{"id":5566,"date":"2018-03-18T17:07:43","date_gmt":"2018-03-18T17:07:43","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/pilar-lopez-y-los-metrosexuales\/"},"modified":"2019-03-14T22:24:52","modified_gmt":"2019-03-14T21:24:52","slug":"pilar-lopez-and-metrosexuals","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/pilar-lopez-and-metrosexuals\/","title":{"rendered":"Pilar L\u00f3pez and metrosexuals"},"content":{"rendered":"<div class=\"paragraph\">\n<p>These days when flamenco feminism is such a hot topic, I recall a very interesting conversation I had with the great\u00a0<i>bailaora<\/i>\u00a0Pilar L\u00f3pez, the sister of La Argentinita. It was in Ronda, where both of us had been invited to an academic conference organized by the late writer and flamenco critic\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2015\/8\/28\/Muerte-de-un-cr%C3%ADtico-de-flamenco\">\u00c1ngel \u00c1lvarez Caballero<\/a>. Talking about the\u00a0<i>bailaores<\/i>\u00a0in her dance company (El Greco, Alejandro Vega, Manolo Vargas, Rafael Ortega\u2026) I made the following observation: \u201cIt seems as if you pick them based on some specific physical characteristics, all very good-looking and with amazing bodies\u201d. She told me that, indeed, the looks of a\u00a0<i>bailaor<\/i>were essential for her. \u201cI can\u2019t possibly cast a bald\u00a0<i>bailaor<\/i>\u00a0with a beer belly!\u201d, she said, with her characteristic wit, even as Rafael Ortega didn\u2019t quite have a full head of hair.<\/p>\n<p>However, I totally understood Pilar\u2019s point of view, because in those years a lot of attention was given to every detail in a flamenco\u00a0<i>cuadro<\/i>. Not like today, when\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!El-momento-dulce-de-Israel-Galv%C3%A1n\/c112t\/5683464d0cf236d403925031\">Israel Galv\u00e1n<\/a>\u00a0is able to cast\u00a0<i>palmeros<\/i>\u00a0wearing tracksuits. Were\u00a0<i>bailaores<\/i>\u00a0or\u00a0<i>cantaores<\/i>\u00a0objectified, then? I say this because some flamenco feminists (I use the term \u201cflamenco feminists\u201d with all respect, as that\u2019s how they refer to themselves) talk about the fact that women were, and still are, objectified in\u00a0<i>cuadros<\/i>\u00a0at\u00a0<i>tablaos<\/i>\u00a0and shows in general.<\/p>\n<p>People used to point out that\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cuarenta-y-seis-a%C3%B1os-sin-Pastora\/c112t\/565548780cf2a1cf6d1811d5\">Ni\u00f1a de los Peines<\/a>\u00a0wasn\u2019t very attractive, that is, she wasn\u2019t gorgeous. That was noteworthy because in her days beauty was almost an essential requirement: pretty artists were preferred to perform in theaters, even if they didn\u2019t dance or sing very well, and even today good-looking artists are preferred to work in some\u00a0<i>tablaos<\/i>\u00a0where they still take in account the good physical appearance of women, and also of men. However, when flamenco festivals became popular, after the crisis of flamenco in theaters, the appearance of women, and men, became secondary, and some\u00a0<i>cantaoras<\/i>\u00a0who were rather physically unattractive ended up achieving great success, because of what they really were: great\u00a0<i>cantaoras<\/i>. The same goes for some\u00a0<i>cantaores<\/i>\u00a0too, even as some flamenco entrepreneurs and artists still considered physical appearance of the utmost importance.<\/p>\n<p>Have you ever seen\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Hablando-de-cante-con-Mairena\/c112t\/5760d1d50cf29542aa289730\">Antonio Mairena<\/a>\u00a0singing while wearing a wig? He did so early in his career, because when he sang for\u00a0<i>baile<\/i>, it was mandatory. Later on, he didn\u2019t mind showing off his wonderful bald head in\u00a0<i>pe\u00f1as<\/i>\u00a0and festivals, and also in theaters, because he was never particularly vain, although he always dressed elegantly and had a great respect for his public.<\/p>\n<p>I don\u2019t mean to say that the\u00a0<i>bailaores<\/i>\u00a0in Pilar L\u00f3pez\u2019s dance company were just pretty faces with great bodies, because they were great\u00a0<i>bailaores<\/i>\u00a0and dancers. Yet, in those days looks mattered a lot and men were objectified as much as women.\u00a0<i>Cuadros<\/i>\u00a0featuring\u00a0<i>bailaores<\/i>\u00a0with good physical attributes were very valuable for some artists and entrepreneurs.<\/p>\n<p><a href=\"http:\/\/www.expoflamenco.net\/#!El-a%C3%B1o-de-Juan-Valderrama\/c112t\/560dd5620cf2a7bb74c22e90\">Juan Valderrama<\/a>\u00a0talked about this topic many times, mentioning how\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-jilguero-de-Marchena\/c112t\/5661105c0cf25333685e0a03\">Pepe Marchena<\/a>\u00a0or\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Sevilla-se-olvid%C3%B3-de-Pepe-Pinto\/c112t\/56a8644c0cf2296307164596\">El Pinto<\/a>\u00a0were very demanding with the artists of their companies, who were always required to look good before going on stage. In the 1940s, the genius from Marchena took his company to a town in M\u00e1laga (its name escapes me) and decided to also feature some local aficionado in order to get more people to attend the show, something quite normal in those days. He hired one Ni\u00f1o de la Espartera, a farm labourer, whom he made wear a fancy outfit and a\u00a0<i>cordob\u00e9s<\/i>\u00a0hat, as he would be performing along the master. It took a while, but Marchena finally convinced him to wear the outfit. Yet, minutes before he got on stage, the good man changed his mind and took off his hat and fancy clothing, putting on his flat cap and regular clothes instead, as he knew his friends would make fun of him if he came out all dressed up. When Marchena saw that, he stopped the show and fired the\u00a0<i>cantaor<\/i>\u00a0on the spot. \u201cOne thing is to be a farmer, quite another to be an artist\u201d, he said.<\/p>\n<p><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<\/div>\n<hr \/>\n<div class=\"paragraph\"><em><span style=\"font-size: small;\"><br \/>\nIllustration from the album &#8220;Pilar L\u00f3pez y Su Ballet Espa\u00f1ol&#8221; (2011)<\/span><\/em><\/div>\n<div><\/div>\n<div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>These days when flamenco feminism is such a hot [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":10325,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5566","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>Pilar L\u00f3pez and metrosexuals - 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\/pilar-lopez-and-metrosexuals\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pilar L\u00f3pez and metrosexuals - 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