{"id":14488,"date":"2019-05-17T01:39:44","date_gmt":"2019-05-16T23:39:44","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=14488"},"modified":"2019-08-05T02:02:47","modified_gmt":"2019-08-05T00:02:47","slug":"manuela-carrasco-i-want-to-teach-young-people-even-how-to-wear-a-flower-in-their-hair","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/en-portada\/manuela-carrasco-i-want-to-teach-young-people-even-how-to-wear-a-flower-in-their-hair\/","title":{"rendered":"Manuela Carrasco: \u00abI want to teach young people even how to wear a flower in their hair\u00bb"},"content":{"rendered":"

The most prestigious flamenco award, the Comp\u00e1s del Cante<\/em>, bestowed since 1984 by the Cruzcampo Foundation<\/a>, has a name written for its 32nd<\/sup> edition: Manuela Carrasco Salazar<\/strong>\u00a0(b. Seville, 1958). It will be awarded on May 29th<\/sup> in a gala hosted by Box Cartuja. There she\u2019ll be showered with ol\u00e9s a comp\u00e1s<\/em>, because her art has always been aligned with what baile<\/em> is supposed to be in the land of Mar\u00eda Sant\u00edsima<\/em>, Seville. Solid, deep Gypsy baile<\/em>. She\u2019s the leading star of her school. And her name will be even more immortal in a few days, with the opening of the Foundation she has created to preserve the purest flamenco and to give visibility to the role of Gypsy women in society.<\/p>\n

We sit down at the el\u00a0Jos\u00e9 Luis Restaurant<\/a>, on Plaza de Cuba Street in Seville\u2019s Los Remedios district. We are with Manuela, her husband Joaqu\u00edn Amador, their daughter Manuela Amador and Manuel Santiago. The latter two lead the Fundaci\u00f3n Manuela Carrasco<\/em><\/strong> mentioned above. We\u2019ll discuss that later. Let me remind you, dear readers, that over twenty years ago, we interviewed them at the old Nova Roma patisserie, a few steps down the road, in Asunci\u00f3n, which is now one of those franchises that multiply like rabbits. Local businesses yield to the weight of the big chains. Walking on Avenida de la Constituci\u00f3n, from the cathedral, there are nothing but franchises. The only exception is Bodeguita Casablanca, across Archivo de Indias, visited one day by King Juan Carlos, who ordered ham and bean tapas. Why are we talking about this? Perhaps because in flamenco franchises are also multiplying. \u00abYes, I agree, these are very strange days in flamenco. Everything sounds the same\u00bb, says The Godess.<\/p>\n

 <\/p>\n

\u2013 Flamenco interviews also seem all the same. \u201cWhat\u2019s your opinion about that<\/em> girl? What do you think about that<\/em> guy?\u201d <\/strong><\/p>\n

\u2013 Don\u2019t ask me about those two, hahaha!<\/p>\n

\u2013 Manuela, what does it mean for you being awarded the Comp\u00e1s del Cante<\/em>? <\/strong><\/p>\n

\u2013 Look, through my whole life I think I\u2019ve planted some seeds. It\u2019s good to be appreciated for my career, for what I\u2019ve done in behalf of flamenco. I\u2019m thrilled to be appreciated, valued.<\/p>\n

\u2013 The Comp\u00e1s del Cante<\/em> is like flamenco\u2019s Nobel Prize. Does it make you feel respected?<\/strong><\/p>\n

\u2013 In my opinion it\u2019s a mayor award, yes. I\u2019ve been awarded the Premio Nacional de Danza<\/em> and the Medalla de Andaluc\u00eda<\/em>, and soon I\u2019ll be awarded Medalla de Oro al M\u00e9rito en las Bellas Artes<\/em>. This is an accolade that I\u2019m truly grateful for.<\/p>\n

\u2013 Is it any different than the other trophies in your shelf? <\/strong><\/p>\n

\u2013 I\u2019m a very humble person. I appreciate all awards I\u2019ve been given, because I\u2019ve earned them through hard work. I\u2019ve been performing on stages since I was a little girl. It\u2019s been very hard climbing up this little step. It\u2019s an honor.<\/p>\n

\u2013 Among the artists awarded the Comp\u00e1s<\/em>, we have Pilar L\u00f3pez, Mario Maya, Matilde Coral, Milagros Meng\u00edbar, Cristina Hoyos, Merche Esmeralda\u2026 Do you feel you belong in this crowd?<\/strong><\/p>\n

\u2013 All I can say is that when I come on stage, I give it all, I leave my soul in there.<\/p>\n

\u2013 Does this award come at a good time? <\/strong><\/p>\n

\u2013 All awards are good, particularly if they\u2019re awarded in our lifetime. Everything has its moment. Yes, to be sincere, I should have been awarded this accolade earlier. Of course. Oh well, I\u2019ve been awarded it now. All good. I don\u2019t say this with bitterness. I am very thankful.<\/p>\n

\u2013 We only wish you would perform in the award ceremony. <\/strong><\/p>\n

\u2013 Well, there will be Riqueni, Alba Heredia, who is very flamenca<\/em>, and Rancapino Chico, who is one of the best. Just imagine all his experiences, all he has seen.<\/p>\n

\u00abPure flamenco can\u2019t possibly reek of cemetery, because it\u2019s the greatest thing we have in Spain. <\/em>There are many good artists, so there\u2019s no need to trash flamenco with all the foolish things that are being done\u00bb<\/em><\/p><\/blockquote>\n

\u2013 Why have you created a foundation on your name?<\/strong><\/p>\n

\u2013 We will take in all the great artists, the ones that are left, because the trend now is flamenco light<\/em>. There are still great bailaores<\/em> and bailaoras<\/em>, great guitarists. Masters that we have but can\u2019t find any work. They are the guides for the young artists, the references showing the way for young people. Nowadays, only young artists get hired. No, the masters should work, too. Those who perform pure flamenco, not distorted flamenco. This is necessary to preserve flamenco. Otherwise, with the way things are going, in a few years there will be no flamenco left.<\/p>\n

\u2013 [Manuel Santiago] We are in the administrative process, just about to get started. Yours is the first media outlet we\u2019ve talked about this. Our main goal is to promote research to preserve a style of flamenco in danger of becoming extinct, so that flamenco\u2019s heritage doesn\u2019t get lost. We are not against anything or anyone, but it seems that the type of flamenco that Manuela represents is being neglected.<\/p>\n

\u2013 Recently, we heard Antonio Canales say something similar at Utrera\u2019s Tac\u00f3n Flamenco<\/em>. We must pay attention to the masters.<\/strong><\/p>\n

\u2013 All I ask is respect, like I had respect when I started dancing. I\u2019ve always respected the great artists, because they represent the best flamenco, the purest flamenco. That\u2019s what must be preserved. Including the way artists dress. Because I can\u2019t conceive getting on stage without a flower in my hair, without a peina<\/em>, without a mant\u00f3n<\/em>. Now you see bailaoras<\/em> with a little braid and a ribbon in their hair. No, that\u2019s wrong. Like the saying goes, one image is worth a thousand words. When a bailaora<\/em> comes on stage properly dressed, even if her performance is not great, she deserves respect. I think to myself, \u201cole<\/em>, that\u2019s how people should get on a stage\u201d. To those who want to become rich with something that is not flamenco, I tell them \u201cdarling, don\u2019t call it flamenco, use some other word\u201d. There is something I\u2019m itching to say. I read an interview of Andr\u00e9s Mar\u00edn where he said that pure flamenco reeks of cemetery. No, sir. Pure flamenco can\u2019t possibly reek of cemetery, because it\u2019s the greatest thing we have in Spain. There are many good artists, so there\u2019s no need to trash flamenco with all the foolish things that are being done. I have to tell the truth and say it how it is.<\/p>\n

\u2013 Creating a foundation in your lifetime. I can\u2019t think of any other flamenco artist who had done such thing. Antonio Gades created his foundation in 2004, the year when he died.<\/strong><\/p>\n

\u2013 I want to preserve flamenco, so that flamenco is truly flamenco, not something else. I want to prevent it from disappearing. I\u2019ve been striving for this for forty years. Because flamenco is not just a choreography, or a scenography. Sure, it can all look very nice, but the main thing is the artist. All the great stars \u2014 Pilar L\u00f3pez, Matilde Coral, Farruco \u2014 danced with a white light. We were the scenography. Flamenco has no more history than art itself.<\/p>\n

\u00abEvery time I get on stage it feels like a premiere, although nowadays I feel more anxious\u00bb<\/em><\/p><\/blockquote>\n

\u2013 In an old interview, on occasion of your 1996 production La ra\u00edz del grito<\/em>, you stated that traditional Andalusian flamenco was in danger. Is this still the case?<\/strong><\/p>\n

\u2013 Nowadays, even more so. At that time, we still had Paquera, Chocolate, Farruco, Rafael El Negro, Matilde, Fernanda, Bernarda, Pansequito, Juan Villar\u2026 There were lots of good artists singing and dancing. Back then, I could see it coming. I don\u2019t like what is happening today. There are very few artists left who still have flamenco\u2019s flame burning inside, who still respect it. Ten out of a thousand. The other day I was in New York with two great scenographers, Claudio Segovia and H\u00e9ctor Orezzoli\u00a0Yuyo<\/em>. I argued with Claudio because he wanted me to wear a white dress when dancing a sole\u00e1<\/em>. I told him, \u201cmy darling, since the beginning of time we\u2019ve worn dark clothing\u201d. He replied, \u201cno, you are a ghost in the night.\u201d The scenography distracts the dancer. The artists are the scenography. If it\u2019s a big production, we can add just a handful of details, without going overboard. Good lightning and good sound are enough. It\u2019s all flamenco needs. It\u2019s hard to be an artist by our own merits<\/p>\n

\u2013 [Manuel Santiago] It\u2019s not that there aren\u2019t talented artists nowadays. The problem is that innovation is the only thing that\u2019s being rewarded. That\u2019s why in our foundation we emphasize the importance of having references, role models. But the new generation is quite talented.<\/p>\n

\u2013 [Manuela Amador] The point of the foundation is to promote and preserve flamenco. And particularly to give visibility to the role of Gypsy women in society, in arts and in literature. This is something really necessary.<\/p>\n

 <\/p>\n

\"Manuel

Manuel Santiago (manager of the Manuela Carrasco Foundation), guitarist Joaqu\u00edn Amador (husband of Manuela), Manuela Amador (president of the Foundation) and bailaora<\/em> Manuela Carrasco, at the Riogrande Restaurant (Triana, Seville). Photo by Quico P\u00e9rez-Ventana<\/p><\/div>\n

 <\/p>\n

\u00abI can\u2019t attend many flamenco shows these days, because I either fall asleep, or end up depressed, with heart palpitations, and then I have to be driven around all of Seville until I feel better\u00bb<\/em><\/p><\/blockquote>\n

\u2013 Tell us something positive about baile flamenco<\/em> in our days.<\/strong><\/p>\n

\u2013 I admire art. A bailaor<\/em> doesn\u2019t have to be Gypsy to dance or sing well. It\u2019s true that Gypsies, not all of them, when God gives them the gift of playing the guitar, singing or dancing, it\u2019s something else. Yet, there are also people who love flamenco and spend a lot of time in studios, something I cannot do.\u00a0 I respect this, and I admire such hard work. I go to theaters to see this. But I have no time for those who distort and undermine flamenco. There are great young artists, capable of wonderful footwork, possessing immense talent and wonderful ideas. Yet, flamenco is not just using the feet. We must know how to stop. There are moments when we should stop and use our arms and our upper body. Both women and men. And that\u2019s very difficult to do. So, people don\u2019t even bother. They think that the most footwork they do, the best they are. No sir. Art is more important than footwork. And if you can handle all that, may the Lord be praised.<\/p>\n

\u2013 Who is capable to stop and dance proper flamenco nowadays? <\/strong><\/p>\n

\u2013 I really like Farruquito. He\u2019s the only one who dances in this style nowadays.\u00a0<\/strong><\/p>\n

\u2013 It\u2019s always been said that you are the number one dancing por sole\u00e1<\/em>. Doesn\u2019t anyone else dance like you do?<\/strong><\/p>\n

\u2013 Everyone has their own personality. Everyone dances according the gift God has given them. What happens is that I feel at ease in the sole\u00e1<\/em>, I feel it\u2019s my palo<\/em>. But that doesn\u2019t mean I\u2019m the best in the whole world dancing por sole\u00e1<\/em>. There are many people who dance very well por sole\u00e1<\/em>. Everyone dances in their own way.<\/p>\n

\u2013 [Manuela Amador] In my opinion she\u2019s the best dancing por sole\u00e1<\/em>, it\u2019s like she falls into a trance. You can watch her five hundred times dancing por sole\u00e1<\/em>, and each time it\u2019s in a different way. I always end up asking, \u201cmom, how did you manage that remate<\/em>?\u201d<\/p>\n

\u00abIn the old days, aficionados knew what they were watching. They got excited and gave two hundred timely \u2018oles\u2019. They knew what true flamenco was. Nowadays, young people don\u2019t know what flamenco is\u00bb<\/em><\/p><\/blockquote>\n

\u2013 You are flamenca<\/em> until the end of your days. <\/strong><\/p>\n

\u2013 I\u2019m a Gypsy from both sides of my family, that\u2019s all I have to say.<\/p>\n

\u2013 What has flamenco given you, and what have you given flamenco? <\/strong><\/p>\n

\u2013 Flamenco has given me a lot. It\u2019s the way I live, the way I feel. I\u2019m not sure if I have contributed anything to flamenco. The truth is that every time I get on stage, it feels like a premiere. Every time I perform, I do it with more excitement, more gusto. But now I feel more anxious, because as time goes by, there is more responsibility, and it gets scarier. Yet, I get on stage to give it all. I leave my soul on stage, because that\u2019s what I want. That\u2019s what I like, my reason to be alive<\/p>\n

\u2013 Looking back, what do you feel the proudest of? <\/strong><\/p>\n

\u2013 I feel proud of who I am. I was born in a humble house, a Gypsy house with many hardships. There were many siblings. I had to dance because there was no other way. I\u2019m satisfied by what I\u2019ve done. I\u2019ve helped at home, I\u2019ve become a renowned artist. When I go some place and people address me as maestra<\/em>, tears roll down my cheeks. Why maestra<\/em>? I\u2019ve gone through many hardships to become who I am, and I\u2019m not much. I\u2019ve had to get dressed up in washrooms for lack of dressing rooms in some venues I\u2019ve performed.<\/p>\n

\u2013 What about looking ahead?<\/strong><\/p>\n

\u2013 I have plenty of work, thanks God. I have my regular show, which I always improve upon. But at this moment, my biggest excitement is the Foundation. They did it all behind my back, I knew nothing about it. Just look at the great people who joined us in this project: Ferm\u00edn Boh\u00f3rquez, Cayetano Mart\u00ednez de Irujo\u2026 They are committed to the Foundation. What I want is for everyone to sing and dance in their own style, but it has to be pure flamenco. We can\u2019t lose it. I want to teach young artists even how to wear a flower in their hair.<\/p>\n

\u2013 [Manuela Amador] We want to show the world codes of reference when it comes to perform flamenco. That\u2019s all. [Her mother adds \u00abshe has a good head on her shoulders\u00bb]<\/p>\n

\u00abWhy does this woman come naked on stage? Besides, pregnant. Who told her that this is allowed in flamenco? I\u2019m all for evolution, but not revolution, honey\u00bb<\/em><\/p><\/blockquote>\n

\u2013 There are people who oppose flamenco purity. Some even say that there\u2019s no such thing. <\/strong><\/p>\n

\u2013Of course there is such thing, how can it not? There are still great artists protecting it. What has to be done is to strive for flamenco, avoiding those fusions. It annoys me when they try to sell this contemporary music with flamenco. It has no sense. Other musical genres can enrich flamenco, for sure, but I don\u2019t see how contemporary music fits within flamenco. I don\u2019t mean to hurt anyone. I\u2019m just standing up for flamenco. Twenty of thirty years ago, aficionados knew what they were watching. They would get excited, giving two hundred timely \u2018oles<\/em>\u2019. They knew what art was. They knew what true flamenco was. Nowadays, young people don\u2019t know what pure flamenco is. They don\u2019t know it. So, if Israel does that with his hands and with his teeth, if Yerbabuena dances in her own way \u2014 and I admire her as bailaora<\/em>, she\u2019s really good \u2014, if Roc\u00edo Molina comes naked on stage, it\u2019s because they don\u2019t know what flamenco is. That\u2019s not flamenco, with all my respect with what they want to do. It\u2019s all worthless, in my opinion. It\u2019s misleading young people. Are these strong words? It\u2019s just the way it is.<\/p>\n

\u2013 In any event, your voice has weight.<\/strong><\/p>\n

\u2013 I talk about what I know about. From the beginning of time, and you can ask Matilde, flamenco has been very reserved. The most clothing, the better. When Manuela Vargas performed sleeveless, we felt a bit uneasy. Why does this woman come naked on stage? I cannot accept this. Besides, pregnant. I don\u2019t know what\u2019s the point of her show, and I don\u2019t want to know. Who told her that this is allowed in flamenco? I don\u2019t get it. Things should be done the right way. I\u2019m all for evolution, but not revolution, honey.<\/p>\n

\u2013 So, what kind of flamenco is left? <\/strong><\/p>\n

\u2013 I can\u2019t attend any flamenco show these days. Just those of Farruquito, because, young as he is, he performs flamenco as it\u2019s supposed to. I leave his shows feeling happy, having given him dozens of oles<\/em>. I can\u2019t go to other flamenco shows, though, because I end up depressed, with heart palpitations, and then I have to be driven all around Seville until I feel better, or until I fall sleep. There are things that shouldn\u2019t be allowed in flamenco. I say this in general, I\u2019m not pointing fingers at anyone. Please, dance flamenco, those of you who know how to dance flamenco. Don\u2019t make stuff up. Flamenco has already been invented. There are no innovators anymore. It\u2019s all imitation, and bad imitation at that.<\/p>\n

\u2013 How can an art evolve, if everything has already been invented? <\/strong><\/p>\n

\u2013 We witnessed it, didn\u2019t we? Thirty, forty or fifty years ago, each artist had their own personality. El G\u00fcito: unique, to die for. Mario, great bailaor. Matilde, great bailaora. Carmen Amaya, I don\u2019t even know how to describe her, in my opinion she was the number one. Pilar L\u00f3pez was a ballerina, but when she had to dance flamenco, she did it with her own personality. Nowadays everyone looks the same. Flamenco should be enriched, danced with purity. If someone doesn\u2019t know how to dance pure flamenco, for not having been born with this gift, they can dance it with elegance, that is something that can be learned in academies, studying flamenco for many years. But don\u2019t distort flamenco, I beg you.<\/p>\n

 <\/p>\n

\"Manuela

Manuela Carrasco, with the Torre del Oro and the Giralda in the background. Restaurante Riogrande (Triana, Sevilla). Foto: Quico P\u00e9rez-Ventana<\/p><\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The bailaora from Seville, who on May 29th will be bestowed the \u2018Comp\u00e1s del Cante\u2019 award \u2014 flamenco\u2019s Nobel prize \u2014, announces to the world the creation of the Manuela Carrasco Foundation: \u00abI want flamenco to be flamenco, not something else. 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