{"id":6630,"date":"2018-12-12T14:41:16","date_gmt":"2018-12-12T14:41:16","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/alicia-gil-mi-dia-a-dia-y-mi-pan-estan-en-el-flamenco-tradicional\/"},"modified":"2019-02-10T15:09:45","modified_gmt":"2019-02-10T14:09:45","slug":"alicia-gil-i-earn-my-living-with-traditional-flamenco","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/interviews\/alicia-gil-i-earn-my-living-with-traditional-flamenco\/","title":{"rendered":"Alicia Gil: \u00abI earn my living with traditional flamenco\u00bb"},"content":{"rendered":"

We both thought that this pub would be a quiet place at eleven in the morning, with no one ordering breakfast or beer, yet we were wrong. The place is packed. As I hurry to get my coffee by the bar, Lito (Alicia\u2019s husband) comes to the rescue and makes room for me next to his wife, who\u2019s been ten minutes in the patio under a spectacular December sun. \u201cWhat will you have? I\u2019d love to stay, but I got a few things to do, see you guys later\u201d. Well, Alicia, here we are.<\/p>\n

My name is Alicia Gil Bernab\u00e9 and I am a\u00a0cantaora. I\u2019m very attached to my neighborhood. I was born in Seville on July 31st, 1974. My father is from Triana, and my mother from Tiro de L\u00ednea. I grew up in Navisa, across Pol\u00edgono Sur, and I attended the Cerro del \u00c1guila school until I was seven years old. Since then, until the present day, I\u2019ve always lived in Pino Montano, in the north of Seville.<\/i><\/p>\n

Tell us about your show \u201cNavidad\u00a0cantaora<\/i>\u201d, performed in Seville a few weeks ago.<\/b><\/p>\n

Yes, that was at the Remedios theater. \u201cNavidad\u00a0cantaora<\/i>\u201d is a show we\u2019ve been performing for six years. I really wanted to produce a show about Christmas for a long time, re-enacting the atmosphere of the parties in Seville and other towns in the old days. The stage resembles a typical tenement yard in Triana, and with\u00a0cante<\/i>,\u00a0baile<\/i>\u00a0and dialogs with a lot of angel, showing how we lived and shared in those days. There are also moving scenes, as we remember our grandparents, the elders, who were the ones who taught us those\u00a0villancicos<\/i>\u00a0so popular through the ages.<\/p>\n

You said \u201cin the old days\u201d. What\u2019s happening? Is that way of celebrating Christmas becoming outdated in Seville?\u00a0<\/b><\/p>\n

Sadly, that way of celebrating Christmas no longer exists in the capital of Andalusia, unlike in other cities such as Jerez and C\u00e1diz, where they managed to keep such traditions in much better shape than us. It\u2019s not just Christmas, but the whole lifestyle. Times change, without a doubt. I grew up here in Pino Montano and in the block where I now live there are people that I don\u2019t really know. However, the older people still keep that way of living as neighbors. When I visit my mother, I see that she still has the same neighbors, they still share their things as always.<\/p>\n

Are there other\u00a0cantaores<\/i>\u00a0in your family?\u00a0<\/b><\/p>\n

No, there aren\u2019t other\u00a0cantaores<\/i>\u00a0or artists in my family. My father is perhaps the most enthusiastic about flamenco among my relatives, and it\u2019s from him whom I got the flamenco bug. He sings quite well in the style of Toronjo, at home we always listened to Paco Toronjo, for us he\u2019s like a king. May father worked all his life for the ABC newspaper, he was a proof reader, he worked there for forty years. At home, people sing in a whisper, but I\u2019m the only one who became a\u00a0cantaora<\/i>. My sisters sing quietly and clap\u00a0palmas<\/i>. My father sings those old Villancicos de Sevilla, those beautiful sevillanas\u2026 and the\u00a0fandangos<\/i>\u00a0of Toronjo. Although I don\u2019t have\u00a0fandangos de Huelva<\/i>\u00a0in my repertoire, I admit that I love them, particularly if sung by my father or by Paco.<\/p>\n

\"\"<\/p>\n

Tell us about that\u00a0Corral de los Jud\u00edos<\/i>\u00a0(\u201cTenement of the Jews<\/i>\u201d) that your new CD is named after. Did you ever go there?<\/b><\/p>\n

No, I didn\u2019t have a chance to go there, but my father did. He talks with so much respect about his experiences there that it\u2019s moving. When his grandmother passed away, his grandfather married Mar\u00eda, a Gypsy who lived at Cava de Gitanos, in Triana. She was always like a real grandmother for him. He told me how they used to go there to the house of a brother of Mar\u00eda on Holy Fridays, in the morning, and the big fuss that would come up as people waited for the procession of the Esperanza de Triana brotherhood. He talks about this with so much love and respect that it\u2019s as if I myself had lived it. This album has a lot of this: seeing Triana through my father\u2019s eyes.<\/p>\n

That tenement was located on numbers 82-84 of Castilla Street, just next to Matilde Coral\u2019s academy. When we started to promote the CD, lots of people wrote beautiful things about it in Facebook, such as Antonio Canales, who wrote a comment saying that he used to go play there when he was a kid. I realized that it has a sentimental value not just for me, but for many other people, because this tenement was quite famous in Seville, I wish one day I could sit down with all these people to hear more stories, besides those that my father told me.<\/p>\n

The first track in this album, a buler\u00eda titled \u201cHuele a mi ag\u00fcela<\/i>\u201d (\u201cSmells like mi grandmother<\/i>\u201d), is a\u00a0preg\u00f3n<\/i>originally recited by Antonio Ortega at the church of Valle, before the Christ of the Gypsies. Which grandmother does it refer to?<\/b><\/p>\n

When I sing it, I think of both my grandmothers, of my own mother, of Carmen, the mother of Lito. These lyrics have a beautiful background, honoring the Gypsy women who were behind the Gypsy men who created the Brotherhood. I\u2019m not part of the Brotherhood, but when I first heard that\u00a0preg\u00f3n<\/i>\u00a0by Antonio Ortega\u2026 It\u2019s a\u00a0preg\u00f3n<\/i>\u00a0sung\u00a0por buler\u00edas<\/i>, we barely changed it, perhaps one little word, but otherwise the\u00a0preg\u00f3n<\/i>\u00a0remained unchanged. Antonio stands before\u00a0Nuestro Padre Jes\u00fas de la Salud<\/i>\u00a0and he starts reciting \u201chuele a mi abuela, huele a tu abuela, huele a su abuela\u2026<\/i>\u201d (\u201cit smells like my grandmother, it smells like your grandmother, it smells like his grandmother\u2026<\/i>\u201d), and at this moment he turns to the altar, referring to Him. Anyone who heard this felt something deep inside, at least those of us who were born here. Those references to the coal burners, the black headdress, the socks\u2026 it\u2019s all very moving. Now that I\u2019m promoting the album, the first three times I\u2019ve sung it live were very hard for me. I feel very moved when I listen to it.<\/p>\n

\"\"<\/p>\n

\n
\n

After having released four albums, how do you feel about your career?<\/b><\/p>\n

I\u2019m at this stage when I don\u2019t really care what other people think about me. I now sing what I feel like, because in my first two albums I did a bit what the record label and the producers wanted me to\u2026<\/p>\n

In my two last albums we\u2019ve done what we like, which is really my day-to-day work. I perform in\u00a0pe\u00f1as<\/i>, in festivals, and I use to sing traditional flamenco. I needed to release an album which showed my true identity, which is traditional flamenco. That doesn\u2019t mean that I won\u2019t have parallel projects, such as performing with Seville\u2019s Symphonic orchestra, or like last year, when I performed with a jazz trio in Mexico. Yet, I can tell you that my day-to-day, the way I earn my living, is with traditional flamenco. It\u2019s what I like, something I always want in my life, because it\u2019s what really fulfils me, something I\u2019ve been studying all my life and makes me feel complete as an artist.<\/p>\n

As producers who risk their money, did Lito and you have to make any compromise to make this album more marketable?<\/b><\/p>\n

Not at all. We started making this CD with the first track, \u201cHuele a mi ag\u00fcela\u201d, that was the cornerstone of this album. We knew very well what we wanted to do: an album fully representative of Triana and Seville, with no further ambition that telling who I am and where I come from. Whether it could be more or less marketable was never part of the criteria. It was very clear that the track \u201cCorral de los Jud\u00edos<\/i>\u201d had to be a\u00a0sole\u00e1 apol\u00e1 de Triana<\/i>. We also had to include a\u00a0bambera<\/i>, which is as Sevillian as it gets, in honor of Pastora Pav\u00f3n. The\u00a0fandangos<\/i>\u00a0had to be in honor of Gordito de Triana, Antonio de la Calz\u00e1 and Carbonerillo. The\u00a0sevillanas<\/i>\u00a0would be dedicated to Triana. In all, it had to be a bunch of\u00a0cantes<\/i>\u00a0typical of Seville, particularly Triana, which is my heritage.<\/p>\n

We\u2019re very impressed with the lyrics.<\/b><\/p>\n

Yes, they were carefully composed, and almost all are original, except the song \u201cEsperanza la del Maera<\/i>\u201d, which was written by Lidia Caro and Manuel Alejandro, which she used to sing. There are also those lyrics by Antonio Ortega, and \u00c1ngel Vela is well represented in this album, because in my opinion \u00c1ngel Vela is Triana. I\u2019ve also added a few things, and Lito too, of course, as well as my girl Carmela, who has added a few touches.<\/p>\n

How do you like working with your husband and two daughters?<\/b><\/p>\n

It\u2019s been great, because it\u2019s really easy working with them, we\u2019re together the whole day, we argue, then we kiss, you know, like all families. They are three people who love music above all, and my daughters in particular have grown up in this environment, music and culture, which, sadly, seems to be the last priority in this country.<\/p>\n

Who have been your role models in flamenco?<\/b><\/p>\n

There have been many. Camar\u00f3n has been the soundtrack of my life, as has often been the case for those of my generation. Then, after listening to Camar\u00f3n, we get a little curious and ask ourselves \u201cfrom whom did this guy learn to sing?\u201d. There are many\u00a0cantaores<\/i>\u00a0that I really love, such as El Carbonerillo, Caracol, Mairena, Pastora, Adela la Chaqueta, Juana la del Revuelo, Aurora Vargas. At home we also enjoy flamenco guitar: Paco, Vicente, Tomate, Rafael Riqueni, who is our flagship. Then there\u2019s El Pele, of course, and Manuela Carrasco in\u00a0baile<\/i>. People should really appreciate them, because when they\u2019re no longer with us, I don\u2019t know how we\u2019ll manage.<\/p>\n<\/div>\n<\/div>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The cantaora from Seville just released \u201cCorral de los Jud\u00edos\u201d, her fourth album. <\/p>\n","protected":false},"author":7,"featured_media":6413,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[72],"tags":[210,106],"class_list":["post-6630","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-alicia-gil-en","tag-entrevista-en"],"yoast_head":"\nAlicia Gil: \u00abI earn my living with traditional flamenco\u00bb - 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\/interviews\/alicia-gil-i-earn-my-living-with-traditional-flamenco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alicia Gil: \u00abI earn my living with traditional flamenco\u00bb - 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