{"id":19103,"date":"2020-04-14T16:36:09","date_gmt":"2020-04-14T14:36:09","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=19103"},"modified":"2020-04-14T16:36:09","modified_gmt":"2020-04-14T14:36:09","slug":"the-role-of-the-flamencas","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/the-role-of-the-flamencas\/","title":{"rendered":"The role of the flamencas"},"content":{"rendered":"<p><span lang=\"EN-CA\">Recently it was International Women\u2019s day and I was reflecting on the role of women in the history of this this centuries-old art called flamenco. Someone once said that the first woman who ever sang flamenco was a mother trying to put her child to sleep, creating the <i>nana<\/i>, certainly the first of all <i>cantes<\/i>. Maybe. What is certain is that women show up in the very first news and books about flamenco. They were regulars not only at the private parties, but also in the theatre and caf\u00e9s. In the high-society parties of Seville where boleras(1) such as La Campanera, La Naranjita o Manuela Perea <i>La Nena<\/i> performed, there were always some \u201cgypsy girls from Cava\u201d(2) to liven up the evenings. They where certainly the wives, mothers of sisters of cantaores such as Juan el Pelao, his cousin Francisco la Perla and Manuel Cagancho. From that fusion of the bolero and gypsy dance styles is where we got flamenco baile. <\/span><\/p>\n<p><span lang=\"EN-CA\">Regarding cante, when women are first recorded in flamenco, is not just as \u201cornaments\u201d for the caf\u00e9s, but as well-respected artists such as Mar\u00eda Borrico, La Sarneta, La Pe\u00f1aranda, La Trini and Rubia de M\u00e1laga, who in many cases had cantes of their own creation, in almost all palos, just like the men, although flamencology hasn\u2019t yet fully valued their contributions. Yet, the role of women in flamenco is unquestionable, and today this art wouldn\u2019t be half as rich if it weren\u2019t for them. These days, women are present in all aspects of flamenco: cante, baile, toque (female guitarists had vanished for a time, but they\u2019re back), teaching, flamencology, critic and the direction and management of national and international festivals (such as Jerez and Mont de Marsan), to name a few examples. There are also as many <i>pe\u00f1as flamencas<\/i> managed by women as by men. <\/span><\/p>\n<p><span lang=\"EN-CA\">We even have excellent female flamenco researches, something unheard of a few decades ago. Nothing has come easy for the flamencas, quite the contrary: if today they\u2019re side-by-side with men in all aspects of flamenco, it\u2019s because they\u2019ve worked hard and have earned their place up high, without any complex of inferiority. It is true that there are historical anecdotes, some published and others not, of a certain <i>machismo<\/i> in flamenco, although this would be just the general machismo prevailing in society at the time, spilling over into flamenco. For example, the cantaor Juan Talega didn\u2019t approve that gypsy women (not to mention non-gypsy women) sang certain palos which he considered \u201cmasculine\u201d, such as ton\u00e1s y las seguiriyas. <\/span><\/p>\n<p><span lang=\"EN-CA\">Yet, such cases are few and isolated. These days women sing everything, even ton\u00e1s. Seguiriyas have always been sung by women, ever since the days of that Mar\u00eda Borrico from San Fernando (C\u00e1diz), who was able to put to shame no other than Silverio Franconetti. Today, besides the odd anecdote or isolated incident, no one questions the flamencas in any way. I remember a story that the daughter of Ni\u00f1a de los Peines, Pastora Escacena Pav\u00f3n, <i>Tolita, <\/i>once told me one evening, at her house: her mother had been reprimanded one night in a party, when she dared to sing behind the great Manuel Torres. Torres himself told the sexist <i>se\u00f1orito<\/i>: \u201cYou go stick your tongue where it fits best. My mother was a <i>seguiriyera<\/i>, and Pastora can sing whatever she likes, behind or in front of whoever she wants\u201d. Happy International Women\u2019s Day, each and every day of the year.<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Recently it was International Women\u2019s day and I was [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":19102,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-19103","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>The role of the flamencas - 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\/the-role-of-the-flamencas\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The role of the flamencas - 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