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14th May 2008
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Castanets, the symbol of Spanish dance Castanets are a truly Spanish instrument, to such an extent that they are considered the national symbol of Spanish dance, although their origen is attributed to the Phoenicians dating back to around 1000 B.C
THE POLARITIES OF GYPSY JEREZ: SANTIAGO AND SAN MIGUEL It’s impossible to speak of flamenco without mentioning Jerez. And when you speak of Jerez, two constants which conform the flamenco life of this town cannot be overlooked: the families and the neighborhoods. For those of us not from Jerez it is sometimes hard to fathom the importance of this hierarchy, much less, what it represents in real terms. Here professor Pierre Lefranc defines and describes the identities of the main flamenco neighborhoods of Jerez, Santiago and San Miguel, and provides a historic perspective that helps untangle the sociocultural jigsaw puzzle.
ARZAPÚA – OPINIÓN The spirit of things and things of the spirit
WHAT A FANDANGO! (A Comedy of Flamenco Errors and a short course in total frustration).
by Jim Morris
Israel Galván. “La edad de Oro” A living myth. The beginning of Nostalgia
Flamenco, art and La Cañeta That which we call ‘flamenco’ isn’t just ‘cante jondo’, or hard-cord gypsy music like soleá, siguiriya, bulería...or Andalusian cante like malagueña, taranta, fandango... Flamenco can often be that certain something you can’t possibly define...like La Cañeta de Málaga.
Manuel Torre’s campanilleros: flash of genius or blunder? Over the years one of the most controversial historic recordings among flamenco-followers has always been that of Manuel Torre’s stylized version of campanilleros with the accompaniment of Miguel Borrull, even though the form as such has little importance in the flamenco landscape. Seventy years after the legendary singer’s death, the debate still comes up around Christmas-time.
THREE CANTAORAS Three cantaoras, of that nearly extinct breed that has a unique way with cante... Each one with her own distinct style. Without touching upon that sacred institution known as Pastora Pavón, there are three names that come to mind: Perla de Cádiz, Tía Anica la Piriñaca, Fernanda de Utrera.
Remembering Niño Ricardo on the centennial of his birth It’s hard to believe a hundred years have passed since the birth of Ricardo!...Manuel Serrapí Sánchez “Niño Ricardo” (Seville 1904-1972).
La Paquera de Jerez, the legend of San Miguel Sunday, May 20th 2001. One spring afternoon announced the coming of summer and the end of Madrid's fiestas de San Isidro. Las Vistillas park offered a feast of color which filled the sky with a spectacular sunset from the park's privileged position. Paquera de Jerez went up on stage with Parrilla and both were received with a grand ovation, mostly from a large group of Japanese who had come hours earlier to occupy the first rows. Alongside the stage, El Corral de la Morería, the place which was synonymous with the singer's early Madrid triumphs back when she was a young woman of 23. With the sound of bulería filling the air, this member of the royal family of bulería singers moved every soul present with the impossible sound of her voice.
A tribute to Pastora Pavón "La Niña de los Peines" (1890-1969) “Peínate tú con mis peines...” ...thus begins the verse which provided the nickname for a very young singer born more than a century ago. The fact that now, in 2004, “La Niña de los Peines” has been officially declared a Cultural Treasure of Andalucía, that her complete works have been collected in a set of 13 compact disks including interactive DVD and book, and that an elaborate convention “Pastora y su Tiempo” is scheduled to be held next month in Seville, gives some idea of this artist's magnitude.
Diego de Morón “Diego de Morón” [Morón de la Frontera, 1947] is the professional name of Diego Torres Amaya. His father was flamenco singer Joselero and his uncle, guitarist Diego del Gastor. Although he grew up accompanying his father’s singing, he later turned toward solo playing. He has given recitals at Seville’s Bienal and performed throughout the United States and Europe. Like his uncle before him, he dislikes the demands of professionalism and prefers to live quietly in his hometown where the following recital took place.
Choosing a flamenco teacher Anyone wishing to pursue one of flamenco’s disciplines must look for certain qualities when choosing a teacher, and the most important of these is patience. A teacher must never get carried away by his or her own fame, personality or ability. An entertaining teacher full of clever stories is of as little use as a demanding ‘dictator’ or someone who is overly nervous.
Paco de Lucía: a nostalgic perspective “Paco”. No further ID is required. In guitar circles, not to mention flamenco circles, this nickname to which half the male population of Spain answers, can only refer to one individual.
IMAGES OF FLAMENCO SPAIN . A foreigner’s perspective Rather than speculate solely on where flamenco is going in the new millenium, it might be first worthwhile to look at where Spain itself is headed:
Jesús de la Rosa, twenty years later... Time goes by, but feelings remain. One proof of this is Jesús de la Rosa, legend, teacher, predecessor... One of the most representative individuals in our musical history (along with Paco de Lucía, Camarón, Pepe Roca, Serrat and not too many others) traveled to his hometown of Seville for the last time (or maybe he’s still hanging out on Feria street) the early morning of October 14th, 1983. It was near Burgos, heading for Madrid when the afternoon of the previous day he met up with destiny as he was returning from having offered his art for a good cause; recent flooding in the north of Spain had brought economic hardship for many. The era of Triana, the group, was coming to an end and Jesús was mapping out a solo career.
'The cante of Utrera, yesterday and today'
Speaker, singer and guitarist: Tomas de Perrate Deflamenco is proud to publish this conference that was offered by Tomás Fernández Soto “Tomás de Perrate” on July 4th, 2003 at L’Ecole de Musique et de Danse de Mont-de-Marsan (France) within the scheduled program of the Festival de Arte Flamenco organized by the Conseil Géneral des Landes.
TORRE Seventy years ago, on July 21st 1933, Manuel Soto Loreto "Manuel Torre" died. Deflamenco decided to remember the legendary singer with this humble tribute.
Diego. An essay by Brook Zern Diego del Gastor, the Gypsy flamenco guitarist of Morón de la Frontera, died thirty years ago on July 7th, 1973.
Fortieth anniversary edition of Don Pohren's classic
'The Art of Flamenco' Fifty years after arriving in Spain for the first time, and forty after writing the book that changed the town of Morón de la Frontera forever, Don E. Pohren, awarded the title of "flamencologist" by the prestigious Cátedra de Flamencología de Jerez, is about to release a revised edition of his historic work, The Art of Flamenco.
Spain Diary - Adventures of an amateur guitarist in Spain Marty Dow is a systems architect living in Gaithersburg, Maryland who recently made the pilgrimage that many flamenco-lovers from abroad dream about. He spent two weeks in Spain, mostly in Jerez, living a very intense schedule of guitar and Spanish classes as well as memorable encounters with the locals and advanced bar-hopping, all handily coinciding with fair-time in Jerez. This is his informative and witty diary of that trip, specially edited for Deflamenco readers.
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