I’m very disappointed by the current state of flamenco, particularly the world of flamenco critic. For some time, I’ve been accused of not being able to handle criticism, something which is absurd because I’m quite active in the social networks and everything I write is public, so it can be rebuked, and this actually happens on a daily basis. The thing is that sometimes I have to defend my point of view or explain my thoughts and then this is perceived as an inability to accept criticism or rebuttals. From now on I will no longer argue with anyone, perhaps this will make the people who say I don’t accept criticism much happier.

Apparently, it’s OK to voice our opinion about anything except about the things women do. OK then, if that’s the way it is, I’ll just stop voicing my opinions about anything to do with women in flamenco, regardless if I agree with it or not. Is that the intent of the people going after me? A month ago, I was asked to give a lecture which was not about women in flamenco, yet I was required to use a cantaora appointed by them to illustrate the lecture. I refused the invitation, of course. If one festival is directed by a woman, we have to be very careful when criticizing it, or we end up being accused of being misogynistic or male chauvinists. This happened when I criticized Rosalía Gómez direction of the Bienal, and this happened again a few days ago after I wrote an article about the Cabildo Flamenco de Archidona.

It has now become impossible to criticize certain artists because then we get flak from their agents and even their fans. It’s not possible to criticize the public institutions either, because then we get sidelined and denied any kind of public support. I’ll give an example. In forty years as a flamenco critic, I’ve only once been invited to give a lecture by the Junta de Andalucía. As far as I can remember, I have never been invited to give a lecture by Seville’s City Council, even as I’ve probably researched more about flamenco in this city than anyone else. It’s been years since the last time anyone asked me to give a lecture in the capital of Andalusia, although I’m from Seville myself and I’ve been researching Seville’s artists for over thirty years. I’ve never participated in anything to do with the Bienal, and I‘ve certainly never worked for it. I vaguely remember that something I wrote once appeared in the program handout of one show at the Bienal, but just because the artist decided to quote a text of mine in his performance.

Apparently, this professional independence is more than enough to get people going after me, which is what’s been happening for some time. Forty years as a flamenco critic is too much, and there are many people who have felt slighted by my critics and wish I would stop writing. I wish I could but, for good or for worse (considering this situation), that’s how I make a living. Yet, if I could, I’d quit tomorrow and I’d live as a caretaker in some farm, because flamenco has become unbearable and I don’t think there’s any room left for someone like myself, so sensitive, even as I may seem harsh, and I admit that I can be harsh sometimes. It’s not easy at all to be harsh as a flamenco critic, believe me.

Flamenco is not a mafia, but several mafias. It’s a world of tribes, clans and neighborhood gangs. Yet, I’ve always tried to stay away from all that. Do you know how hard it is writing forty articles each month, giving my opinion, saying what I think and argue my point? Whoever thinks it’s easy can give it a try. Those clans try to win you over, so you don’t criticize them, but if you reject their advances, they go after you. Considering all this, perhaps I should just quit writing about my opinions and focus only on history and research, which is what I really like anyway. It would be sad, though, because I think I was the first one to have a flamenco column in the opinion section of a newspaper in Andalusia.

I have to confess that I no longer have fun with my job, even as I still like it. And when something is no longer fun, the best thing is heading for exit without looking back. The Bienal will be a good time to think about all this.

Translated by P. Young