{"id":6717,"date":"2018-03-26T12:20:24","date_gmt":"2018-03-26T12:20:24","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/antonio-gades-bailarin-y-bailaor\/"},"modified":"2019-01-29T23:36:35","modified_gmt":"2019-01-29T22:36:35","slug":"antonio-gades-bailarin-y-bailaor","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/opinion\/antonio-gades-bailarin-y-bailaor\/","title":{"rendered":"Antonio Gades, bailar\u00edn y bailaor"},"content":{"rendered":"<p>Antonio Gades never complained about being referred as a \u201cdancer\u201d, instead of being considered a \u201c<i>bailaor<\/i>\u201d. He really didn\u2019t care about those things. He didn\u2019t even consider himself an artist, but rather a\u00a0<i>culture worker<\/i>, and he would get annoyed if anyone called him\u00a0<i>maestro<\/i>. I was often surprised by this inconsistent discrimination by those who didn\u2019t consider his\u00a0<i>baile<\/i>\u00a0to be\u00a0<i>jondo<\/i>\u00a0enough to bestow the title\u00a0<i>bailaor flamenco<\/i>\u00a0upon him. The same happens when some purists in the opera genre criticize Pl\u00e1cido Domingo for having recorded Mexican songs or Argentinian tangos. Stupid!<\/p>\n<p>In my opinion, if someone dances\u00a0<i>por sole\u00e1<\/i>, he\u2019s a \u201c<i>bailaor<\/i>\u201d at that moment, and if someone dances Falla\u2019s \u201c<i>El sombrero de tres picos<\/i>\u201d, then he\u2019s a \u201cdancer\u201d. If someone does both things, like it\u2019s the case of the great Antonio Gades, why can\u2019t he be considered a\u00a0<i>bailaor<\/i>\u00a0when dancing\u00a0<i>por seguiriya<\/i>, and dancer when dancing\u00a0<i>El Vito<\/i>? I don\u2019t understand why there is a need to set him apart, because when it comes to style, Gades was very\u00a0<i>jondo<\/i>, serious and stunning as\u00a0<i>bailaor<\/i>, with his\u00a0<i>baile macho<\/i>, as it was called in the old days, although today the flamenco feminists (<i>femijondistas<\/i>, like Boh\u00f3rquez calls them) may scream to heavens when hearing such appellative.<\/p>\n<p>I\u2019ve never quite understood such arbitrary exclusion. It\u2019s true that Antonio was, in his own words, a\u00a0<i>payo<\/i>(non-Gypsy) from Elda (Alicante) who grew up in Entrev\u00edas (Madrid), but apparently it\u2019s irrelevant having been the favourite of that great artist of\u00a0<i>baile<\/i>, Pilar L\u00f3pez, or having smashing success for many years all over the world with his\u00a0<i>Suite Flamenca<\/i>, which was performed together with\u00a0<i>Bodas de Sangre<\/i>\u00a0as the second part of his shows. The\u00a0<i>Suite<\/i>\u00a0was all\u00a0<i>baile flamenco<\/i>, which is what he had been doing since he started to perform at the\u00a0<i>tablao<\/i>\u00a0Los Tarantos in Barcelona, accompanied by the guitar of the underrated Emilio de Diego, his partner in toil for more than two decades and the author of the wonderful music in Lorca\u2019s drama.<\/p>\n<p>Antonio used to tell me how in those years, when faced with an unreceptive public, we would make use of the helpful TAMIR\u00da, which enabled him to win over the most cold-hearted spectators, knowing that dancing\u00a0<i><b>Ta<\/b>rantos,\u00a0<b>Mi<\/b>rabr\u00e1s<\/i>\u00a0and\u00a0<i><b>Ru<\/b>mbas<\/i>\u00a0would melt down the iciest public in applause. Having Calderas de Salamanca or Juan Pe\u00f1a\u00a0<i>Lebrijano<\/i>\u00a0as\u00a0<i>cantaores<\/i>, he would bring out\u00a0<i>pellizcos flamencos<\/i>\u00a0like no other, piercing the soul of the public with every step, or rather, like he would say, with\u00a0<i>what is between each step<\/i>.<\/p>\n<p>Not to mention Gades, the choreographer, who besides creating the choreographies for the above-mentioned shows, also composed the choreographies for\u00a0<i>Carmen<\/i>\u00a0(which was performed more than ten thousand times),\u00a0<i>Fuego<\/i>\u00a0(<i>El amor brujo<\/i>), which needed an alternate tittle since the Falla family didn\u2019t authorize the use of the original name, and his last production,\u00a0<i>Fuenteovejuna<\/i>, for which I had the privilege of selecting, composing and arranging the music for its tours through the world\u2019s best theaters. Five productions in a career of fifty years (not counting Alfredo Ma\u00f1as\u2019\u00a0<i>Don Juan<\/i>, with music by Garc\u00eda Abril and other small productions of his younger years). Five masterpieces in a whole life dedicated to\u00a0<i>baile<\/i>, while others make a new production every year. We left in a box, unfinished,\u00a0<i>El Quijote<\/i>, a project which was well advanced, but was cut short by the illness which took his life in 2004.<\/p>\n<div id=\"attachment_3959\" style=\"width: 717px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3959\" class=\"wp-image-3959 size-full\" src=\"https:\/\/www.expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/01\/repartobodasdesangrex_1.jpg\" alt=\"\" width=\"707\" height=\"404\" srcset=\"https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/01\/repartobodasdesangrex_1.jpg 707w, https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/01\/repartobodasdesangrex_1-600x343.jpg 600w, https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/01\/repartobodasdesangrex_1-300x171.jpg 300w\" sizes=\"auto, (max-width: 707px) 100vw, 707px\" \/><p id=\"caption-attachment-3959\" class=\"wp-caption-text\">Elenco de la pel\u00edcula &#8220;Bodas de Sangre&#8221;<\/p><\/div>\n<div><\/div>\n<div class=\"paragraph\">\n<p>Gades was proud of never having asked for government subsidies, and always worked as a private company, except the time when he was the artistic director of Spain\u2019s\u00a0<i>Ballet Nacional<\/i>. Few people know that he was fired from that job because he made a profit. There was a budget to create the\u00a0<i>Ballet Nacional de Espa\u00f1a<\/i>(1978), and after it went on tour it made four times the amount of the original budget. \u201cNooooo!!\u201d, he was told. \u201cYou have to spend this money!! You cannot make a profit!!\u201d So the minister De La Cierva fired him, probably after Gades\u2019 voiced his strong opinions about Spanish cultural policy. And here we are. The\u00a0<i>Ballet Nacional de Espa\u00f1a<\/i>\u00a0should be the best in the world. Gades tried his best, but he wasn\u2019t allowed to achieve it.<\/p>\n<p>Back to my topic. I\u2019ve seen the public in theaters surrender at his feet, as he danced\u00a0<i>por sole\u00e1<\/i>, or thrilled with his unforgettable\u00a0<i>farruca<\/i>, I\u2019ve experienced how at Copacabana beach, before one hundred thousand spectators in noisy Rio de Janeiro, there was a chilling silence as he slowly lifted his arm. These are things impossible to forget, and yet, nowadays I still have to endure hearing people say that Antonio Gades wasn\u2019t a\u00a0<i>bailaor<\/i>, but a dancer instead. Such nonsense always comes out from the mouth of those who don\u2019t understand Art. Mario Maya and El G\u00fcito, colleagues of Antonio from his time with Do\u00f1a Pilar, as they called her, always spoke with the highest regard about\u00a0<i>El Payo de Elda<\/i>\u00a0and never had any doubts about his flamenco feel and his innate talent to create a show\u2019s choreography.<\/p>\n<p>One day I met him in a caf\u00e9, as he was preparing to perform\u00a0<i>Fuenteovejuna<\/i>\u00a0at the Real theater in Madrid. He was surprised at the headline in El Pa\u00eds newspaper:\u00a0<i>The doors of the temple of great music open for flamenco<\/i>, (referring to his\u00a0<i>least<\/i>\u00a0flamenco show). Yet, we had already performed\u00a0<i>Fuenteovejuna<\/i>\u00a0in the best theaters in the world, from Milan to Tokyo, from Paris to Buenos Aires. The great opera houses all over the world had been opened for Gades decades ago, but the people of Madrid apparently had not taken notice yet. Not by chance\u00a0<i>Fuenteovejuna<\/i>\u00a0had been premiered in the opera theater Carlo Felice, in Genoa in 1994. Yet in Gades\u2019 own country, so full of \u201cexperts\u201d, they didn\u2019t have a clue. That\u2019s why he sometimes would mumble that song Espa\u00f1aaaa, cu\u00e1nto te quiero, pero en postal (\u201cSpain, how much I love you, but on a postcard\u201d). He would also say that his country was the one with the most culture and the most ignorant.<\/p>\n<p>I blame that ignorance for assigning the \u201cdancer\u201d label to an artist so versatile and complete as Antonio Esteve Rodenas, known in the artistic world as Antonio Gades. I want to honor his memory from ExpoFlamenco, vindicating his\u00a0<i>jondo<\/i>\u00a0wisdom, his creative flamenco talent and all he did as an authentic\u00a0<i>bailaor<\/i>.<\/p>\n<p>If you want, I\u2019ll tell more stories about Antonio some other day, I have enough to fill a book.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-3960\" src=\"https:\/\/www.expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/01\/faustino_3.jpg\" alt=\"\" width=\"116\" height=\"158\" \/><\/p>\n<p><em><strong>Faustino N\u00fa\u00f1ez<\/strong><\/em><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Antonio Gades never complained about being referred as a \u201cdancer\u201d, instead of being considered a \u201cbailaor\u201d.<\/p>\n","protected":false},"author":4,"featured_media":6718,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[73],"tags":[],"class_list":["post-6717","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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