{"id":15629,"date":"2019-04-16T00:59:22","date_gmt":"2019-04-15T22:59:22","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=15629"},"modified":"2019-10-04T01:20:56","modified_gmt":"2019-10-03T23:20:56","slug":"jose-manuel-gamboa-flamenco-belongs-to-those-who-work-in-it-its-an-art-genre-born-in-andalusia-for-the-whole-wide-world","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/interviews\/jose-manuel-gamboa-flamenco-belongs-to-those-who-work-in-it-its-an-art-genre-born-in-andalusia-for-the-whole-wide-world\/","title":{"rendered":"Jos\u00e9 Manuel Gamboa: \u00abFlamenco belongs to those who work in it; it\u2019s an art genre born in Andalusia for the whole wide world\u00bb"},"content":{"rendered":"

Did you know that in New York was recorded the first footwork conceived as a guitar instrumental solo? And that the biggest flamenco archive is not in Seville or Jerez, but in Washingtong, DC? Crazy. That metropolis has not only been a fabulous flamenco showcase, but also its biggest rehearsal venue.\u00a0 That\u2019s all according to Jos\u00e9 Manuel Gamboa<\/a>, author of\u00a0\u201c\u00a1En er mundo! <\/em>De c\u00f3mo Nueva York le mang\u00f3 a Par\u00eds la idea moderna de flamenco\u201d, (\u201cIn the World! <\/em>How New York stole from Paris the modern concept of flamenco\u201d), <\/em>as its fourth a\u00a0last volume (\u201cJet lag ole stars in Hi-Fi. <\/em>2a parte: La gran guitarra en la gran manzana<\/em>\u201d) <\/em>has bee released (Athenaica Ediciones Universitarias<\/a>, 2019). \u00abThe great work of modern flamenco, the adventure of this art towards the contemporary\u00bb, as stated by the publisher.<\/p>\n

Gamboa is a flamenco artist and critic. Two for one. He was born in Madrid in 1959 and grew up in Arahal (Seville province). As a journalist, having extensive experience in radio, TV and written press, he has authored, among other books, Perico el del Lunar. <\/em>Un flamenco de antolog\u00eda<\/em>\u00a0(2001),\u00a0Camar\u00f3n: Vida y obra<\/em>\u00a0(2002),\u00a0Cante por cante<\/em>\u00a0(2002),\u00a0Una historia del flamenco<\/em>\u00a0(2005 and 2011),\u00a0Chano Lobato: Toda la sal de la bah\u00eda<\/em>\u00a0(2007),\u00a0Sernita de Jerez<\/em>\u00a0(2007) and\u00a0La correspondencia de Sabicas, nuestro t\u00edo en Am\u00e9rica<\/em> (2013). On the artistic aspect, he has produced albums by Morente, Carmen Linares, Pitingo, Rafael Riqueni and Gerardo N\u00fa\u00f1ez, among others. And he plays the guitar with his left hand.<\/p>\n

\u00abAbove and beyond the plastic art that the big TV companies try to force down our throats , there is authentic art made by artists. Once people discover it, they get hooked for life\u00bb, he says. His biography spares us a litany of vanities with a plain \u00abhe has been awarded the main accolades of this genre\u00bb. Bravo. So, lets him tell us about the antics of those characters who set up their flamenco shop in New York City.<\/p>\n

 <\/p>\n

\u2013 Four volumes, that\u2019s a lot. Is the history of flamenco in New York really that extensive? <\/strong><\/p>\n

\u2013 I could have written even more about it. We have to understand that this topic had never been studied at all, even as New York is the world\u2019s cultural center, a place where people came from all continents to make good money. I was writing a book about flamenco discography in microgroove records, from Spain, of course, but I repeatedly had to mention New York, where that technology was invented in 1948 and where, for a long time, there were more and better flamenco recordings than those we had in Spain. This, plus a doctoral thesis I read which stated that Flamenco reached the Big Apple in the 1920s, brought by immigrants, when in fact this happened one century earlier, brought by our pioneer artists, was what drove me to undertake this work. On top of that, there\u2019s the Statute of Andalusia, which \u2014 ignoring all those who, with their hard work and without the warmth of their fellow countrymen, took flamenco to the City \u2014 awards to itself the \u201cexclusive competence regarding knowledge, preservation, research, training and promotion of flamenco as a unique element of the Andalusian cultural heritage\u201d, knowing, or having to know, that the overwhelming group of great flamenco artists, the first transatlantic representatives of our art, the stars who set up their flamenco shops in NYC and, from the Big Apple and continuing an adventure which began in Paris, became citizens of the world, were not from Andalusia, with exceptional exceptions. And some of then weren\u2019t even Spanish! Someone will have to explain to the distracted politicians that \u201cflamenco belongs to those who work in it\u201d, it\u2019s an art born in Andalusia for the whole wide world.<\/p>\n

 <\/p>\n

\u2013 For those who don\u2019t know the story, which is not <\/strong>my case<\/strong><\/a>, what\u2019s the story of flamenco in New York? Why do you use the word steal <\/em>when referring to this topic?<\/strong><\/p>\n

\u2013 The subtitle is an allusion to the book How New York stole the idea of modern art<\/em>, a classic of comparative art written by Serge Guilbaut. I share his same thesis, although the language I use is peppered with flamenco words \u2014 such as mangar <\/em>instead of robar <\/em>\u2014 confirming how flamenco follows historical trends, first in Paris, the world\u2019s cultural center at the time, becoming also the world\u2019s flamenco center, the place with the greatest quantity of flamenco contracts, and then, after the Spanish Civil War and the Second World War, moving to New York, which replaced Paris as the center of avant-garde<\/em> art and welcomed the best artist in flamenco baile<\/em> and guitar.<\/p>\n

 <\/p>\n

\u00abIn the 1950s and 1960s, all things Spanish were in Vogue in America, particularly in New York\u00bb<\/em><\/p><\/blockquote>\n

 <\/p>\n

\u2013 Is that a requited love? Is that an eternal love?<\/strong><\/p>\n

\u2013 It\u2019s a selfish love by us. People don\u2019t leave their own home for fun, but only if they\u2019re not appreciated or are constantly criticized\u2026 Yet, it was certainly a requited love. If at the end of the 19th<\/sup> century our flamencas<\/em> were the main entertainers, if most of sound film testing was made with flamenco, in the 1950s and 1960s, all things Spanish were in Vogue in America, particularly in New York. It is thanks to New York that solo flamenco guitar performers exist, led by Carlos Montoya, Vicente G\u00f3mez, Sabicas, and Mario Escudero. Without the City, Serranito, Paco de Luc\u00eda and Manolo Sanl\u00facar would have never had a chance to shine. Without the artistic refinement that New York added to the shows of La Argentina, Vicente Escudero, La Argentinita, Pilar L\u00f3pez, Carmen Amaya, Antonio or Rosario, our flamenco today would be much more mediocre. They were the references to those who came later. And if we\u2019re not careful, we\u2019ll be left behind. There is no such thing as eternal love, but divorce exists.\u00a0<\/em><\/p>\n

 <\/p>\n

\u2013 The last (?) volume of this tetralogy has the intriguing title \u201c<\/strong>Jet lag ole stars in Hi-Fi \u2013 The Great Guitar in the Great Apple\u201d. <\/strong><\/em>What does it contribute to the whole?<\/strong><\/em><\/p>\n

\u2013 It\u2019s precisely about the boom of concert guitar, which Spain always rejected and is still being rejected in Spanish flamenco shows. The New York art critics were the ones who demanded a bigger role for flamenco guitar in shows of flamenco baile<\/em>, and that\u2019s how the best concert guitarists came up in the 1940s, becoming a reference for the guitarists in Spain. It was to New York that Juan Serrano and all those who had anything to say as solo guitarists relocated, because in Spain they weren\u2019t appreciated, and still aren\u2019t. I support the idea of guitarist Paco Vidal, who weeks ago in the presentation of the Festival de Madrid<\/a>\u00a0played the guitar even as he wasn\u2019t included in the lineup: let\u2019s strike, let\u2019s have a strike of guitarists so people realize the crucial role of the guitar in flamenco shows.<\/p>\n

 <\/p>\n

\u2013 Who reportedly sold more records than Bob Dylan?<\/strong><\/p>\n

\u2013 Manitas de Plata sold more records than Dylan \u2014 whose Nobel poetry, incidentally, acts a guide of New York across all four volumes \u2014 and Carlos Montoya would not be far behind. These two artists, one French and the other from Madrid, are unknown for most flamenco aficionados in Spain. Both of them, even as their professional achievements are controversial, made flamenco guitar known all over the world. What Andr\u00e9s Segovia did for classical guitar, Carlos Montoya did for flamenco guitar, giving recitals in the same venues, the most important in the world, with an exhausting and endless schedule.<\/p>\n

 <\/p>\n

\u2013 Do people read enough about flamenco?<\/strong><\/p>\n

\u2013 In Spain, you mean? Well\u2026 Let\u2019s say that what the researchers discover end up reaching the aficionados 20 or 30 years later, slowly and a comp\u00e1s<\/em>, between drinks. The funny thing is that then they tell us all about it. Well, I guess it\u2019s a little step forward, right?<\/p>\n

 <\/p>\n

\u00abFlamenco won\u2019t vanish and it\u2019s not in free-fall. The only problem is that, if we don\u2019t like the current trends, we have to wait 20 or 30 years for the trends we like to be in vogue again\u00bb<\/em><\/p><\/blockquote>\n

 <\/p>\n

\u2013 Do you feel flamencos<\/em> appreciate your immense undertaking in research, or does the trolling in the social networks outweighs any sense of gratitude?<\/strong><\/p>\n

\u2013 My life is flamenco, and I\u2019m not surrounded by avid readers, of course, but we write our lives on the fly and I can\u2019t complain. In fact, many flamenco artists have written prologues to some of my books. I try not to get involved in online controversies so I can live in peace, enjoying my things in the flesh, without hiding behind an Internet profile.<\/p>\n

 <\/p>\n

\u2013 You are an authority in flamencology. What\u2019s your perspective about the direction flamenco is going?<\/strong><\/p>\n

\u2013 It\u2019s going somewhere, which is already something. As it often happens, some trends are followed by others and then go back to earlier trends. So I don\u2019t worry too much about what\u2019s happening in this particular moment. Flamenco won\u2019t vanish and it\u2019s not in freefall. The only problem is that if we don\u2019t like the current trends, we have to wait 20 or 30 years for the trends we like to be in vogue again. Like everything, culture and show business have changed dramatically and we must adapt to the times, enduring smokescreens and all obstacles, continuing to make efforts to show that, above and beyond the plastic art the big TV companies try to force down our throats , there is authentic art made by artists. Once people discover it, they get hooked for life.<\/p>\n

 <\/p>\n

\u2013 Can we succeed in being the first flamenco interview in the last twelve months that doesn\u2019t mention those two<\/em>?<\/strong><\/p>\n

\u2013 If there\u2019s a will, there\u2019s a way.<\/p>\n

 <\/p>\n

Translated by P. Young<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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