{"id":13493,"date":"2019-06-26T20:05:25","date_gmt":"2019-06-26T18:05:25","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=13493"},"modified":"2019-06-26T20:05:25","modified_gmt":"2019-06-26T18:05:25","slug":"authentic-naturality","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/actualidad-en\/authentic-naturality\/","title":{"rendered":"Authentic naturality"},"content":{"rendered":"<p>We remember when, in the 1970s, some flamenco artists in all <em>facetas<\/em> \u2014 <em>cante, baile<\/em> and <em>toque<\/em> \u2014 increased considerably the rates they charged to performing at festivals because they had to include bassists, percussionists, <em>palmeros<\/em>, violinists and even tambourine players. Some festivals would ban any instrument other than Spanish or flamenco guitar. A famous <em>bailaora <\/em>once said that the artist agent <strong>Pulp\u00f3n<\/strong>\u00a0took her off festival lineups after <strong>Paco Vallecillo<\/strong>\u00a0called him to report that she had included a <em>caj\u00f3n<\/em> in her performance at the Ceuta Festival. There was a lot of zeal regarding the so-called <em>purity<\/em> or traditionalism, that is, with traditional flamenco or the model that had become popular, which featured nothing more than <em>palmas<\/em> and guitar. Not to mention the traditional <em>tablaos<\/em> of Madrid or Seville.<\/p>\n<p>Some people think that, in the early days of flamenco, singing and dancing was only accompanied by guitar and <em>palmas<\/em>, but that\u2019s not true. That became the rule in the <em>caf\u00e9 cantantes<\/em>, and pianists would play even at those venues.\u00a0<strong>Isidoro el Ciego<\/strong>, pianist in caf\u00e9s such as <strong>El Burrero<\/strong>\u00a0or\u00a0<strong>El Filarm\u00f3nico<\/strong>, was a celebrity. So, when people talk about the origins of piano in flamenco they shouldn\u2019t stop at <strong>Arturo Pav\u00f3n<\/strong>\u00a0and\u00a0<strong>Pepe Romero<\/strong>, because piano featured in flamenco since much earlier. Do you remember <strong>Manuel Garc\u00eda Matos<\/strong>, the pianist brother of the <em>bailaor<\/em> <strong>Antonio Triana<\/strong>, who worked closely with <strong>Carmen Amaya<\/strong>\u00a0and\u00a0<strong>Sabicas<\/strong>? A very forgotten artist, by the way. Another great flamenco pianist was <strong>Currito el de la Jeroma<\/strong>, guitarist from Jerez who grew up in Seville, with whom <strong>Tom\u00e1s Pav\u00f3n<\/strong>\u00a0used to sing <em>por seguiriyas<\/em> at the academy of <strong>Elo\u00edsa Alb\u00e9niz<\/strong>, the wife of Arturo Pav\u00f3n, senior. Tom\u00e1s once said that \u201c<em>cante<\/em> had nothing to lose with piano\u201d. He was also a big fan of Chopin, incidentally.<\/p>\n<p>It was Caracol who said it was possible to sing flamenco accompanied by pipes, and we think he actually tried it. But what he really liked to do was singing accompanied by the guitars of <strong>Melchor de Marchena<\/strong>\u00a0or\u00a0<strong>Ni\u00f1o de Ricardo<\/strong>, in a party. Just like <strong>Antonio Mairena <\/strong>or\u00a0<strong>Ni\u00f1a de los Peines<\/strong>. Pastora didn\u2019t like the stages, just like her brothers, and only performed on stage out of financial need. Whenever there was some celebration at her house, she would call <strong>Melchor<\/strong> or <strong>Pepe Mart\u00ednez<\/strong>\u00a0and would treat her guest with a wonderful recital accompanied by guitar only.<\/p>\n<p><em>Cante jondo<\/em> is so great that it doesn\u2019t need any kind of accompaniment. Good music can be made singing <em>a<\/em> <em>palo seco<\/em>, using just the voice and some rhythm. It\u2019s remarkable when a kid like <strong>Manuel de la Tomasa <\/strong>comes on stage and gives it all singing <em>ton\u00e1s trianeras<\/em> of old the flamenco families such as the <strong>Cagancho<\/strong> or the <strong>Pelao<\/strong>. Yet, some people think that these are outdated relics. They say we should adapt to our times. \u201cSeek a new flamenco\u201d, someone wrote the other day, as if the old <em>arte jondo<\/em> was now useless. Rosal\u00eda\u2019s new flamenco?<\/p>\n<p>Different ways to perform flamenco have always co-existed, so why can\u2019t this also be the case nowadays? They do coexist, indeed, and there\u2019s public for all of them. Yet, if one day a <em>martinete<\/em> or a <em>seguiriya<\/em> are considered nothing more than relics, that day something that made great this art would have died: the authentic naturality.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Different ways to perform flamenco have always co-existed, so why can\u2019t this also be the case nowadays? Yet, if one day a martinete or a seguiriya are considered nothing more than relics, that day something that made great this art would have died: the authentic naturality.<\/p>\n","protected":false},"author":4,"featured_media":13494,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[172],"tags":[],"class_list":["post-13493","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualidad-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Authentic naturality - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/actualidad-en\/authentic-naturality\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Authentic naturality - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Different ways to perform flamenco have always co-existed, so why can\u2019t this also be the case nowadays? 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