{"id":5310,"date":"2018-07-12T15:17:19","date_gmt":"2018-07-12T15:17:19","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/el-nuevo-trasiego-de-flamencos\/"},"modified":"2019-02-16T20:32:10","modified_gmt":"2019-02-16T19:32:10","slug":"the-new-flamenco-cross-pollination","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/the-new-flamenco-cross-pollination\/","title":{"rendered":"The new flamenco cross-pollination"},"content":{"rendered":"<p>The different schools of flamenco\u2019s\u00a0<i>cante<\/i>,\u00a0<i>toque<\/i>\u00a0and\u00a0<i>baile<\/i>\u00a0were formed in the 19th century as the result of the intermingling of artists from all provinces of Andalusia. It\u2019s not by chance that Seville has a long tradition in\u00a0<i>malague\u00f1as<\/i>. That\u2019s due to the many performers of that\u00a0<i>palo<\/i>\u00a0who came from M\u00e1laga and its\u00a0<i>caf\u00e9s cantantes<\/i>, such as El Canario and El Perote de \u00c1lora, and later with geniuses such as Chac\u00f3n and Fosforito, each of them with a different style of\u00a0<i>malague\u00f1a<\/i>, who had a rivalry in Seville in the late 1800s. And let\u2019s not forget Juan Breva, La Trini and La Rubia. It\u2019s also impossible to conceive flamenco in Triana without the\u00a0<i>cantaores<\/i>\u00a0who came from C\u00e1diz and either settled or often visited that old district of Seville, such as El Planeta, Frasco el Colorao, El Fillo, Curro Pabla, Tom\u00e1s El Nitri, Mar\u00eda Borrico, La Sarneta and Frijones.<\/p>\n<p>In\u00a0<i>baile<\/i>, the same happened. Seville was already a Mecca of\u00a0<i>baile<\/i>in the first half of the 19th century, having world-famous\u00a0<i>boleros<\/i>and\u00a0<i>boleras<\/i>, but when\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Silverio-y-la-desmemoriada-Sevilla\/c112t\/5626e3090cf2c6c64380ea3b\">Silverio<\/a>\u00a0and El Burrero started to work in Seville\u2019s\u00a0<i>caf\u00e9 cantantes<\/i>\u00a0(besides Juan de Dios Jim\u00e9nez, son of Juan de Dios\u00a0<i>El Isle\u00f1o<\/i>, who managed\u00a0<i>El Filarm\u00f3nico<\/i>\u00a0caf\u00e9),\u00a0<i>bailaoras<\/i>\u00a0from C\u00e1diz started to arrive, such as Rosario La Mejorana, Gabriela Ortega, Coquineras del Puerto, La Malena and La Macarrona, as well as\u00a0<i>bailaores<\/i>\u00a0such as El Raspao and Ram\u00edrez, and that was the beginning of the famous Seville school of\u00a0<i>baile<\/i>, which up to then existed in a pre-flamenco or bolero stage.<\/p>\n<p>When it comes to guitar, the key to Seville\u2019s rich school of\u00a0<i>toque<\/i>\u00a0was an artist who was not very well known until recently: Paco El Barbero. Even his birthplace was unknown, until we researched this a while ago and found out the he was from Sanl\u00facar de Barrameda. He arrived in Seville in 1881, when Silverio opened his\u00a0<i>caf\u00e9 cantante<\/i>\u00a0on Rosario street. He settled in this city and had an academy in Seville\u2019s San Esteban district, plus a\u00a0<i>tabanco flamenco<\/i>\u00a0on Plata street, in the Campana neighborhood where Manuel de la Barrera and his favorite student, La Campanera, had an academy of\u00a0<i>baile<\/i>\u00a0some years before.<\/p>\n<p>Seville was a city of\u00a0<i>cantaores<\/i>\u00a0and\u00a0<i>bailaores<\/i>, but not many guitarrists. Maestro P\u00e9rez and Maestro Robles were the most renowned in that era of the\u00a0<i>caf\u00e9 cantantes<\/i>, plus others such as Monterito and Baldomero Ojeda. Thus, the arrival of Paco el Barbero in Seville (and also of Antonio Sol and Javier Molina, from Jerez), was crucial in the formation of the so-calle Seville school of\u00a0<i>toque<\/i>. Antonio Moreno was from C\u00f3rdoba, although he grew up in Seville, and Currito el de la Jeroma, from Jerez, also arrived in the capital of Andalusia as a teenager, and that\u2019s where he lived until his death. When\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Ni%C3%B1o-Ricardo\/c112t\/569584120cf2e099256bbfdd\">Ni\u00f1o Ricardo<\/a>\u00a0was born in 1904, Seville was already a superpower not only in the making of guitars, with world-renowned luthiers, but also in the quality of its guitarists.<\/p>\n<p>Since a few years ago, the intermingling of flamenco artists from different provinces has been creating a rich, global flamenco. There is a new generation of flamenco artists in all areas of flamenco (<i>cante<\/i>,\u00a0<i>baile<\/i>\u00a0and\u00a0<i>toque<\/i>) from different provinces of Andalusia. Have you already noticed the amount of flamenco artists from Huelva these days,\u00a0<i>cantaoras<\/i>\u00a0such as\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2015\/07\/21\/Argentina-Garrot%C3%ADn-y-Cantes-del-Piyayo\">Argentina<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2015\/10\/05\/Roc%C3%ADo-M%C3%A1rquez-Caracoles\">Roc\u00edo M\u00e1rquez<\/a>\u00a0and\u00a0<i>cantaores<\/i>\u00a0such as\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Arc%C3%A1ngel-y-Miguel-%C3%81ngel-Cort%C3%A9s\/c112t\/565ddfd50cf2bf20d56f4f28\">Arc\u00e1ngel<\/a>, Jeromo Segura and Jes\u00fas Corbacho? They are not singers of\u00a0<i>fandango<\/i>\u00a0as in earlier generations, but performers with a wide repertoire, well versed in the\u00a0<i>cantes<\/i>\u00a0of C\u00e1diz, Jerez, C\u00f3rdoba and M\u00e1laga.<\/p>\n<p>I\u2019m pessimistic by nature, but nowadays there\u2019s a roster of great flamenco artists in all its areas who will move this art forward. It\u2019s normal that we miss the great stars of the old days who are no longer with us, this is something that has always happened and will keep happening. Yet, the new generations always take over, sooner or later, and flamenco nowadays has a good quarry of artists. I don\u2019t mean the new artists that are already well-established, but younger ones, new\u00a0<i>cantaores<\/i>\u00a0such as El Boleco, El Purili and Manuel de la Tomasa, among others who are also doing their part.<\/p>\n<p>Flamenco\u2019s cross-pollination continues, and flamenco gets refreshed.<\/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>The different schools of flamenco\u2019s\u00a0cante,\u00a0toque\u00a0and\u00a0baile\u00a0were formed in the 19th [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":8693,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5310","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>The new flamenco cross-pollination - 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\/the-new-flamenco-cross-pollination\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The new flamenco cross-pollination - 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