{"id":5459,"date":"2018-04-22T16:28:50","date_gmt":"2018-04-22T16:28:50","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/aquella-quincena-flamenca-sevillana\/"},"modified":"2019-04-06T00:43:45","modified_gmt":"2019-04-05T22:43:45","slug":"that-quincena-flamenca-in-seville","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/that-quincena-flamenca-in-seville\/","title":{"rendered":"That \u2018Quincena Flamenca\u2019 in Seville"},"content":{"rendered":"<p>A few days ago, the current director of the <em>Bienal<\/em>, <strong>Antonio Zoido Naranjo<\/strong> said, in an interview published in the <em>Correo de Andaluc\u00eda<\/em> newspaper, that before the <strong><em>Bienal de Sevilla<\/em><\/strong> existed, \u201cflamenco was [just] something with two chairs, one for the <em>cantaor<\/em> and another for the guitarist\u201d, and we told him that this was not true. Keeping with the topic of the so-called best flamenco festival in the world, let\u2019s remember today that the <em>Bienal<\/em> was a copy of a previous festival of Seville, the <strong><em>Quincena de Flamenco y M\u00fasica Andaluza<\/em><\/strong> (<em>Fortnight of Flamenco and Andalusian Music<\/em>), first held from December 3<sup>rd<\/sup> to December 16<sup>th<\/sup>, 1979.<\/p>\n<p>The first edition of the <em>Bienal<\/em> took place in the spring of 1980. I have the poster of that first Quincena (seen here), which took place in the <strong>Lope de Vega<\/strong> theater, and if we take a closer look at the program, you\u2019ll notice that the format and concept were the same that <strong>Jos\u00e9 Luis Ortiz Nuevo<\/strong> later brought to the Bienal. Why has nothing ever been written about this, as far as I know? Because we, the people of Seville, are forgetful, and the historians of the <em>Bienal<\/em> are a bit absent-minded.<\/p>\n<p>I experienced that 1<sup>st<\/sup> <em>Quincena de Flamenco y M\u00fasica Andaluza<\/em> when I was just 21 years old, and I remember that the opening speech was given by the great journalist and writer from Seville, <strong>Antonio Burgos<\/strong>, in the Assembly Hall of Seville\u2019s Town Hall Cultural Delegation. The opening speech of the 1<sup>st<\/sup> <em>Bienal<\/em> was made by the poet from Granada, Luis Rosales, in the Lope de Vega theater. But let\u2019s continue with the program of this first <em>Quincena<\/em>. On Tuesday the 4<sup>th<\/sup>, two performances, <em>D\u00eda de los Maestros de Academias de Baile (\u201cDay of the Teachers of Academies of Baile\u201d), <\/em>with <strong>Adelita Domingo, Juan Morilla, Antonio Caballo, Fernando Rabay, Manolo Mar\u00edn, Juanito D\u00edaz, Pepe Moreno <\/strong>and<strong> Eugenia and Jos\u00e9<\/strong>. Cantaores: <strong>Chano Lobato, Romerito de Jerez <\/strong>and<strong> Curro Fern\u00e1ndez<\/strong>. In the guitars, <strong>Manuel Dom\u00ednguez, Jos\u00e9 Luis Postigo <\/strong>and<strong> Rafael Mendiola<\/strong>. On Thursday the 6th,<em> D\u00eda del Piano Flamenco, with <\/em><strong>Arturo Pav\u00f3n <\/strong>and<strong> Felipe Campuzano<\/strong>.<\/p>\n<p>The next day was the turn of the concert guitar, which in those days was enjoying glorious moments with the revolution of <strong>Serranito, Paco de Luc\u00eda <\/strong>and<strong> Manolo Sanl\u00facar<\/strong>. On that day, <em>D\u00eda de la Guitarra Flamenca<\/em>, <strong>Enrique de Melchor<\/strong> and one young <strong>Rafael Riqueni<\/strong> performed in the first part, and an exuberant <strong>Paco Cepero<\/strong> performed in the second part. Friday the 7<sup>th<\/sup> was the turn of <em>cante<\/em>, with <strong>Naranjito de Triana, Paco Taranto, Chocolate <\/strong>and<strong> Manolo Mairena<\/strong>, the guitars of <strong>El Poeta<\/strong> and <strong>Manuel Dom\u00ednguez <em>El Rubio<\/em><\/strong>, and the <em>baile<\/em> of <strong>Ana Mar\u00eda Bueno<\/strong>.<\/p>\n<p>Saturday the 8th was <em>D\u00eda del Cante y Baile de C\u00e1diz<\/em> with <strong>Paquera de Jerez, Beni de C\u00e1diz, Camar\u00f3n de la Isla, Terremoto de Jerez <\/strong>and<strong> Juanito Villar<\/strong> in cante, <strong>La Tati<\/strong> in <em>baile<\/em>, and <strong>Ni\u00f1o Jero<\/strong> and <strong>Tomatito<\/strong> in <em>toque<\/em>. How much would such lineup be worth today? And what about this one, on the 10<sup>th<\/sup>, <em>D\u00eda de la Antolog\u00eda del Cante y el Baile, <\/em>with F<strong>osforito, Lebrijano, Jos\u00e9 Menese, Enrique Morente <\/strong>and<strong> Turronero<\/strong>. In <em>baile<\/em>, the great <strong>Trini Espa\u00f1a<\/strong>, and in <em>toque<\/em>, two prodigies, <strong>Juan Habichuela<\/strong> and<strong> Pedro Pe\u00f1a<\/strong>.<\/p>\n<p>Being a festival of \u201cFlamenco and Andalusian Music\u201d (wasn\u2019t flamenco considered Andalusian, then?) there was room for other music and dance genres, such as <em>sevillanas<\/em>. Sunday the 9<sup>th<\/sup> was <em>D\u00eda de los Cantes Rocieros<\/em>, with <strong>Los Romeros de la Puebla, Los Marisme\u00f1os, Los Amigos de Gines <\/strong>and<strong> El Pali<\/strong>. The 10th was <em>D\u00eda del Rock Flamenco, <\/em>with <strong>Guadalquivir, Fragua <\/strong>and<strong> Pata Negra<\/strong>. The great <strong>Juanita Reina<\/strong> performed on Thursday the 13th, Friday the 14<sup>th<\/sup> and Saturday the 15<sup>th<\/sup> with the <em>Estudio de Danza de Caracolillo<\/em> (<em>Caracolillo<\/em> being her husband).<\/p>\n<p>Tuesday the 11th had been <em>D\u00eda de los Cuadros Gitanos<\/em>, with <strong>Los Montoya, Los Farrucos <\/strong>and<strong> Manuela Carrasco<\/strong>. Would it be possible to put more art in a theater? Finally, on the 16<sup>th<\/sup>, the closing day, was <em>D\u00eda Dedicado a los Grandes Maestros del Baile<\/em> with (wait for it\u2026) <strong>Pilar L\u00f3pez, Curro V\u00e9lez, Rosario, Enrique el Cojo, Matilde Coral <\/strong>and<strong> Rafael el Negro<\/strong>. In <em>cante<\/em>, <strong>Chano Lobato, Romerito de Jerez<\/strong> and <strong>Curro Fern\u00e1ndez<\/strong>, and in <em>toque<\/em> <strong>Manuel Dom\u00ednguez, Rafael Mendiola <\/strong>and <strong>Jos\u00e9 Luis Postigo<\/strong>. That was it!<\/p>\n<p>Do you know who created this festival that made history, even if only six editions took place? The greatly missed flamenco critic <strong>Miguel Acal<\/strong>, who was the adviser in flamenco matters to the then-director of the Lope de Vega theater, Jos\u00e9 Luis Ortiz Nuevo. Miguel Acal was the one who programmed this 1st <em>Quincena de Flamenco y M\u00fasica Andaluza<\/em>, and its following editions from 1980 to 1984.<\/p>\n<p>The <em>Bienal<\/em> was born on March 27<sup>th<\/sup>, 1980, copying this new format, but adding lectures by <strong>F\u00e9lix Grande, Jos\u00e9 Monle\u00f3n <\/strong>and<strong> Manolo Barrios<\/strong>, round tables, and also the contest <em>Giraldillo del Cante<\/em>, won in that first edition by <strong>Calixto S\u00e1nchez<\/strong> with full merits. In that first <em>Bienal<\/em> there were also <em>sevillanas<\/em> (and even a <em>preg\u00f3n<\/em>, by <strong>Antonio Garc\u00eda Barbeito<\/strong>), and also <strong>Gualberto<\/strong>\u2019s <em>rock flamenco<\/em>, among other things, but everything under the label \u201cflamenco\u201d, something which has always been controversial, regarding what is and what isn\u2019t <em>arte jondo<\/em>.<\/p>\n<p>It\u2019s possible that this festival, the Quincena, was born as the <em>Bienal<\/em> was being created, due to the commercial perspective of Jos\u00e9 Ortiz Nuevo and his loyal squire Miguel Acal Jim\u00e9nez\u2019s. Yet, history must be told as it was, and this, ladies and gentlemen, is history. That is, the <em>Bienal<\/em> had a forerunner, a festival of flamenco and Andalusian music programmed as we\u2019ve seen.<\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: xx-small;\">Translated by P. Young\u00a0<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-5460\" src=\"https:\/\/www.expoflamenco.com\/archivo\/wp-content\/uploads\/2018\/04\/quincenasq2.jpg\" alt=\"\" width=\"360\" height=\"584\" srcset=\"https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2018\/04\/quincenasq2.jpg 360w, https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2018\/04\/quincenasq2-185x300.jpg 185w\" sizes=\"auto, (max-width: 360px) 100vw, 360px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>History must be told as it was. The Bienal had a forerunner, a festival of flamenco and Andalusian music.<\/p>\n","protected":false},"author":6,"featured_media":11393,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5459","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>That \u2018Quincena Flamenca\u2019 in Seville - 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\/that-quincena-flamenca-in-seville\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"That \u2018Quincena Flamenca\u2019 in Seville - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"History must be told as it was. 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