{"id":36696,"date":"2022-09-12T19:45:30","date_gmt":"2022-09-12T17:45:30","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=36696"},"modified":"2022-09-12T19:57:03","modified_gmt":"2022-09-12T17:57:03","slug":"tears-for-manolete","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/tears-for-manolete\/","title":{"rendered":"Tears for Manolete"},"content":{"rendered":"<p>The death of the great master of <em>baile<\/em> <strong>Manuel Santiago Maya&nbsp;<\/strong><em><strong>Manolete<\/strong><\/em><strong>&nbsp;<\/strong>has sunk me in the most absolute sadness. He was a good friend, besides being my kind of artist, someone I watched perform on stage hundreds of times. What a great dancer he was! There has never been such an elegant <em>bailaor gitano<\/em> like Manolete. His elbows and head were always perfectly placed. Refined as Bohemian crystal, and flamenco to the core. He was one of the greatest and exuded the scent of Granada like the flowers at Alhambra. When Mairena stated that purity in <em>cante<\/em> was to have the flavor of the local landscape, he might as well have been referring to <em>baile<\/em>. If <strong>Rafael el Negro, Juan Montoya<\/strong>&nbsp;and&nbsp;<strong>El Mimbre<\/strong>&nbsp;had the flavor of Triana, Manolete had the flavor of Granada from head to toe.<\/p>\n<p>&nbsp;<\/p>\n<p>Every time Manolete came to Seville for the Bienal or any other summer festival, I would leave everything else to watch him perform, as he was a window to the history of <em>baile gitano<\/em> and flamenco. Sometimes his cousin <strong>Mario Maya<\/strong> would join me, as he adored Manolete and would barely breath when he performed. Mario\u2019s <em>ol\u00e9s<\/em> could be heard in Sacromonte. We once attended a performance of Manolete at C\u00f3rdoba\u2019s Gran Teatro, joined by <strong>Pilar L\u00f3pez<\/strong>, who taught both Mario and Manolete. Pilar likewise barely breathed while she watched him perform, not even blinking. Manolete captivated everyone, he was hypnotic like an Indian shaman. His farruca, influenced by <strong>Fa\u00edco<\/strong>&nbsp;and&nbsp;<strong>El Gato<\/strong>, was a masterpiece, an artistic piece of immense flamenco value.<\/p>\n<p>&nbsp;<\/p>\n<blockquote><p><em>\u00abManolete\u2019s solo footwork, his escobillas, were like a symphony of percussion: it would seem as if he didn\u2019t touch the stage, but rather fly over it with the grace of a golden eagle. He would never stomp. His head was always perfectly placed, his profile like an Egyptian pharaoh\u00bb<\/em><\/p><\/blockquote>\n<p>&nbsp;&nbsp;<\/p>\n<p>Manolete\u2019s solo footwork, his <em>escobillas<\/em>, were like a symphony of percussion: it would seem as if he didn\u2019t touch the stage, but rather fly over it with the grace of a golden eagle. He would never stomp, something so common these days. His head was always perfectly placed, his profile like an Egyptian pharaoh. As you can see, I can only wax lyrical when writing about the personality and mastery of this great master from Granada. On a personal level, in my many years as a flamenco critic I had the opportunity to chat with him, and we would laugh at everything over a meal, because he had a great sense of humor. He was earnest and respectful, but also whimsical. His humor was never vulgar, though, but always refined and elegant like his <em>baile<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p>Manolete was an artist through and through, and he leaves us after an impeccable career. He was a <em>bailaor<\/em> since childhood, when he made a living in the caves of Granada, and would later rival all the great artists of <em>baile<\/em> and dance. Seventy years of <em>baile<\/em>, quite something, creating and performing the <em>best baile flamenco<\/em> around the world, and representing the Granada school, which has now lost one of its great exponents. Quintessentially <em>gitano<\/em>, a great person and Granadian to the core, it will be long before such a <em>bailaor<\/em> is born again, if ever.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\">&nbsp;<br \/>\n<span style=\"font-size: xx-small;\">Traslated by Paul Young<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Manuel Santiago Maya \u201cManolete\u201d has died. Seventy years of baile, quite something, creating and performing the best baile flamenco around the world, and representing the Granada school, which has now lost one of its great exponents. Quintessentially gitano, a great person and Granadian to the core, It will be long before such a bailaor is born again, if ever.<\/p>\n","protected":false},"author":6,"featured_media":36689,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66,256],"tags":[],"class_list":["post-36696","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-archivo","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>Tears for Manolete - 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\/blog-archivo\/tears-for-manolete\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tears for Manolete - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Manuel Santiago Maya \u201cManolete\u201d has died. 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