{"id":27454,"date":"2021-07-09T23:12:55","date_gmt":"2021-07-09T21:12:55","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=27454"},"modified":"2021-07-09T23:12:55","modified_gmt":"2021-07-09T21:12:55","slug":"gala-andalucia-flamenca-cantes-de-mujer","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/gala-andalucia-flamenca-cantes-de-mujer\/","title":{"rendered":"Gala Andaluc\u00eda Flamenca, \u2018Cantes de Mujer\u2019"},"content":{"rendered":"

Deep down inside, in the heart of hearts of most of the world\u2019s inhabitants, the city of Granada<\/strong> represents the most pungent essence of flamenco. In fact, it\u2019s common to meet non-Spanish flamenco fans who travel to the city expecting to find the absolute mecca of the genre. At one time, the great dancer Carmen Amaya<\/strong> claimed to have been born here. The centuries-long Arab presence, the ancient narrow streets, tea-shops and spice vendors wedged between souvenir stands and hawkers, and of course, the sheik\u2019s impossible dream made reality and known as the Alhambra, are all dots that connect to construct the scene. Jerez? Do they do flamenco there too?   <\/p>\n

Flamenco itself is the musical meeting of east and west. Music which is so familiar, yet so exotic. Lorca<\/strong> distilled the Granada feeling and created a claustrophobic ambience of feuding gypsies, darkness, exotic aromas, moonlight, intensity and passion. The crazy-happy buler\u00edas we relate to Jerez lies far to the west.   <\/p>\n

In 1922 a legendary event took place in Granada\u2019s Plaza de los Algibes. All flamenco followers know that next year, 2022, will mark the centennial of this historic flamenco contest won by a boy (Manolo Caracol<\/strong>) and an elderly man (El Tenazas de Mor\u00f3n<\/strong>), and not even the dreaded epidemic has muted the magnitude of this event.<\/p>\n

The magical mystical aura of this city, and its 70th<\/sup> Festival de Granada, the grand-daddy of Andalusia\u2019s music festivals, was the perfect setting for the \u201cGala Andaluc\u00eda Flamenca Cantes de Mujer\u201d. <\/em>It didn\u2019t matter that \u201ccantes de mujer\u201d (women\u2019s flamenco songs) don\u2019t exist, as men get to sing all the forms, even nanas, <\/em>the flamenco lullabye. There are two kinds of people in the world, men and women, but just one flamenco for all. In recent years we\u2019ve been seeing a profusion of flamenco events devoted to, or should I say \u201climited to\u201d female interpreters. There being slightly more women in the world than men, it\u2019s hard to relate to the perceived oppression of the former by the latter.<\/p>\n

 <\/p>\n

\"\"<\/a>

Juana la del Pipa. Foto: Ferm\u00edn Rodr\u00edguez<\/p><\/div>\n

 <\/p>\n

But that\u2019s for another day. Tuesday evening, July 7th<\/sup>, in the spectacular setting of the Generalife, a miniature Hollywood Bowl with Spanish attitude, the mountain chill descending and the smoke machine working overtime, nine women accompanied by four guitarists (all men, although no one thought that was exclusionary) and three more men on rhythm, provided a brilliant tapestry of flamenco possibilities.<\/p>\n

The sociocultural intent went further. The women were distributed according to generation, from young Lela Soto<\/strong>, on up to veteran Mar\u00eda Vargas<\/strong>, and according to geography, including Seville, Utrera, Sanl\u00facar, Almer\u00eda and Granada, in addition to Jerez. A CAT-scan of today\u2019s flamenco, a sort of living tableau.<\/p>\n

The program of three hours and ten minutes was a bit too long for some members of the audience, most likely a spillover of foreign visitors to the Alhambra who may have become weary waiting for the dancing girls to come on (there were none). But for us flamenco nerds, it was glorious. The collection of assorted voices and personalities gave dimension and meaning to the presentation, and the varied repertoire was well-chosen.<\/p>\n

With the obligatorily reduced audience capacity of 600, the program opened with all the artists on stage for tangos, Granada\u2019s go-to song-form, and declaration of intent.  Four fine guitarists, Paco Cort\u00e9s, Antonio Malena, Manuel Parrilla<\/strong> and Carlos de Jacoba<\/strong>, with the rhythm backup of \u00c1ngel Moreno \u201cEl Pirulo\u201d<\/strong>, Markito Carpio<\/strong> and Manuel Jes\u00fas Blanco<\/strong>, seemed actually to be having a good time, or perhaps they were overwhelmed, in the most positive sense, by the magnitude of all those high priestesses gathered together on one stage.<\/p>\n

Cut to Mar\u00eda Vargas,<\/strong> alone with Parrilla, her epic siguiriyas and her \u201cson\u00edos negros\u201d (\u201cblack sounds\u201d), the famous phrase of singer Manuel Torre<\/strong>, not a legend, but words documented by Federico Garc\u00eda Lorca. She also gave us her trademark romeras. <\/em>Granada singers La Nitra<\/strong> and Chonchi Heredia<\/strong> supplied the canastero <\/em>sound with songs that contrasted with the dark bodega that inhabits Juana la del Pipa<\/strong> from Jerez.<\/p>\n

Mari Pe\u00f1a<\/strong> and Herminia Borja \u201cLa Chula\u201d<\/strong> served up their chemistry with those relaxed buler\u00edas so typical of Seville flamenco, swishing around the stage, clearly having a good time drawing us into their zone. Roc\u00edo Segura<\/strong> from Almer\u00eda delivered her tangos, ably defending Andalusia\u2019s south-eastern territory.<\/p>\n

Lela Soto, Dolores Agujetas<\/strong> and Juana<\/strong> defined Jerez buler\u00edas<\/em>, each in her own way and style, and Dolores ripped through our innards with her siguiriyas, just when we were healing up from Mar\u00eda Vargas.  Was it Juan Talega who said women can\u2019t sing siguiriyas?<\/p>\n

Those members of the audience who slipped out before the end\u2026big mistake folks, this was a historic gathering of voices (that happened to belong to women), and which is not likely to be seen again for some time.<\/p>\n

Photos: Ferm\u00edn Rodr\u00edguez<\/h6>\n

 <\/p>\n

\"\"<\/a>

Mar\u00eda Vargas. Foto: Ferm\u00edn Rodr\u00edguez<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Mari Pen\u0303a, Paco Corte\u0301s, Herminia Borja, Manuel Parrilla. Foto: Fermi\u0301n Rodri\u0301guez<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Herminia Borja y grupo. Foto: Fermi\u0301n Rodri\u0301guez<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Roc\u00edo Segura. Foto: Ferm\u00edn Rodr\u00edguez<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Cuadro de cantaoras. Foto: Ferm\u00edn Rodr\u00edguez<\/p><\/div>\n

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

Deep down inside, in the heart of hearts of most of the world\u2019s inhabitants, the city of Granada represents the most pungent essence of flamenco. In fact, it\u2019s common to meet non-Spanish flamenco fans who travel to the city expecting to find the absolute mecca of the genre.<\/p>\n","protected":false},"author":9,"featured_media":27455,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[],"class_list":["post-27454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca"],"yoast_head":"\nGala Andaluc\u00eda Flamenca, \u2018Cantes de Mujer\u2019 - 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\/estela-flamenca\/gala-andalucia-flamenca-cantes-de-mujer\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gala Andaluc\u00eda Flamenca, \u2018Cantes de Mujer\u2019 - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Deep down inside, in the heart of hearts of most of the world\u2019s inhabitants, the city of Granada represents the most pungent essence of flamenco. 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Cantaora, guitarrista, bailaora y escritora. Flamenca por los cuatro costados. 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