{"id":13549,"date":"2019-06-28T09:36:07","date_gmt":"2019-06-28T07:36:07","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=13549"},"modified":"2019-06-28T18:35:34","modified_gmt":"2019-06-28T16:35:34","slug":"malaga-the-cantaora","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/malaga-the-cantaora\/","title":{"rendered":"M\u00e1laga the Cantaora"},"content":{"rendered":"<p>A few days ago we wondered what was the matter with flamenco in C\u00e1diz and a few feathers were ruffled. Today we wonder the same thing, but regarding M\u00e1laga. What\u2019s the matter with flamenco in M\u00e1laga, described as \u201c<em>La Cantaora<\/em>\u201d by the Sevillian poet <strong>Manuel Machado<\/strong>? This important city in Andalusia has often been neglected in the studies about the history of flamenco, as if it hadn\u2019t contributed anything, as if flamenco had only been forged in C\u00e1diz and Seville. You know, that old theory of Lower Andalusia and the Seville-C\u00e1diz railroad. That\u2019s a great injustice, because M\u00e1laga played a crucial role in the development of flamenco and has given us great artists of cante such as <strong>Juan Breva, El Canario de \u00c1lora, El Perote, La Trini, La Rubia, La \u00c1gueda, La Juanaca, Andr\u00e9s Vivar, El Pena <em>padre<\/em><\/strong> and<strong> El Cojo de M\u00e1laga<\/strong>, to name just a few, because we could go on and on until the sheep get bored. Not to mention <em>baile<\/em>, such as the pioneering <strong>La Cuenca<\/strong>, just to name its most popular <em>bailaora<\/em>.<\/p>\n<p>Yet, M\u00e1laga\u2019s role in flamenco history is crucial not just because it gave us those renowned artists, or because the importance of its <em>caf\u00e9s cantantes<\/em>. It is also crucial because of the many <em>cantaores, bailaores<\/em> and guitar players who either settled there or visited often, leaving their imprint. I mean people like <strong>Antonio Monge Rivero <em>El Planeta<\/em><\/strong>, a historic flamenco personality I researched years ago, discovering his true identity and the fact that he spent the last years of his life living on San Juan street in M\u00e1laga, where he died in 1856, although he was born in C\u00e1diz in 1790. His nephew <strong>L\u00e1zaro Quintana Monge<\/strong>, who was also born in C\u00e1diz (1802), likewise settled in M\u00e1laga, living with his maternal uncle in that same street, although previously (1842) he had lived in Saavedra street. Those two personalities deserve further research from M\u00e1laga, because they were of paramount importance in flamenco history. Other important <em>cantaores<\/em> lived in M\u00e1laga, too, such as <strong>Francisco Ortega Vargas <\/strong><em><strong>El Fillo<\/strong>\u00a0<\/em>(son of the elder Fillo, Antonio Ortega Heredia). El Fillo lived there for some time with <strong>Mar\u00eda La Andonda<\/strong> (from Ronda, in the province of M\u00e1laga) and some of their children were born in M\u00e1laga itself. Another important <em>cantaor<\/em> who visited M\u00e1laga often in those early days was <strong>Tom\u00e1s El Nitri<\/strong>, who was born in Puerto de Santa Mar\u00eda (province of C\u00e1diz) in 1838 and died in Jerez in 1877. Although he grew up in C\u00e1diz, his connection with M\u00e1laga was very important because of his great friendship with El Planeta\u2019s first son, Francisco Monge Vara, and with another of the sons of Antonio Monge, Tom\u00e1s El Planeta, a comedian and a bullfighter\u2019s assistant. Indeed, it has been said (although with no firm evidence) that it was in M\u00e1laga where this enigmatic Gypsy from Puerto de Santa Mar\u00eda received the first Golden Key of Cante. <strong>Silverio Franconetti<\/strong> also had strong links to the land of La Trini, marrying Ana Torrecilla (who was from Linares in Ja\u00e9n province) in M\u00e1laga, where they lived on Don Juan street. Silverio performed in M\u00e1laga multiple times, both before and after his trip to South America. We can\u2019t prove yet that he performed in M\u00e1laga before his trip to the New World, but it seems likely, since he was there when he was very young. Many other flamenco artists also had strong links with M\u00e1laga, such as <strong>Paco el Sevillano, El Rojo el Alpargatero, Enrique Ortega Feria, Fernando el de Triana <\/strong>and<strong> Antonio Chac\u00f3n<\/strong> himself.<\/p>\n<p>These days we\u2019ve been working hard, researching flamenco artists who lived in M\u00e1laga in the XIX century, because this will show that local <em>cante<\/em> styles didn\u2019t originate out of the blue, but rather resulted from the movement of artists from one city to the next. We\u2019ve said before that the Seville\u2019s style of cante, so often mentioned, would not exist without the artists of C\u00e1diz, Jerez and M\u00e1laga. We can say the same about this last city: M\u00e1laga is <em>cantaora<\/em> for sure, but without a doubt it was influenced by those who, while not born there, adopted M\u00e1laga as their hometown. That\u2019s an importance cultural legacy, worth researching.<\/p>\n<p>&nbsp;<\/p>\n<h6 style=\"text-align: right;\"><strong>* This article was originally published in ExpoFlamenco on April 27th, 2016<\/strong><\/h6>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>What\u2019s the matter with flamenco in M\u00e1laga, described as \u201cLa Cantaora\u201d by Manuel Machado? M\u00e1laga played a crucial role in the development of flamenco and has given us great artists of cante such as Juan Breva, El Canario de \u00c1lora, El Perote, La Trini, La Rubia, La \u00c1gueda, La Juanaca, Andr\u00e9s Vivar, El Pena padre and El Cojo de M\u00e1laga<\/p>\n","protected":false},"author":6,"featured_media":9443,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-13549","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>M\u00e1laga the Cantaora - 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\/bordonazo-new\/malaga-the-cantaora\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00e1laga the Cantaora - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"What\u2019s the matter with flamenco in M\u00e1laga, described as \u201cLa Cantaora\u201d by Manuel Machado? M\u00e1laga played a crucial role in the development of flamenco and has given us great artists of cante such as Juan Breva, El Canario de \u00c1lora, El Perote, La Trini, La Rubia, La \u00c1gueda, La Juanaca, Andr\u00e9s Vivar, El Pena padre and El Cojo de M\u00e1laga\" \/>\n<meta property=\"og:url\" content=\"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/malaga-the-cantaora\/\" \/>\n<meta property=\"og:site_name\" content=\"Archivo Expoflamenco\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/ExpoFlamenco\" \/>\n<meta property=\"article:published_time\" content=\"2019-06-28T07:36:07+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-06-28T16:35:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2018\/05\/JuanBrevaColor.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"801\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Manuel Boh\u00f3rquez\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@expoflamenco1\" \/>\n<meta name=\"twitter:site\" content=\"@expoflamenco1\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Manuel Boh\u00f3rquez\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/malaga-the-cantaora\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/malaga-the-cantaora\\\/\"},\"author\":{\"name\":\"Manuel Boh\u00f3rquez\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#\\\/schema\\\/person\\\/608d65b2c159f7b5b632f1365c15030f\"},\"headline\":\"M\u00e1laga the Cantaora\",\"datePublished\":\"2019-06-28T07:36:07+00:00\",\"dateModified\":\"2019-06-28T16:35:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/malaga-the-cantaora\\\/\"},\"wordCount\":764,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/malaga-the-cantaora\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/wp-content\\\/uploads\\\/2018\\\/05\\\/JuanBrevaColor.jpg\",\"articleSection\":[\"Bordonazo NEW\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/malaga-the-cantaora\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/malaga-the-cantaora\\\/\",\"url\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/malaga-the-cantaora\\\/\",\"name\":\"M\u00e1laga the Cantaora - 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