{"id":15958,"date":"2019-10-23T03:24:59","date_gmt":"2019-10-23T01:24:59","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=15958"},"modified":"2019-10-23T03:54:41","modified_gmt":"2019-10-23T01:54:41","slug":"merche-esmeralda-when-i-attend-a-flamenco-show-i-dont-want-to-see-a-circus-performance","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/en-portada\/merche-esmeralda-when-i-attend-a-flamenco-show-i-dont-want-to-see-a-circus-performance\/","title":{"rendered":"Merche Esmeralda: \u00abWhen I attend a flamenco show I don\u2019t want to see a circus performance\u00bb"},"content":{"rendered":"

\u00abBaile flamenco<\/em> has given me life. In the hardest moments of my life, just dancing made me feel free\u00bb. Merche Esmeralda<\/strong>, born in Seville, is one of the most important artists in flamenco and Spanish dance. She has performed in the best tablaos<\/em>, theaters and festivals of Spain. She was the leading dancer in the Ballet Nacional de Espa\u00f1a<\/em> for over a decade, giving us, among many other jewels, the unsurpassed performances of Amor brujo<\/em>\u00a0and\u00a0Medea<\/em>. Her artistic career spans over fifty years and she has taken flamenco to all continents, both as an artist and as a prestigious teacher of dance. Antonio el Bailar\u00edn stated that \u00abshe\u2019s the dancer with the most perfect movements that has ever existed\u00bb. She has been awarded the highest honors that can be granted to any artist: Premio Nacional de Baile<\/em> at the 1968 C\u00f3rdoba contest,\u00a0Comp\u00e1s del Cante<\/em> in 2007, Golden Medal of Merit in Fine Arts in 2011. \u00abFlamenco has given me a lot, but all I\u2019ve given it is my love\u00bb.<\/p>\n

 <\/p>\n

\u2013 Allow me to begin by reading a paragraph from a review of your performance in the 1994 Bienal de Sevilla<\/em> written by our director, Manuel Boh\u00f3rquez: \u00abThe baile<\/em> of Merche Esmeralda, particularly por tangos<\/em>, made me want to beg her on my knees to quit the civilized world so she could join me on a desert island where we would wait together for God\u2019s calling\u00bb.<\/strong><\/p>\n

\u2013 Hahaha. That\u2019s so cute. Manuel is so hyperbolic, typical Andalusian. I always appreciate those things. What we artists really want is to touch people\u2019s hearts.<\/p>\n

 <\/p>\n

\u2013 People have said that you were the most complete bailaora<\/em> of your generation. <\/strong><\/p>\n

\u2013 All I can say is that I loved baile<\/em>. I gave it my time and effort. But it\u2019s for others to judge. My mother used to say that I was an apprentice of everything and master of nothing. If there were a different way of dancing, I\u2019d try to learn it. Dance must be written with capital D. Then there are the sub-genres: classical, neoclassical, bolero<\/em> school, Spanish classical, flamenco\u2026 Each has its form of expression, depending on the artists\u2019 life experiences and where they learned it.\u00a0 I\u2019ve met dancers who would travel to Galicia and Arag\u00f3n in northern Spain to learn the most basic dance styles. I\u2019ve enjoyed researching and learning about other things, but this has no merit. My only merit has been loving baile<\/em>. Then, I\u2019ve got the body that God has given me\u2026<\/p>\n

 <\/p>\n

\u2013 Does Seville owe you anything? <\/strong><\/p>\n

\u2013 Look, in few words: at home, people used to tell me that it was better having a lucky star than being a star. My lucky star was having a body suitable for dancing and my love of dance. I don\u2019t owe anything to anyone. Everything I\u2019ve achieve has been through my own effort. Well, I\u2019m indebted to Adelita Domingo. One time when my father was sick, she gave me dance lessons for free. Such is my life.<\/p>\n

 <\/p>\n

\u00abFlamenco is like a purebred horse, a fabulous, untamed animal. At first, we admire its wild character, but then it\u2019s tamed and can be enjoyed in a different way, as we ride its gallop\u2026 The Seville school is like that.\u00bb<\/em><\/p><\/blockquote>\n

 <\/p>\n

\u2013 Your style of baile<\/em> has always been the Seville type. <\/strong><\/p>\n

\u2013 Of course, that\u2019s who I am. Even when I argue, I\u2019m a forceful and intense woman, but I can\u2019t be aggressive. Every person is born with their own personality, and mine is the Seville type. It suits me much better than any other stronger type. Yet, when I adopted that style of baile<\/em>, I wasn\u2019t aware of my choice. At the time, I didn\u2019t know anything about the Seville school of baile<\/em>.<\/p>\n

 <\/p>\n

\u2013 I\u2019m sure you can define it now. <\/strong><\/p>\n

\u2013 It\u2019s a more academic and stylized style of baile<\/em>. There is another type of flamenco that is more closed, more impulsive, bolder. Flamenco was born out of the primary expressions of strength and joy. It\u2019s unaware of what dance behavior should be. Flamenco is like a purebred horse, a fabulous, untamed animal. At first, we admire its wild character, but then it\u2019s tamed and can be enjoyed in a different way, as we ride its gallop\u2026 The Seville school is like that.<\/p>\n

 <\/p>\n

\u2013 Does Seville neglect its artists? <\/strong><\/p>\n

\u2013 This happens not just in Seville, but all over Spain. If many of our great artists had been born in England, France or the United States, they\u2019d be treated like gods. Here, like the saying goes, is \u201cel muerto al hoyo y el vivo al bollo<\/em>\u201d [roughly translated as \u201ca hole for the dead and a roll for the living<\/em>\u201d]. When artists die, we wish them glory in Heaven but promptly forget them. We have many great artists who have elevated Spanish dance and have performed in the best stages all over the world but have been completely forsaken.<\/p>\n

 <\/p>\n

\u2013 We would think that the greatest appreciation of the masters would be by their students, not so much by fellow artists. <\/strong><\/p>\n

\u2013 Indeed, but the younger artists seek something else. They like to swim against the tide, against life\u2019s currents. Dance is culture and culture is always changing, just like society does. Yet, I always make a point of teaching my students about the origins and forerunners of this art. When I was just 16 years old, I walked all over Seville looking for the book by Fernando el de Triana, so I could learn all about the old artists. Everyone who gets introduced to flamenco must know who the artists of the old days were and how they did their things, so they can feel a greater respect for this art when they perform it.<\/p>\n

 <\/p>\n

\u00abIt\u2019s not normal to attend a performance that is nothing but a display of technique. I\u2019m sorry, but they\u2019re supposed to turn around and move me, make me feel something. Make me stand up, make me want to say \u2018ole\u2019. There\u2019s no point on making three twirls if they are going to fall flat on the fourth. Show me what\u2019s beautiful about you<\/em>\u00bb<\/em><\/p><\/blockquote>\n

 <\/p>\n

\u2013 These days, we attended a presentation in Seville about an alliance among flamenco tablaos<\/em> to guarantee the quality of flamenco shows. Is there a flamenco for <\/strong>serious enthusiasts and another for the wider public and tourists?<\/strong><\/p>\n

\u2013 It\u2019s true. There is a high-quality flamenco for the serious enthusiasts, and another for muddling through. But not everyone is the same. I\u2019ve seen people performing in a tablao<\/em> as if they were in a world-famous theater. Others don\u2019t really care. There are all kinds. It\u2019s true that we have to look after flamenco.<\/p>\n

 <\/p>\n

\u2013 What aspects in particular should be taken care of? <\/strong><\/p>\n

\u2013 Appearances. People should not dance with their hair worn loose, without wearing a flower, without a mantoncillo<\/em>. I would never attend a wedding wearing a bikini. I wouldn\u2019t go shopping in my night gown. Each art genre has its particular style of clothing. Artists must be respectful with their public. I\u2019ve always been very demanding about this.<\/p>\n

 <\/p>\n

\u2013 You have always been very elegant. Is that something innate, or something people can learn?<\/strong><\/p>\n

\u2013 I\u2019ve spent a lot of money in garments. I\u2019ve always though that if baile<\/em> allowed me to live comfortably, the least I could do was to treat it with respect. Whenever I go some place, I try to emulate its style. Whenever I prepared a choreography, I first imagined which dress I would wear. Clothing and choreography go hand in hand.<\/p>\n

 <\/p>\n

\"Merche

Merche Esmeralda at the house of her friend Inmaculada Bustos. San Isidoro Street, Seville. Photo: perezventana<\/p><\/div>\n

 <\/p>\n

\u2013 What\u2019s your opinion about the paths baile flamenco<\/em> is treading nowadays?<\/strong><\/p>\n

\u2013 There are many things I don\u2019t like. Indeed, If I know I won\u2019t like a show, I don\u2019t bother attending. This way I can avoid feeling upset and sad. Like the actress Florinda Chico (rest in peace) used to say, I\u2019ve reached a very bad age. All I want now is to enjoy good times and smiles<\/p>\n

 <\/p>\n

\u2013 Share with us what bothers you, do\u00f1a<\/em> Merche. <\/strong><\/p>\n

\u2013 Dance is an art with capital D, like I said, no matter the style. So, when I attend a show of baile flamenco<\/em> I don\u2019t want to see a circus act. I don\u2019t like when they try to make it more difficult. Contemporary dance is something else, it requires other techniques. But in flamenco, which is what I like, I want to see the forms, the essence, the expressions, the behavior. I already know that the artists won\u2019t dance like Carmen Amaya or Pastora Imperio. It\u2019s not necessary! They live in a different time, with different techniques. I know that it\u2019s not a matter of dancing like people danced in the early 1900s or in the 1800s, but those days set a manner of behaviors. It\u2019s not normal to attend a performance that is nothing but a display of technique. I\u2019m sorry, but they\u2019re supposed to turn around and move me, make me feel something. Make me stand up, make me want to say \u201cole\u201d. There\u2019s no point on making three twirls if they are going to fall flat on the fourth. Show me what\u2019s beautiful about you. Don\u2019t show me difficulty or the most elaborate footwork. I really don\u2019t care about that. When someone goes to watch a performance, what they really want to experience are the feelings. In that context, the difficulty is just a means to an end.<\/p>\n

 <\/p>\n

\u00abWhen I was just 16 years old, I walked all over Seville looking for the book by Fernando el de Triana, so I could learn all about the old artists. Everyone who gets introduced to flamenco must know who the artists of the old days were and how they did their things\u00bb<\/em><\/p>\n

 <\/p><\/blockquote>\n

\u2013 What about cante? <\/strong><\/p>\n

\u2013 Some cantaores<\/em> move me but let me tell you something: I prefer traditional cante<\/em>. I have a hard time understanding the tones used nowadays, I\u2019m not used to them. If I could choose, I\u2019d pick Bernarda, Mairena or Menese.<\/p>\n

 <\/p>\n

\u2013 Now we have Miguel Poveda in cante<\/em> and Israel Galv\u00e1n in baile<\/em>, to name two leading stars. Don\u2019t you like them?<\/strong><\/p>\n

\u2013 Israel dances traditional flamenco very well, when he wants to. Then he does his other things, in that world he wants to show. That\u2019s respectable, there\u2019s no question about it. I could watch one of his performances one day, to see the paths he has taken. Yet, I really don\u2019t like those things very much. I enjoy flamenco the best I can.<\/p>\n

 <\/p>\n

\u2013 Last summer, during the <\/strong>summer courses<\/strong><\/a>\u00a0of the Olavide University in Carmona, you told a story about the moment you faced your mother and told her you wanted to be an artist. <\/strong>Quite a situation.<\/strong><\/p>\n

\u2013 My mother had eight children, but I was the only one who survived. So I was her only child, her pampered girl. Mari Pepa \u2014 mother of Mal\u00fa \u2014, who was an extraordinary girl, performed in France, and she was given wonderful gifts there. Her mother, who was a friend of my mother, told her \u201cYour daughter should see this!\u201d. Me, in all innocence, told my mom: \u201cSee, mom? If I were an artist, too\u2026\u201d. Then the mother of Mari Pepa told my mom: \u201cBut does your daughter likes performing? She\u2019s always dancing. Why don\u2019t you take her to an academy so she can learn a few steps?\u201d That\u2019s how I started studying at the academy of Adelita Domingo. One day we were going to perform for the children of the San Juan de Dios hospital, and Adelita told my mom that I had a lot of talent. She laughed it off, but they bought me a dress and I experienced what it felt like being on a stage wearing a beautiful dress and being cheered by the public. So I faced my mother: \u201cMom, I don\u2019t want to go to school anymore. All I want is to dance\u201d. My mother replied: \u201cOh, what a disappointment. It\u2019s all my fault, for taking you to see the gifts of Mari Pepa\u201d. In the end, she agreed on the condition that she would not leave my side until I got married. And if I quit school, I should keep studying. So I had to study typing.<\/p>\n

 <\/p>\n

\u2013 And later you performed as \u2018Merchi Rodr\u00edguez\u2019 at the tent of the C\u00edrculo Labradores<\/em> in the Fair of Seville. \u2018Merche Esmeralda\u2019 definitely has a better ring to it.<\/strong><\/p>\n

\u2013 That was my real name, Merchi Rodr\u00edguez. When we met Jes\u00fas Antonio Pulp\u00f3n to get paid for our performance, he told my mom that her girl danced beautifully and had a bright future ahead, but said that my name sounded as if I were a worker in a food warehouse. He said that my stage name had to have a strong ring to it.<\/p>\n

 <\/p>\n

\u00abWe walked by the bar on Campana Street and my mother would tell me : \u201cLook, that man with the hat is Pepe Pinto\u201d. Later, when I became an artist of some renown, I regretted not having gone into that bar and given a hug to Ni\u00f1a de los Peines when I was a young girl.\u00bb<\/em><\/p><\/blockquote>\n

 <\/p>\n

\u2013 How was Seville like,\u00a0 in your childhood?<\/strong><\/p>\n

\u2013 Very beautiful. Probably there was a lot of poverty, but people were very generous. I lived in a tenement. There was a young woman with two children and her husband died suddenly. My mother raised her two daughters. And if my mother couldn\u2019t, another neighbor would step in. There were beautiful, generous souls. At Christmas, everyone contributed with whatever they could.<\/p>\n

 <\/p>\n

\u2013 Were you in touch with Seville\u2019s flamenco scene?<\/strong><\/p>\n

\u2013 Not at all, but my family loved flamenco. My grandmother used to sing saetas<\/em> to Saint Benedict. When I was ten or twelve years old, she taught me to sing the simple saeta<\/em>, the short one, which then changes into a martinete<\/em>. Both my uncles were very good cantaores, but they had stage fright. My grandmother told me that one day they went to perform in a festival, but they couldn\u2019t get on stage because they were terrified. And my uncle Rodrigo Gamero left a big flamenco collection after he passed away. He was a keen aficionado. He would get up in the morning with flamenco and go to bed at night with flamenco.<\/p>\n

 <\/p>\n

\u2013 Which artists inspired you in those days? <\/strong><\/p>\n

\u2013 Without really knowing the career of these great artists, I always loved Pepe Pinto and Ni\u00f1a de los Peines. They had a bar on Campana Street. When we went to that street for the Holy Week processions, my mother walked by the bar hoping to have a glimpse of them. She would tell me: \u201cLook, that man with the hat is Pepe Pinto\u201d. Later, when I became an artist of some renown, I regretted not having gone into that bar and given a hug to Ni\u00f1a de los Peines when I was a young girl.<\/p>\n

 <\/p>\n

\u2013 What has flamenco contributed to your life, and what has been your contribution to flamenco? <\/strong><\/p>\n

\u2013 Flamenco being as great as it is, I don\u2019t think I\u2019ve contributed much to it. But flamenco has given me a lot. At times, it has given me life. Because in the hardest moments of my life, just dancing made me feel free. Flamenco has given me culture, because as I love it so much, I tried to learn all about it. It has given me the love of a wonderful public. It has allowed me to experience things that few people can. It has allowed me to meet wonderful people. Flamenco has given me a lot, but all I\u2019ve given it is my love.<\/p>\n

 <\/p>\n

\u2013 What would you tell the young people who devote their lives to flamenco?<\/strong><\/p>\n

\u2013 I don\u2019t often give advise. I never forced my children to do something they didn\u2019t want to do. Any job is hard enough already, so there is no point in doing something we don\u2019t like to do. That\u2019s what I would tell a dancer: dance is very difficult, very demanding. It\u2019s necessary to do it over and over, and if we\u2019re idle for a month we have to start over from scratch. For a dancer to enjoy such thing, they have to really love it and be willing to fully commit to it. If not, it\u2019s too much work for something we\u2019re not passionate about.<\/p>\n

 <\/p>\n

\"Bailaora

Bailaora Merche Esmeralda, with the skyline of her beloved Seville in the background. Photo: perezventana<\/p><\/div>\n

 <\/p>\n

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

This celebrated bailaora talks about the Seville school, the elegance in performance, the current state of flamenco dance, the technique of the most elaborated footwork and of that dreamed hug of Ni\u00f1a de los Peines. 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