena Arch, this peña, founded in the 1970s, has hosted great artists such as José de la Tomasa, El Cabrero, El Chozas, Pedro Bacán, Chocolate and maintains its love of flamenco intact. Afterwards, you can go to the tablao El Palacio Andaluz where you can discover the flamenco tradition in an innovative adaptation of Bizet's Carmen, in a grand setting
And more... if affinities
In Seville, as in all of Andalusia, this true popular culture has its specialized stores, its craftsmen and its schools. During your stay, you will be able to dress up like flamenco dancers, or at least acquire one of the elements of their finery, jewelry, combs, shawls... Or why not buy a flamenco guitar, which will involve a much larger budget. Without becoming a great dancer, you will find in the guide many addresses that offer flamenco initiations, or even long term trainings, for those who are addicted. Like the Critina Heeren Foundation or the Taller Flamenco.
