One of flamencology\u2019s pending assignments is to make a well-documented, in-depth analysis of the arrival of artists from Jerez in Seville\u2019s, due to the opening of, first, Manuel Ojeda\u2019s\u00a0El Burrero<\/i>\u00a0caf\u00e9, and later of Silverio Franconetti\u2019s caf\u00e9.\u00a0El Burrero<\/i>\u00a0was opened in what had been the\u00a0Sal\u00f3n Recreo<\/i>, on Tarifa Street, in the heart of Seville, which almost always had been leased, since the mid 1800s, by\u00a0bolero<\/i>masters such as Miguel and Manuel de la Barrera or Luis Botella, who was from M\u00e1laga.<\/p>\n
Manuel\u00a0El Burrero<\/i>, who was from Seville\u2019s Macarena district, had a very good commercial sense and became a business partner of the celebrated\u00a0cantaor<\/i>Silverio Franconetti, due to the latter\u2019s influence as an artist and also because of his vast knowledge about\u00a0cante<\/i>\u00a0in general. That\u00a0cantaor<\/i>\u00a0from Seville\u2019s La Alfalfa district had already managed a\u00a0caf\u00e9 cantante<\/i>\u00a0on Amor de Dios Street, the first \u201cCaf\u00e9 de Silverio\u201d, so he wasn\u2019t a rookie in that business when Mr. Ojeda proposed the partnership, which came to an end in 1880 due to differences of opinion regarding artists\u2019 contracts and the establishment of the caf\u00e9\u2019s particular style.<\/p>\n
After that partnership came to an end, Silverio opened his own caf\u00e9 on 4 Rosario Street, and that competition among those two venues, plus\u00a0El Filarm\u00f3nico<\/i>, also known as\u00a0Caf\u00e9 de Juan de Dios<\/i>\u00a0(as it belonged to Juan de Dios Dom\u00ednguez, son of El Isle\u00f1o), fostered the most important period in the history of flamenco in Seville, because it attracted great artists from all over Andalusia, such as Frijones, Paco la Luz, Chac\u00f3n, Ram\u00edrez, La Macarrona, La Malena, La Charr\u00faa, the Coquinera sisters, Paco El Barbero, Diego Ant\u00fanez, La Rubia, El Canario, El Perote, Fosforito, La \u00c1gueda, La Trini, Jos\u00e9 Medina and a long etcetera.<\/p>\n
Seville had been greatly influenced by the\u00a0bolero<\/i>\u00a0period. Let\u2019s say that it was the\u00a0bolero<\/i>\u00a0school\u2019s world centre, without a doubt due to the efforts of Miguel and Manuel de la Barrera, La Campanera, Petra C\u00e1mara and Manuela Perea\u00a0La Nena<\/i>. There were many others, but these were crucial in\u00a0baile<\/i>\u00a0and in Seville\u2019s dance school, with later masters such as \u00c1ngel Pericet or Maestro Otero.\u00a0Cante<\/i>\u00a0started to become important in the caf\u00e9s and academies of Seville precisely because of the\u00a0bolero<\/i>\u00a0school, and that\u2019s where Silverio, Perea del Puerto, Jos\u00e9 Lorente, Sartorio and El Peinero, among others, started their professional careers.<\/p>\n
It was fifteen or twenty years later when the arrival of important\u00a0cantaores<\/i>\u00a0and\u00a0cantaoras<\/i>\u00a0in Seville from cities such as M\u00e1laga, C\u00e1diz, Jerez or Puerto de Santa Mar\u00eda happened. There was a tenement on La Alameda de Hercules, number 8 of that street, which was inhabited solely by flamenco artists, mostly from Jerez. That tenement\u2019s owner would probably had been a flamenco aficionado or an entrepreneur dealing with local flamenco venues, because at one time its tenants were the two Frijones brothers, Antonio and Manuel, besides Paco la Luz and his daughters (La Serrana and La Sordita), Ram\u00edrez, Antonio El Pintor and his son Lamparilla and Las Coquineras del Puerto. La Macarrona and La Malena also lived at La Alameda, although in different tenements, as well as an aunt of La Malena, Josefa la Charr\u00faa, who was one of the best\u00a0bailaoras<\/i>\u00a0of Jerez in those days.<\/p>\n
With a Jerez base in Seville\u2019s flamenco, Chac\u00f3n came first, followed by Manuel Torres and Ni\u00f1o Medina, who caused a big stir in the capital of Andalusia. They were later joined by La Requejo, El Gloria and his sisters, La Sorda and La Pompi, Javier Molina and a long etcetera.<\/p>\n
I promise to research all this, as I believe it\u2019s something very important.<\/p>\n
Translated by P. Young<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" One of flamencology\u2019s pending assignments is to make a […]<\/p>\n","protected":false},"author":6,"featured_media":6441,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[174],"class_list":["post-5028","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-archivo","tag-jerez-en"],"yoast_head":"\n