{"id":5184,"date":"2018-09-30T15:18:13","date_gmt":"2018-09-30T15:18:13","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/balance-de-la-bienal-no-imposible\/"},"modified":"2019-02-15T23:37:20","modified_gmt":"2019-02-15T22:37:20","slug":"assessing-the-bienal-impossible","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/assessing-the-bienal-impossible\/","title":{"rendered":"Assessing the Bienal? Impossible"},"content":{"rendered":"<p>It\u2019s still too early to find out about the numbers of the 20th\u00a0<i>Bienal de Flamenco<\/i>, which closed yesterday with a concert by Dorantes. Not that I care much about the numbers, the financial aspect, but it\u2019s public money and people deserve to know how much this festival cost Seville\u2019s City Council. I\u2019m more interested about the artistic assessment, yet when it comes to write my own for ExpoFlamenco it gets complicated because I was unable to attend to every performance, since there were too many of them. Thus, it wouldn\u2019t be fair to make an assessment having attended just fourteen or fifteen events.<\/p>\n<p>According to the shows I attended, I don\u2019t recall a worse edition than this one, with performances that not only were not memorable, but left a bitter memory. For example, the show Arena, by Pedro G. Romero and Israel Galv\u00e1n, with Ni\u00f1o de Elche as invited guest, at Seville\u2019s Real Maestranza bullfighting ring, which is not usually a venue given to mock bullfights. I thought it was awful, besides being quite expensive, and we\u2019ll see that when the financial statement is published.<\/p>\n<p>That show and\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/blog-archivo\/el-que-faltaba-de-los-calatrava\">the one by Ni\u00f1o de Elche<\/a>\u00a0were the worst, in my opinion. Did I say opinion? Yes, I did. There is a problem in the\u00a0<i>Bienal<\/i>\u00a0with the critic\u2019s opinions of its performances. People say the critics of Seville are too harsh with the artists, and perhaps there\u2019s some truth to this. In fact, I\u2019m aware of one artist, rather renowned, who once refused to take part in this festival because they didn\u2019t want to face the critics. Even as I don\u2019t usually read other critics during the festival, I did so this year to see if they were too harsh indeed. Yet, I don\u2019t think the critics in general were harsh at all, even as we trashed the singer from Elche. But that was mild, compared with what he said about the critics, before and after his performance.<\/p>\n<p>We must have in mind a few things when it comes to properly analyse the reviews of the\u00a0<i>Bienal<\/i>. First, there\u2019s the scarcity of professionals, because it\u2019s not a well-paid occupation, if it\u2019s paid at all. Apparently, to qualify as a flamenco critic it\u2019s necessary to have a degree in four or five different fields, in order to get twenty euros per review, if we get paid. Is it worth it? And then we get called fascists by a guy like Ni\u00f1o de Elche, the nerve, or get death wishes, which is actually kind of amusing. Thus, the quality of the reviews in general is rather low. Yet, in Seville there are good, experienced critics, and I don\u2019t mean myself, of course. Manuel Mart\u00edn Mart\u00edn, Alberto Garc\u00eda Reyes and Sara Arguijo are quite good. Or are they bad for trashing the above-mentioned singer, like he deserved? Are they good only when they write good things about the artists?<\/p>\n<p>Personally, I think that the\u00a0<i>Bienal<\/i>\u00a0can accommodate all flamenco artists. Including Ni\u00f1o de Elche. He was meant to present a flamenco anthology, right? The\u00a0<i>Bienal<\/i>\u2019s director invited him because of it, correct? Then the show turned out being an embarrassment and the critics responded accordingly. I know that this singer believes he\u2019s a genius, and maybe he is (seriously, he might) but his anthology is worthless when it comes to flamenco. That singer is really bad, and he could never be a\u00a0<i>cantaor<\/i>.<\/p>\n<p>The director of this festival, Antonio Zoido, said a few days ago in a popular radio show that he didn\u2019t know what Ni\u00f1o de Elche was going to do. Fair enough, and that\u2019s should disqualify him as festival director. Elche came to present an album he had already released. Maybe Zoido was referring to his performance in underwear, or the fact that he ridiculed the\u00a0<i>Bienal<\/i>\u00a0itself, Seville and many other things. Yet, how could he not know, or at least suspect, what that kid was going to do? A revolution, according to a foreign journalist.<\/p>\n<p>The\u00a0<i>Bienal<\/i>\u00a0has been half-dead for several years, even if the public fill the theaters. But Zoido gave it the final blow.<\/p>\n<p><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>It\u2019s still too early to find out about the [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":8326,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5184","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-archivo"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Assessing the Bienal? 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