{"id":5577,"date":"2018-03-04T17:15:45","date_gmt":"2018-03-04T17:15:45","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/se-nos-ha-ido-un-poco-la-olla\/"},"modified":"2019-03-15T23:23:46","modified_gmt":"2019-03-15T22:23:46","slug":"we-have-all-gone-a-little-crazy","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/we-have-all-gone-a-little-crazy\/","title":{"rendered":"We have all gone a little crazy"},"content":{"rendered":"<p>I think that\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2016\/10\/06\/El-abuelo-y-la-gesta-de-Roc%C3%ADo-Molina\">Roc\u00edo Molina<\/a>\u2019s naked act in her production\u00a0<i>Ca\u00edda del cielo<\/i>, at the Villamarta theater in Jerez, has ignited an interesting debate, despite the chauvinistic, disrespectful and denigrating comments. Because one thing this to give a general opinion about a theater production or about a naked act lasting just a few seconds, and quite another is to crucify and disrespect an artist. I think we have all gone a little crazy with this topic. Even those who never saw this production. I\u2019ve seen the video and I still haven\u2019t written a review about it. I haven\u2019t liked at all what I\u2019ve seen, and I say this without fearing to be crucified by those who think that flamenco critics are, in general, backward and boring. I have to say, with total sincerity, that I don\u2019t like critics in general, either.<\/p>\n<p>There is traditional or classic flamenco, performed by artists who adhere to established norms and to a set musical piece. A\u00a0<i>malague\u00f1a de Chac\u00f3n<\/i>\u00a0is a classic musical piece, just like those by Spanish classical composers Falla or Turina. If any\u00a0<i>cantaor<\/i>\u00a0or a\u00a0<i>cantaora<\/i>\u00a0performs a\u00a0<i>malague\u00f1a de Chac\u00f3n<\/i>, I\u2019d like them to stick to the original piece as much as possible, although without trying to imitate\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Antonio-Chac%C3%B3n\/c112t\/56771a790cf28854b38dc92e\">Chac\u00f3n<\/a>. I often use the example of\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Un-dolor-llamado-Morente\/c112t\/5665034b0cf203d325ed5a96\">Enrique Morente<\/a>, who rescued and revalued some\u00a0<i>cantes<\/i>\u00a0by Chac\u00f3n without trying to emulate his style. Imitators stick to the music sheet, artists reinterpret and add something to the musical piece. It\u2019s not so hard to understand, is it? So, why is that the artists who perform music are not as highly regarded as those who recreate or create it? Do you have any idea of how hard is to perform\u00a0<i>Del convento, las campanas<\/i>? It\u2019s one of the hardest and most wonderful\u00a0<i>malague\u00f1as<\/i>\u00a0by this master of Jerez, in my opinion, never surpassed by anyone.<\/p>\n<p>A few days ago, Antonio Villarejo Perujo said that one of the problems with contemporary\u00a0<i>cante<\/i>\u00a0is that no new\u00a0<i>cantes<\/i>\u00a0are being created, but they are. I\u2019ve never understood why is that we can possibly believe that the\u00a0<i>cantaores<\/i>\u00a0of the 19th century were creative geniuses, and today\u2019s artist are just imitators and parasites.\u00a0<i>Soleares<\/i>\u00a0and\u00a0<i>seguiriyas<\/i>\u00a0have even been named after their supposed creators: El Planeta, El Fillo, Mar\u00eda Borrico, La Andonda, La Sarneta, Tom\u00e1s el Nitri, Frijones de Jerez, Paco la Luz, Manuel Cagancho, Joaqu\u00edn el de la Paula or Frasco el Colorao. You may notice that all or most of them were Gypsy performers. That is, apparently only Gypsies had creative talent, but not (say)\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Silverio-y-la-desmemoriada-Sevilla\/c112t\/5626e3090cf2c6c64380ea3b\">Silverio<\/a>, to whom only one\u00a0<i>seguiriya cabal<\/i>\u00a0is attributed, and even so people claim he learned it from El Fillo. Can someone please explain how is it possible that La Adonda composed three different kinds of soleares, and Silverio none\u2026? Come on\u2026<\/p>\n<p>I don\u2019t think that we, critics and aficionados, are reluctant to embrace innovation, as has been said in the social networks these days, regarding the controversial production by the\u00a0<i>bailaora<\/i>\u00a0from M\u00e1laga, Roc\u00edo Molina. Rather, we are reluctant to embrace things devoid of flamenco value, even as they might have theatrical value. Can anyone tell me which contemporary\u00a0<i>bailaor<\/i>\u00a0or\u00a0<i>bailaora<\/i>\u00a0has revolutionized\u00a0<i>baile<\/i>\u00a0with one single show, or which present-day guitarist has innovated the flamenco guitar, or which current\u00a0<i>cantaora<\/i>\u00a0or\u00a0<i>cantaor<\/i>\u00a0has released a revolutionary album which got people talking? Nothing like that has happened in all these years, unless anyone considers\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/03\/30\/Roc%C3%ADo-M%C3%A1rquez-se-pira-del-cante\">Roc\u00edo M\u00e1rquez<\/a>\u2019s\u00a0<i>Firmamento<\/i>\u00a0a masterpiece or Rosal\u00eda\u2019s\u00a0<i>Los \u00c1ngeles<\/i>\u00a0a wonder.<\/p>\n<p>In light of the serious drought of talent we have been enduring in our days (that\u2019s just my opinion, of course), the artists from decades ago are still popular, and aficionados still enjoy Chac\u00f3n,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-genial-Ni%C3%B1o-de-Torres\/c112t\/5785bdb80cf2e25833791608\">Torres<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cuarenta-y-seis-a%C3%B1os-sin-Pastora\/c112t\/565548780cf2a1cf6d1811d5\">Pastora<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-jilguero-de-Marchena\/c112t\/5661105c0cf25333685e0a03\">Marchena<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Manolo-Caracol\/c112t\/5670b1be0cf274f69813e76e\">Caracol<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Hablando-de-cante-con-Mairena\/c112t\/5760d1d50cf29542aa289730\">Mairena<\/a>, and also\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!El-abuelo-y-Juan-Pe%C3%B1a-El-Lebrijano\/c112t\/578855aa0cf28653c964403e\">Lebrijano<\/a>, Morente and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/06\/18\/%E2%80%8B-Un-cuarto-de-siglo-sin-Camar%C3%B3n\">Camar\u00f3n<\/a>, who besides being brilliant performers were also creative artists.<\/p>\n<p>The old is not as outdated as some people say, and not everything new is as modern as others want us to believe.<\/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>I think that\u00a0Roc\u00edo Molina\u2019s naked act in her production\u00a0Ca\u00edda [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":10445,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5577","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>We have all gone a little crazy - 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\/we-have-all-gone-a-little-crazy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"We have all gone a little crazy - 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