1. Paco de Lucia One of the most famous flamenco guitarists in the world.
His real name is Francisco Sanchez Gomez. The musician used synthesis contemporary music with flamenco style and Brazilian rhythms. His stage name - Paco de Lucia - the artist chose in honor of his mother Lucia Homer.
2. Vicente Amigo Jirol Grammy-winning flamenco guitarist Began solo career in 1988. 
3. Paco Serrano, born in 1964, composer and guitarist from Cordoba. 
4. Diego El Cigala, real name Diégo Ramón Jiménes Salazar, is a Spanish flamenco singer. Diego Jiménez was born into an artistic dynasty of Calé gypsies; his uncle- famous singer Raphael Farina. He has been learning to sing since the age of four. In 1980, he won the Getafe Flamenco Youth Contest, a youth flamenco singing competition, where he was noticed by the famous flamenco singer Camarón de la Isla.
5. Joaquin Cortez, real name Joaquin Pedraja Reyes - flamenco dancer, choreographer, actor, since February 2007, the Roma Ambassador to the European Union. He is also known for opposing the ban on the word Gypsy for gypsies; instead of this measure, he proposes to work on improving the image of the term itself. Founder of the Gypsy Foundation in Spain.
6. Sara Pereira Baras- one of the most famous flamenco dancers in the world, as well as a choreographer and director of his own flamenco dance group in Spain. El Ballet Flamenco Sara Baras.
7. Rafael Cortes, born in 1973, is one of the few guitarists who combine tradition and modern style.
8. Nina Pastori(Niña Pastori) is a Spanish flamenco singer (cantaora). Real name - Maria Rosa Garcia (Maria Rosa Garcia).
She was born on the island of San Fernando (Cádiz) on January 15, 1978. She became on her birthday, because her parents (Pastora and Jose) had four sons, and the birth of a daughter became a celebration in the Boquete area, where they lived. The future artist began to sing at the age of four, accompanying her mother, known as Pastori de la Isla, and her grandmother taught Maria how to dance well. When Maria came out to sing, the audience said "va a cantar la niña de la Pastori" (Pastori's daughter will sing). Hence the pseudonym - Nina Pastori.
At the age of 8, Nina took part in the El Chato competition in San Fernando, where she won first place. At the age of 17, she had her first opportunity to record her own album. Today Niña Pastori is a real figure in the world of music.
9. Great young flamenco voice, as they say about Marine Heredia(Heredia). She is the bearer of the old traditions of flamenco singing and at the same time finds a connection with the present time, like a tree, remaining rooted to connect with the sky.
Marina Heredia was born in Granada, in the area of Albaicín, one of the cradles of flamenco. Marina belongs to the flamenco family of old traditions: she is the daughter of one of the great singers, Jaime Heredia "El Parrón" (Jaime Heredia "El Parrón").
10. Estrella Morente- Spanish flamenco singer, daughter of Spanish flamenco singer Enrique Morente and dancer Aurora Carbonell, wife of Spanish bullfighter Javier Conde.
She played herself in the 2011 cartoon "Chico and Rita" and became widely known after the 2006 film "Volver" ("Return"), in which she was the voice-over of Penelope Cruz. 
The debate about the passage of this art has been going on for long time. Understanding the exact roots is quite difficult, but there are some facts that have already been established. It is worth remembering that flamenco is a musical and dance style that is Andalusian, not Spanish.
As the years progressed, some elements of this trend penetrated west from India along with the gypsies. As the gypsies roamed the mountains of Andalusia, the culture mixed with the customs of the Arabs and Jews, which led to the development of new forms of flamenco.
Photo: Spanish Flamenco The first documents related to the mention of this genre date back 200 years ago. For the poor outcasts, flamenco is a real outlet. And today the gypsies consider themselves the main founders of this particular direction. It is worth noting that flamenco, which was performed in the 1950s, is very close to the original.
But during the revival national traditions, flamenco found a new breath in its homeland of Selenia, thanks to artists of the 20th century. Some performers adhered to the original original form. But very often they tried to combine flamenco with other directions and styles, however, this often annoyed the listener.
In search of real flamenco
Photo: Spain's Passionate Dance - Flamenco If you go to some sherry bar, you should not be surprised by the company of men who behave in a strange way. One can beat an unintelligible rhythm on the table, the second clap his hands, the third plays the guitar, and the fourth sings something incomprehensible and does not fall into the rhythm. This is performed by authentic flamenco, which is called cante jondo (cante jondo - deep singing).
It is this direction that is the basis of flamenco, on which various forms of this direction developed. Each form has its own rhythm and chant, but they are so complex that it will take several years to learn them.
Cante hondo / cante grande (cante grande)
This type of flamenco should be attributed to mournful music. Here you will not find funny verses and tunes. This form of implementation should include the following types flamenco:
- Tones (tona) - performed a cappella;
- Solea (solea) - vocal improvisation with a guitar;
- Sigiriya (siguiriya) is a very complex music.
You can hear flamenco vocal improvisation with guitar in this video:
Cante Chito (cante chico)
This music is newer and not as dramatic. It includes dance elements performed by women in polka dot dresses. Another variety is the very complex and intricate dance alegria (alegria), but buleria (buleria) is characterized by a frantic pace and rhythm. Some argue that cante chito does not belong to flamenco at all, while others admire many of its types, such as sevillana (sevillana) and malaguena (malaguena).
Kante chito can be seen in this video:
Mixing styles
Thanks to the appearance new style"new flamenco" (Nuevo flamenco), there was an active and massive surge of interest and popularity of flamenco. It is a mixture of the famous and popular traditional flamenco with various other styles of music.
The first and main reformer was virtuoso guitarist Paco de Lucia, who used unusual instruments to perform flamenco. Paco performed flamenco with other performers for a very long time, drawing the attention of listeners to national music.
You can see the innovation of flamenco style in this video:
Five great flamenco singers
- El Camaron de la Isla.
- Enrique Morente.
- Carmen Linares.
- Miguel Poveda.
- Estrella Morente.
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Gypsy culture has had a huge impact on the world. Thanks to the Calais, the Spanish gypsies, one of the most famous musical genres, flamenco, arose. In this post, I propose to get acquainted with some famous Spanish cultural figures of gypsy origin.
Flamenco dancers
Joaquin Cortez
A virtuoso dancer and choreographer who became one of the most popular representatives of Spanish dance because of his extraordinary dramatic talent.
Born in 1969 in Cordoba in a gypsy family. At the age of 12 he began to study dance in Madrid. enrolled in National Ballet Spain at the age of 15 and became its soloist. Together with the ballet troupe, he traveled to many countries, performing in the best theaters. Then he left the ballet and began performing at gala performances with such eminent dancers as Maya Plisetskaya, Peter Schaufuss, Sylvie Guillem. In 1992 he founded his own troupe Joaquin Cortes Ballet Flamenco, with which he travels around the world, presenting unusual bright dance performances. Joaquin also collaborates with representatives of other art forms: with Pedro Almodovar, starring in his film "The Flower of My Secret", with Giorgio Armani, who prepared stage costumes for the play "Gypsy Passion", which was seen by more than one and a half million viewers. Cortes also starred with French actress Laetitia Casta in the film "Gypsy", the script for which was written by the famous writer Arthur Perez-Reverte. Joaquin performs with global pop stars: Jennifer Lopez, Alicia Keys and others. In 1997, he recorded his first disc, Gypsy Passion Band: Cortes became the second Spaniard after Julio Iglesias to be successful internationally. In the same year, he performed with the legendary tenor Luciano Pavarotti at charity concert. A few years later, Joaquin performed at the Oscar ceremony in Los Angeles. In 2004, he became the first Spaniard to perform at the White House.
Of course, the above facts are only a small grain in the bright and impetuous biography of this gypsy, the king of flamenco. Joaquin Cortes is repeatedly recognized as one of the best dancers of the 20th century. His fans live on all continents, his performances invariably gather full houses and it is difficult to get into them, because tickets are sold out instantly. He changed the history of flamenco and Spanish dance, becoming the "Gypsy of the World".
Juan Manuel Fernandez Montoya "Farruquito"
Born in Seville in 1982 in an artistic family. his grandfather, Farruco, was an avid fan of flamenco and is considered one of the most notable Spanish dancers of this style of the twentieth century; father Juan Fernandez Flores is a flamenco singer and mother Rosario is a dancer. Already at the age of 4, Farruquito made his debut on the Broadway stage in the play "Pure Flamenco". At the age of 8, he began performing in Madrid, and at the age of 12, he starred in the film "Flamenco" directed by Carlos Saura, along with such famous dancers as El Farruco, Paco de Lucia, Joaquin Cortes, El Chocolate, etc. In 1992, he participated in inauguration of the Paralympic Games in Barcelona and at the World Exhibition in Seville. At the age of 15, he presented his first performance, Roots of Flamenco, in which he appeared before the public as a new generation dancer who combines the traditions of the copla with the unusual individual approach. His performances were successfully held in Spain, England, France and Japan. With the new show "La Len Varo" Farruquito conquers America, and the New York Times recognizes him as the best artist. In 2003, People magazine recognized the Spanish gypsy as one of the most beautiful people in the world. In the same year, an incident occurred that slowed down Juan's career a little: he knocked down a pedestrian to death and fled the scene of the accident. The court sentenced him to imprisonment, which, however, was rather indicative, since the artist used enough great freedom. In 2008, Farruquito returned to the stage, performing in front of an audience of 2,000 people in Palma de Mallorca (while still being punished for a fatal accident). In 2010, his prison term ended; in general, the artist spent 14 months out of a three-year term in prison.
Musicians: flamenco
Ramon Jimenez Salazar, Diego el Cigala
The Spanish flamenco singer was born into the artistic dynasty of the Calais Gypsies. His CD "Corren Tiempos de Alegría" was nominated for a Latin Grammy as best album flamenco of the year, and "Lágrimas negras" was voted album of the year by the New York Times. More detailed biography the artist can be read at hispanoculturablog, which also has a small selection of music videos.
José Monge Cruz "El Camarón de la Isla"
Considered one of the greatest performers flamenco of all time. His uncle gave him the nickname "Camaron", which means "shrimp", because of his white skin, blond hair and thinness. This nickname Jose will use as stage name, adding "de la Isla", since the city of San Fernando, where he grew up, was on the island of Leon.
In 1979, Camarón released a disc that revolutionized the world of flamenco: jazz and rock sounds began to meet in his music. In 1989, José recorded the disc "I'm a Gypsy", which became the best-selling flamenco in history. A little more about his life, family and death can be found in hispanaculturablog.
Musicians: rumba
Antonio Gonzalez "El pescailla"
Considered the creator of this musical genre like the Catalan rumba. However, El Pescaílla is more commonly referred to as "Lola Flores' husband". Since two creative and famous people it can be difficult to get along together, he voluntarily faded into the background and became the shadow of his super-popular wife. His reward was a strong marriage that lasted almost 40 years, and three children. His daughter Rosario, who became a singer, dedicated the song " Al son del tambor". In 2003, the city hall of Barcelona placed a memorial plaque on the street where the artist was born, in memory of the creator of the Catalan rumba. A small selection of videos of the musician's performances can be found at hispanoculturablog.
Pedro Pubil Calaf, Peret
Sometimes it happens that several people fight for the right to be considered the creator of something. This happened with the Catalan rumba. Until now, disputes have not subsided over who should be considered the “father of the rumba”: the musician El Pescailla, who was recognized by the Barcelona City Hall as the creator of this musical genre, or the musician Peret, who was invariably called the “king of the rumba”.
The future artist was born in 1935 in a place near Mataro (Barcelona) in a gypsy family that was engaged in a mobile fabric trade. Pedro helped his parents and mastered different professions: carpenter, carpet weaver ... Due to constant trips to Catalonia and the Balearic Islands, the boy almost did not go to school and learned to read on his own. He was always attracted by the guitar, and already at the age of 12 the boy performed at the Tivoli Theater with his cousin Pepi, after which he began to earn a living from music, continuing his father's work. Peret recorded a couple of albums that began to sound throughout Barcelona, and rumors about him began to spread throughout Spain. In the mid 60s, his musical career developed when he began performing in the tablao in Madrid. In 1967 he recorded the song " Una lagrima", which became a hit: it was put on the radio, discos, festivals, casinos. After that, many of his songs became popular. In 1971, the musician "shot" the song " Borriquito", which coincided with the beginning of the tourist boom in Spain, and became known outside the country. In 1974, Peret with the song " Canta y se feliz"participated in Eurovision and took 9th place. In 1992, the musician performed at the closing ceremony of the Olympic Games in Barcelona with the song " Gitana hechicera"(" Charming Gypsy "), which became the main hit of that summer.
Many of Peret's songs have become widely known and loved. They invariably sounded cheerful notes of the Catalan rumba and gypsy motifs. Who created the Catalan rumba? Perhaps El Pescailla was at the very beginning, but after his marriage to Lola Flores, he moved away, giving way to aspiring musician Peret, who for many years remained true to this style, spreading it internationally.
Writers
Jose Heredia Maya
The first Spanish gypsy to become a professor. Born in 1947 in the province of Granada in a modest gypsy family. From an early age, he showed an interest in poetry. He studied Romance philology at the University of Granada, where he began teaching in 1976. In 1973 he released his first collection of poems, which was very well received by critics and approved by prominent poets of the time. He also acted as a playwright and in Together with flamenco dancer Mario Maia, he staged the play Camelamos Naquerar, which became a protest against the persecution of the gypsy people for five centuries. He founded a seminary for the study of flamenco and was one of the directors of the Hall of Poetry at the University of Granada. He published four collections of poems and staged four performances.
Joaquim Albaisin
Critic and expert of the leading Spanish newspapers El País and ABC. His great-aunt was the famous dancer Maria de Albaisin, the muse of Sergei Diaghilev, artistic director troupe "Russian ballet of Diaghilev". His great-uncle and own mother were also fans dance art. Joaquim writes books, articles, essays about gypsies and is an expert in the art of flamenco
Flamenco is part of Spanish culture, a symbol of the passionate nature of the inhabitants of this country. A huge number of tourists seek, having been in Spain, to get to this bright bewitching show. However, it is worth noting that flamenco is not just a dance, but a way of life, accompanied by bright performances accompanied by guitar music and singing.
The emergence of flamenco in Spain
Flamenco appeared in the 15th century in one of the Spanish regions - Andalusia - thanks to gypsy refugees from India. Initially, such recognizable and original dances and songs were performed only in closed communal circles. Subsequently, the dancers, performing rhythmic dance steps to the bewitching music, began to be invited to perform by the rich. Spanish families. Mass distribution of recognizable dance style began only in the 18th century, after the gypsies were recognized as official members of society and ceased to exert any pressure on them.
AT modern flamenco Oriental motifs and movements are clearly traced, the influence of jazz style, Cuban melodies is noticeable. The art of complex rhythms is passed directly from masters to students. And everyone adds a piece of improvisation to the art of performance.
A little about the terms and attributes of flamenco
As already mentioned, flamenco is a kind of symbiosis of rhythmic dance, challenging game on the guitar and singing, literally coming from the heart. Accordingly, flamenco dancers are called in Spain "bailaor" (from the Spanish baile - dance), guitarists - "tocador" (toque - musical game), and talented singers - "cantador" (cante - song).
Flamenco songs
In Spain, flamenco songs exist in several of their forms:
- “kante-hondo”, “kante-grande” or deep singing is the most difficult technique with a changeable rhythm and scale, when the song is performed in one breath and is not very clear to the listeners;
- very similar to "kante-hondo" middle singing, existing in various subspecies (granadina, malagena, etc.);
- "kante-chiko" or light small singing, performed in incendiary rhythms.
In each of the three types of singing, there are many subspecies that appeared under the influence of different cultures, including those far from the classical Andalusian folklore - "flamenco pop", "flamenco rock" and others.
Passion dance
It is impossible to take your eyes off the dancers performing flamenco - this action is so unusual and beautiful. The dance is traditionally accompanied by rhythmic tapping of heels, snapping fingers or clapping hands. Castanets are rarely used, as they do not allow the performer to reveal the grace of the movements of the hands.
The dancers' outfits are somewhat reminiscent of traditional gypsy ones. Dress (bate de cola) for dancing is sewn from bright fabrics, mostly red and black tones, plain or polka dots. The hem is very long and can be decorated with frills or frills to emphasize the beauty and grace of the movements. Shoes on the feet of dancers appeared only in the second half of the 19th century, before that, gypsies danced flamenco barefoot.
The dancers perform with thin Spanish shawls (manton) and large fans - attributes of flamenco.
The male bailor outfit is black trousers, a white shirt with puffy sleeves, a wide belt and a short vest. Sometimes the edges of the shirt are tied in a knot on the stomach.
Spanish guitar
For flamenco, a guitar is specially used with a wooden or plastic plate glued to the bottom of the soundboard, which reduces damage from specific tapping on the instrument with a fingernail or finger while playing (a technique called “golpe”). Flamenco melodies are accompanied not only by knocking, but also by quick plucking, “plucking”, hitting the strings, playing with the thumb (“pulgar”). musical forms games are very complex, sometimes not even amenable to musical notation.
At the beginning of the performance, the tokador usually performs a short introduction, revealing the dynamics and rhythm of the dance that follows the prelude.
Famous Spanish Flamenkists
Among the Spanish flamenco dancers, the most striking prominent personalities are Joaquin Cortez (composer, choreographer, dancer, actor and producer), Diego El Cigala, Sara Baras, Sandra Guerrero La Negra, who conquered the world while on tour.
Among the guitarists who masterfully perform flamenco melodies, the most famous are Ramon Montoya and Manolo Sanlucara, who has been repeatedly recognized as the best flamenco player, as well as young guitarists Vicente Amigo and Paco Serrano.
Flamenco schools in Spain
If passionate flamenco inspires you more and more and desire to get to know this fascinating art, it is worth visiting Spain in search of a specialized school.
One of the institutions where the art of flamenco is taught professionally is located in Barcelona and is called the Accademia de Flamenco (Academia de Flamenco, Carrer Pere Serafí, 27). Students learn the basics of playing the guitar, learn dance moves and sing heartily in Spanish.
There is another school accredited by the Instituto Cervantes, located in Granada - Carmen De Las Cuevas, where everyone over 18 years of age is taught. Here you can pull up Spanish and become a true flamenco artist.
Spanish flamenco festivals and concerts
Flamenco festivals every year (mainly in September) take place in Barcelona, Granada, Madrid, Cordoba, Jerez, Cadiz, Seville and continue for several weeks.
So, in Cordoba, a festival of guitarists-flamenkists is organized GUITARRA, with a performance at which the glory of talented young musicians Paco Serrano and Vicente Amigo began. In 2014 "Guitar" was held from 1 to 13 July.
But the most famous and major festival takes place in Seville Bienal de Flamenco founded back in 1980. Famous dancers, guitarists, flamenco singers come here. By visiting this event, you will undoubtedly fall in love with flamenco with all your heart, impressed by what is happening. The opening takes place every year in different dates, in 2014 the festival began on September 12 and lasted for a whole month.
However, even if you do not get to the festival, there is always the opportunity to visit the establishments that work almost daily. PALACIO DEL FLAMENCO(Flamenco Palace) and TABLAO DE CARMEN in Barcelona to enjoy a great show over a pleasant dinner.
Flamenco is a mesmerizing show. The flying hems of the dresses of graceful dancers, their beautiful fans and shawls, whirling in the rhythm of the dance, will take you to an amazing world of romance and passion. The language of dance does not need translation. Spanish flamenco artists with their playing and refined movements will cause you a storm of emotions, delight and admiration. General information
Spanish providers offer 2 types of tariff plans called contract and prepaid.
Where to stay in Spain
One of the reasons for the popularity of Spain among European countries is a large selection of tourist accommodation: of different levels, prices and comforts. Before deciding on any of the options, of course, you need to decide exactly where you want to go: the best beaches, according to the Spaniards themselves, are in Galicia, the Basque San Sebastian, on the island of Lanzarotte, in Ibiza; on Costa Almeria there are many immigrants from Russia; beach holiday and ski resorts- on the Costa del Sol; cozy beaches among the rocks - in Mallorca; an extensive excursion program - in Barcelona, Valencia, Alicante.In the middle of the XIX-XX centuries, flamenco dance, along with the guitar and flamenco singing, finally acquires its final individuality. The golden age of dance coincided chronologically with the development of the singing café. Flamenco dance became popular not only among the commoners, but also among the wealthy, and it became fashionable to dance tangos, sevillanas, and other styles. Seville was considered the main center of flamenco. Here were founded the most best academies dances and, in addition, this city zealously maintained the traditionality and purity of dances. Many famous figures came here from other provinces due to the fact that it was here that they performed authentic flamenco. Professionals dance in front of the audience every day and compete with each other for the applause of the audience. The most popular female bailors of that time are La Malena, La Macarrona, Gabriela Ortega, La Quica; the most popular male bailaors are Antonio el de Bilbao, El Viruta, Faico, Joaquín el Feo.
Juana Vargas (La Macarrona) (1870-1947)
She was born in Jerez de la Frontera. At the age of 16, she began working in the Silverio cafe. The greatest queen of flamenco.
Juana La Macarrona entered the history of flamenco dance as a performer of "maximum quality". She was called "the goddess of an ancient ritual filled with mystery", and it was added that "gestures and clothes turned her into a wave, wind, flower ...".
She was not yet eight years old, and she already adequately showed her dance anywhere - in front of a tobacco shop, in front of a bakery, and even on a small table.
And after the performance of the nineteen-year-old La Macarrona in Paris, the Shah of Persia, conquered by the beauty of the dance, said:
"The gracefulness of her dance made me forget all the delights of Tehran." She was applauded by kings, kings, princes and dukes.
Fernando El de Triana (1867-1940) discusses the features of her dance as follows:
“She was the one who for many years was the queen in the art of flamenco dance, because God gave her everything necessary to be one: a gypsy face, a sculpted figure, flexibility of the torso, grace of movements and tremors of the body, simply unique. Her large Manila handkerchief and floor-length dressing gown became her partners, after several movements around the stage she abruptly stopped to enter a falsetto, and then the tail of her dressing gown fluttered behind. And when, at various transitions in false set, she made a quick turn with an abrupt stop, allowing her feet to get tangled in a long robe, she resembled a beautiful sculpture placed on an elegant pedestal. It's Juana La Macarrona! All. What can be said about her pales in front of her real presence! Bravo. Sherry!"
Pablillos de Valladolid first saw La Macarrona in the Novedades cafe in Seville, where the dancer opened a pulpit gypsy dance. He described his admiration in the following words:
"La Macarrona! Here is the most personable flamenco dance woman. In the presence of La Macarrona, all authoritative performers are forgotten. She rises from her chair with the majestic dignity of a queen.
Fabulous! Raises the brushes above his head, as if glorifying the world ... Stretches starched across the stage in a wide flight white bathrobe from cambric. She is like a white peacock, magnificent, magnificent ... "
La Malena (Jerez de la Frontera, 1872 - Seville, 1956).
She danced most of her life in Seville, but her fame quickly spread throughout Andalusia. Her main style was tangos. They praised her hands, her gypsy color, her game with the compass.
La Malena in her youth stood out for her extraordinary beauty of the gypsy type and was the only possible rival of La Macarrona. The noble rivalry between them lasted for about forty years. Almost all of her artistic life unfolded in Seville, where she went to perform in cafes for singing. In the same way as La Macarrona, it passed through the best halls and many theaters, striking with its elegant women's article, refined style and rhythm of their dances.
According to Conde Rivera:
“La Malena symbolizes all grace, all grace and all best style art, studied and mastered by her with sincere devotion, and in which she has invested her whole soul and all her feelings. On various stages for half a century, she continued to demonstrate to the world a real style and the highest skill, in which, in her better days only one true rival, with her own merit, could be compared: La Macarrona.
It is known that in 1911 La Malena was invited to the Russian Tsar as part of the Maestro Realito troupe.
Four guitarists accompanied the last dance of the eighty-year-old dancer La Malena at one of the festivals in Seville, with which she aroused the admiration and surprise of the public, as in her best years.
Gabriela Ortega Feria (Cádiz, 1862 / Seville, 1919). She collaborated with the El Burrero cafe (Seville), where she went out every night with tangos and allegrias. She married the matador El Gallo. She gave up her career for love. Her family was against Gallo and he decided to kidnap her. She was greatly revered precisely as the mother of a famous family, as a gypsy queen, a woman with inexhaustible kindness and generosity.
Antonio El de Bilbao (1885-19??), dancer from Seville.
Vicente Escudero (1885-1980), a dancer from Valladolid, considered him "the most brilliant performer of zapateado and alegrais". His performance at the Café La Marina in Madrid in 1906 was described by the legendary guitarist Ramon Montoya:
“There was one memorable night at Café La Marina when Antonio El de Bilbao showed up on the premises accompanied by a few friends and they asked him to dance something. At that time such spontaneous actions were frequent, and the dancer got up on the tablao and asked me to accompany him for the allegrias. His appearance did not inspire any confidence. He went up to the stage wearing a beret, which indicated his Basque origin (I was wrong). I looked at him and thought it was a joke, and decided to play it as a joke too, to which Antonio objected with dignity: “No, you better play what I can dance!” And indeed, this man knew what to show, and conquered guitarists, singers and the whole audience with his dance.
A little time will pass, and Antonio El de Bilbao will become the owner of this cafe.
The legendary singer Pepe de la Matrona (1887-1980) often recalls another episode that happened to Antonio El de Bilbao.
One evening in a cafe, Antonio asked the impresario for permission to demonstrate his dance. Distrust of the impresario at the sight of a man "thin, vertically challenged, with very short arms and legs" caused such discontent and noise among his friends that he was allowed to climb the tablao. Yes, it was time to close. The waiters were already gathering chairs, piling them up on the tables. Antonio took only one double step, nothing more, and several chairs fell to the floor from the hands of the surprised waiters. After that, a contract was immediately signed with the dancer.
La Golondrina (1843-19??) dancer from Granada.
Mythical figure for sambras. At the age of eleven, she was already dancing sambras in the caves of Sacromonte.
It was 1922, when a jondo singing competition was held in Granada, organized by Manuel de Falla and F. G. Lorca. Antonio Chacon sang, and Ramon Montoya accompanied him. Opposite them, as if hiding from everyone, an old woman was sitting on the floor and weeping quietly, captured by the song of Antonio Chacon - soleares in the style of Enrique El Melliso. Suddenly the old gypsy stood up and addressed Ramon Montoya without much preamble:
"Young man! Play in the same manner so that I dance!
Ramón Montoya, out of respect for the age of the old woman, began to accompaniment with a guitar in the style of El Heresano. The old woman, slender as a poplar, raised her hands and threw back her head with impressive majesty. With this one movement, she, as it were, illuminated and revived all those present. If freedom is achieved, everyone recognizes it at once. She began her dance. A dance of some inexplicable authenticity. Montoya had a smile frozen on his face, and Chacón, who had never sung for dancers before, with his lips quivering with excitement, trembled soleares in the style of Ramon El de Triana.
La Sordita
Another dancer, a native of Jerez de la Frontera, La Sordita, the daughter of the brilliant mater sigiriyas Paco la Lusa, danced despite her absolute deafness. one of the purest and most authentic representatives of the gypsy style. She had a wide repertoire, emphasized Soleares and Bulerias
She had a great rhythm. Her dancing prowess was the envy of many of the best dancers of the era. After all, then the flamenco dance was at its dawn and, as you know, the competition was huge.
Pablillos de Valladolid, who saw her at the Café Novedades in Seville, probably when she was completely deaf, says:
“I never relied on my hearing. She has sterile and sealed hearing! And yet, he dances wonderfully in a magnificent manner, filling his figure with harmony and rhythm.
- The birth of flamenco ballet.
By the early 1910s, flamenco was increasingly appearing in theatrical performances Pastora Imperio, La Argentinita, La Nina de los Peines, El Mochuelo, flamenco appears more and more in programs of other genres, at the end of screenings or comedy plays.
During the flamenco opera period, singing, dance and guitar are often combined in comedies and carry with them the flavor of the area or the flamenco genre itself.
At this time, La Argentinaitaestablishes his company with AntonioEl de Bilbao and Faico; together they travel all over America with performances and make their debut at the New York Maxime Elliot's Theater in 1916, where they present a production of Goyescas by Enrique Granados.
AT 1915 yearManuel de Fallacomposes forPastora Imperio "El Amor Brujo"With librettoGregorio Martinez Sierra.Although the first Spanish Dance company was created by La Argentina much later, in 1929, this work is considered to mark the birth of flamenco ballet.Six years later La Argentinitacombines the first ballet based entirely on flamenco with its own version of "El Amor Brujo". Antonia Mercé is accompanied by Vicente Escudero, Pastora Imperio and Miguel Molina, the most prominent musicians of her show.
Pastora Imperio (Sevilla, 1889 - Madrid, 1979).
For one year she was married to the great matador Rafael Gallo ("The Rooster"). Love led to the altar, but the blow of two brilliant personalities broke this union in 1 year. She was beautiful, talented and independent - a very difficult combination for any woman in 1911. At the same time, they were in great love. They loved and constantly fought. Pastora was the prototype of an emancipe who fought for the rights of a woman at the beginning of the 20th century: "She was a pioneer and she knew it. She was looking for a way to change the world, she wanted it to be a little better every day. Today there is not a single such brave artist who was Pastora Perhaps only Sarah Baras has such an international scope that Pastora had.Contemporaries left many enthusiastic testimonies about how beautifully Pastora danced.
La Argentinita (Buenos Aires, Argentina 1895 - Nueva York 1945).
Girlfriend of Federico Garcia Lorca, his "dear cousin", and "civil widow" of the matador Ignacio Sanchez Mejias. Lorca's poem "Lament for Ignacio Sanchez Mejias" was dedicated to her. Arkhentinita helped Lorca during lectures, acting as a "musical illustration". It should also be added that Argentinita - imagine! - in the 30s. came on tour to the USSR. And in the early 70s, four songs from the collection of Arkhentinita and Lorca were published on flexible records in the magazine "Krugozor".
1920-1930s
The twenties and thirties in Spain passed under the sign of a return to the roots, and folk art found itself in the center of common interest, a common patriotic outburst. Especially after the festival organized in 1922 by Garcia Lorca and Manuel de Falla. Not everyone knows that the poet Lorca was also serious musician, also an ethnographer; his merit in the preservation of Spanish folklore is invaluable: while traveling, he sought out and recorded rare versions of songs, and then went with lectures, brilliant and passionate, imbued with love for his people. In 1929 (according to other sources in 1931), Arkhentinita and Lorca were recorded on gramophone records twelve spanish folk songs collected and processed by the poet. These recordings are interesting because Lorca acted as an accompanist. Argentinita, she sings and taps out the rhythm, and Lorca himself accompanies on the piano.
Encarnación Lopez and La Argentinita create folklore and flamenco performances that elevate Argentinita to the heights of Spanish dance: "El Café de Chinitas", "Sevillanas del siglo XVIII", "Las calles de Cádiz", "El romance de los pelegrinitos"... She hires the best artists of the time: La Macarrona, La Malena, Ignacio Espeleta, El Niño Gloria, Rafael Ortega... Knowing well the importance of scenography in ballet, she turns to leading artists with a proposal to create scenery for her performances. So, Salvador Dali became the author of the scenery for "El Café de Chinitas" (a show first presented by La Argentinita in New York).
Café de Chinitas in Malaga was one of the famous artistic pubs in Spain, the so-called "cafe cantante", the very ones that since the middle of the 19th century have been the main venues for performances by flamenco performers. The Café de Chinitas existed until 1937 and was closed during civil war. So the generation of Lorca and Dali not only knew him well, he was a sign for them - a sign of their youth and a symbol of their Spain.
And that was also the name of the ballet to the music of folk songs arranged by Lorca; Argentinita staged it (who did no less than Antonio Ruiz Soler to popularize flamenco and enter it on the big stage), and Dali painted the back and curtain. It was a performance originally nostalgic: Lorca had already died by that time, Dali and Arkhentinita had emigrated; the performance was performed in 1943 in Michigan and then in the New York Metropolitan Opera and became another flamenco myth.
The performance consists of ten numbers to the music of Lorca's songs. The cantaora who performs them (the famous singer Esperanza Fernandez) fully participates in the action - after all, in genuine flamenco, dance and singing are inseparable. The dance is shown here in both of its hypostases: as artistic language- and like a performance within a performance, when someone dances according to the plot, and the rest are spectators.
In general, the relationship between the performer and the audience in flamenco is also a special thing. They are born where the very syncretic life of folklore is born and realized; these are the relations of the protagonist and the choir, dialogue and competition, community and rivalry, unity and battle. The protagonist is one of the crowd. In authentic, non-theatrical settings, the flamenco act begins with a general concentrated sitting; then a rhythm is born and matures, a general internal tension is pumped up and, having reached a critical point, breaks through - someone gets up and goes to the middle.
La Argentinita dies in New York in 1945 and is succeeded by her sister, Pilar Lopez, responsible for such outstanding creations as "bailes de la caña", caracoles, and cabales.
Vicente Escudero (1885-1980), dancer from Valladolid
Escudero was one of the few theorists of his time who could comment on the choreography of the male flamenco dance. His "Decalogue" or ten rules for the dancer are still respected today. In addition to being the leading flamenco dancer of his day, he was a talented artist and his flamenco-themed works are frequently exhibited. His work was admired by the Spanish modernist artist Juan Miro. Escudero also appeared in the films On Fire (1960) and East Wind (1966).
His first official performance was in 1920 at the Olympia Theater in Paris. He reached his maturity as a dancer in 1926-1936, during which time he toured Europe and America. Escudero inspired respect for the male flamenco dance, which is sometimes regarded as less artistic than the female performance.
Escudero had a huge influence on shaping the tastes of his generation and future generations, the legendary Antonio Gades took a lot from Escudero. His style was based on strong and expressive masculinity, clear and precise footwork and braceos (hand movements). Escudero's ten principles were as follows:
1. Dance like a man.
2. Restraint
3. Rotate the brushes away from you, fingers together.
4. Dance sedately and without fuss.
5. The hips are immobile.
6. Harmony of legs, arms and head.
7. Be beautiful, plastic and honest. ("Aesthetics and plasticity without hoaxes").
8. Style and intonation.
9. Dance in a traditional costume.
10. Achieve a variety of sounds with the heart, without metal heels on shoes, special stage covers and other devices.
His works:
Mi Bale (My Dance) (1947);
Pintura que Baila (The Dancing Artist) (1950);
Decálogo del Buen bailarín (Ten rules for a dancer) (1951).
Vicente Escudero invented the seguiriya, which he presented in many cities around the world. Just a few years after him, Carmen Amaya created taranto during her trip to the American lands, and Antonio Ruiz danced the martinete for the first time…
In 1932 he performed in New York as part of his own team.
End 30- X - 40- e years
ANTONIO RUIZ SOLER (Antonio). FLORENCIA PÉ REZ PADILLA ().
Antonio and Rosario are the most "visible" representatives of flamenco and classical Spanish dances both in Spain and in other countries at that time. They spend twenty years in America.
When the civil war began in Spain, Antonio and Rosario, like many others, left there and worked in the United States, including in Hollywood. The original art of the Spaniards was a success in America.
And at the same time, judging by the recording of Antonio and Rosario’s Sevillana from the film “Hollywood Canteen” (“Hollywood Canteen”, 1944), the ecstatic nature of their flamenco was slightly blurred: it was as if a certain scale was shifting, and Antonio’s sunny art was tinted with non-Spanish tones of carefree lightness - and perhaps even frivolity, brilliant and yet subtly pop. If we compare the footage of this film with the recordings of, say, Carmen Amaya, which we will talk about ahead, a slight shift towards pop theatrical flamenco can be seen.
Influence modern dance, steppe. Jazz and pop influence. A carefree lightness is added to flamenco.
(1912 - 2008) . The "Spanish Ballet Pilar Lopez" was famous not only for its spectacular performances, but also for being a flamenco "forge of shots". Doña Pilar has always been a master at finding "rough diamonds" and turning them into diamonds. Her school was attended by Antonio Gades, Mario Maya.
Jose Greco(1918-2000), by origin - Italian.
He moved to New York, started dancing in Brooklyn. His partners were La Argentinita, later - Pilar Lopez. Three of his daughters and one of his 3 sons dance flamenco. Last time He entered the stage in 1995 at the age of 77.
Carmen Amaya. Born in Barcelona. 1913-1963
Since the 1930s for thirty years, the star of Carmen Amaya has been shining, which cannot be attributed to any direction or school. Performing throughout Europe and America and acting in a large number of films, Carmen Amaya has earned worldwide recognition.
“In the same 1944, she starred in a Hollywood film - “Follow the boys” (“Following the Guys”), made on the same principle and according to the same social order as “Hollywood canteen”: a simple plot against the backdrop of a celebrity parade to maintain patriotic and military spirit at the climax of the war for the United States. A small figure in a man's suit - tight-fitting trousers and a bolero - swiftly crosses the square filled with spectators, takes off on the stage and immediately rushes into a militant zapateado. She is a bunch of energy; in the frantic dance there is not a shadow of Antonio's elegant festivity, but, despite all the grace, there is a certain power and magnetism, and there is, in spite of all the incendiary, a certain proud isolation. So the contrast with the cheerful American stars is even stronger here. (In general, in the kaleidoscope of pop numbers of this film there are two dramatic notes, two faces illuminated by inner sorrow: Carmen Amaya and Marlene Dietrich, Spain and Germany.)”
Carmen Amaya said: "I feel how in my veins, having melted my heart with red-hot passion, a current of crimson fire flows." She was one of those people who said with their dance that in life there is suffering, anger, freedom. She was a genius, a revolutionary in dance, in her time she made the flamenco dance the way it is danced now. She also sang, but the bailora in her overpowered the singer in her. She never went to dance school. Her teachers were only her instinct and the street, where she sang and danced to earn some money. She was born in a straw barrack in the Somorrostro quarter. Her father, Francisco Amaya ("El Chino"), was a guitarist. Moving from one tavern to another, he took his daughter, who at that time was less than 4 years old, to one of these taverns, so that little Carmen would help him earn money. After the performance, the girl walked around with a hat in her hands, and sometimes they just picked up the coins that were thrown to them right on the ground during the performance. Francisco and Carmen also worked part-time in small theaters. Seeing the performance of little Carmen, a smart and savvy impresario of a famous variety show sent the girl to study with an eminent teacher at the Spanish Theater in Barcelona. This is how it started professional development the great dancer Carmen. Vincente Escudero, upon seeing her dance, declared: "This gypsy girl will revolutionize flamenco dance, because her performance combines two great styles performed ingeniously: a long-standing, old style with characteristic smooth movements from the waist to the head, which she performed with weightless movements hands and a rare twinkle in the eyes; and an exciting style with energetic, insane in speed and strength leg movements. After the start of the civil war, she left Spain and traveled all over the world: Lisbon, London, Paris, Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Uruguay, Venezuela and New York - saw and admired her flamenco. By the time she made the decision to return to Spain in 1947, she was already international star, and this status was preserved for her until her death.
She starred in several films that also brought her great fame: "La hija de Juana Simon" (1935), "Maria de la O" (1936), together with Pastor Imperio, Sueños de Gloria" (1944) , "VEA helicopter Mi abogado" (1945) and "Los Tarantos" (1963). Flamenco performer Pilar Lopez recalls the first impression that Carmen's dance made on her in New York: "Whether it was a dance of a woman or a man, it doesn't matter. Her dance was unique! Carmen had absolute pitch and a sense of rhythm. No one could perform such corners like her, insanely fast, executed to perfection.In 1959, a spring was discovered in Barcelona, which was given her name.It was discovered on the road that crossed the Somorrostro quarter, where she spent her childhood.
The last years of her life, Carmen lived surrounded by people who were really close to her, not for the public, but for those who worked with her and for her. Carmen had amazing energy. Her student, Fernando Chiones, recalls: “After finishing one of her last performances, in Madrid, she asked me: “So how? Tell me something about my dance!" And before I could answer, I heard. "I don't understand what's happening to me, I'm not the same dancer anymore." By this time, Carmen was already seriously ill, but continued to assert that dancing heals her, helps to remove toxins from her body.She starred in a huge number of films, but shooting in last movie"Los Tarantos" in the spring of 1963 was especially difficult. It was necessary to dance barefoot, in the unbearable cold. After filming, she felt a severe deterioration in her health, but continued to say, "I will dance as long as I can stand on my feet." But her strength was running out, and one evening, in August 1963, dancing a few steps from the audience, she turned to her guitarist: "Andres, we're done." On the same night, Carmen died.
Juana de los Reyes Valencia, Tía Juana la del Pipa (Jerez de la Frontera, Cádiz, 1905-1987).
They say about her: "más gitana que las costillas del faraón" (she is more gypsy than the pharaoh's thighs).
Lola Flores (La faraona) (1923 - 1995).
Flores was born in Jerez de la Frontera, Cadiz (Andalusia), which is an icon of Andalusian folklore and gypsy culture. Lola Flores was not a gypsy and never identified herself as such, although she admitted in an interview that her maternal grandfather was Romani. She became a famous dancer and singer of Andalusian folklore at a very young age. She performed coplas and acted in films from 1939 to 1987. Her most big success was in a folklore show with Manolo Caracol. Lola Flores died in 1995, aged 72, and was buried in the Cementerio de la Almudena in Madrid. Shortly after her death, her distraught 33-year-old son, Antonio Flores, committed suicide by overdosing on barbiturates and was buried next to her. In Jerez de la Frontera there is a monument to Lola Flores.
