Beyond making a summary of last year in the record order, Espacio Expoflamenco wanted to give a voice to the authors of a brilliant article on our website. Actually, the title sought to draw attention to the movements, whether we like them or not, that are being generated on the periphery of our art.

Here you have the link to the referenced article: 2022, the year in which flamenco broke up – Expoflamenco

Both Manolo Domínguez and Fede Calderón made it very clear that the essential nucleus or classical repertoire of jondo art remains unalterable to how many currents and winds want to sway it. Always keeping in mind that flamenco is a mestizo art and in continuous evolution where concepts such as hybridization are more common throughout its history than we think.

However, and especially 2022, perhaps due to a pandemic that confined us all, it was a year where there was plenty of time for creation, or at least to stop and think about it. In this order, the new proposals were most notable, where flamencos have come into contact with other musicians (especially electronic music) and, therefore, other audiences from very different origins.

For this reason, Manolo and Fede drew a double plane: on the one hand, fetén flamenco artists who went to look for arguments in interpreters of other aesthetics and, on the other, musicians who from the ‘outer galaxy’ have used rhythmic, literary or harmonic elements in flamenco to export them to a global audience through their music. There was no shortage of the phenomenon Rosalía, as is logical, without entering or leaving that what she does is flamenco.