{"id":6756,"date":"2018-03-07T11:57:22","date_gmt":"2018-03-07T11:57:22","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/el-circulo-flamenco-de-madrid-cumple-un-lustro\/"},"modified":"2019-01-29T23:47:17","modified_gmt":"2019-01-29T22:47:17","slug":"fifth-anniversary-of-the-circulo-flamenco-de-madrid","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/opinion\/fifth-anniversary-of-the-circulo-flamenco-de-madrid\/","title":{"rendered":"Fifth anniversary of the \u201cC\u00edrculo Flamenco de Madrid\u201d"},"content":{"rendered":"

The\u00a0pe\u00f1as flamencas<\/i>\u00a0of Madrid have played an essential role in the last few decades. I\u2019d like to highlight some names such as the venerable\u00a0Pe\u00f1a Charlot<\/i>\u00a0(a place of fruitful gatherings where Pepe de la Matrona, Jos\u00e9 Blas Vega, Enrique Morente, Carmen Linares and many others would socialize);\u00a0Fosforito<\/i>,\u00a0Los Cabales<\/i>\u00a0or the beloved\u00a0Chaquet\u00f3n<\/i>\u00a0(where in the 80s and 90s we were able to enjoy, face to face, the\u00a0cante<\/i>\u00a0of Manuel Sordera, Paco Toronjo, Mar\u00eda Vargas, El Torta, Jos\u00e9 Merc\u00e9, Gabriel Moreno, Canela de San Roque, El Mono, Chano Lobato, etc.). Nowadays, there are a few left, such as\u00a0Pe\u00f1a Duende, El Mami<\/i>\u00a0or\u00a0Paco del Pozo<\/i>.<\/p>\n

Evidently, lifestyles and, by extension, flamenco itself, have changed radically through the years. Thus, in the summer of 2013 a group of aficionados decided to undertake a flamenco association project to bring about different initiatives which at that time were hard to find in Madrid.<\/p>\n

Our activities have two essential pillars. First, live flamenco: we bring in both the main stars of contemporary\u00a0cante<\/i>\u00a0and the most acclaimed young\u00a0cantaores<\/i>, without forgetting those\u00a0cantaores<\/i>\u00a0who, for different reasons, seldom perform in public events, having always\u00a0quality<\/i>\u00a0as the only goal.\u00a0Baile<\/i>\u00a0and concert guitar also have their space in our programming. The other block is made of activities which we consider necessary to better understand our music: presentation of books or albums, conferences, debates, tributes, etc.<\/p>\n

Among the stars of traditional\u00a0cante<\/i>, we have had performances by Jos\u00e9 Menese, Juan Villar, El Pele, La Ca\u00f1eta, Jos\u00e9 de la Tomasa, La Macanita, Pansequito, Fernando de la Morena, Juana la del Pipa, Canela de San Roque, Manuel Moneo, Rancapino, Luis el Zambo, Guadiana, El Capullo, Vicente Soto or Mar\u00eda Vargas.<\/p>\n

\"\"

Reuni\u00f3n con Antonio el Rubio, Jos\u00e9 Canela, Manolito Jero, Canela de San Roque y Paqui Cort\u00e9s (foto: Rufo)<\/p><\/div>\n

Among the young artists who have achieved certain renown, we have enjoyed the performances of Antonio Reyes, Jes\u00fas M\u00e9ndez, David Lagos, Jos\u00e9 Valencia, Pedro el Grana\u00edno, Rancapino Chico, Perico el Pa\u00f1ero, David de Jacoba, Jos\u00e9 Canela, Israel Fern\u00e1ndez, Samuel Serrano, Jos\u00e9 Mijita, Rubio de Pruna, Fernando Canela or Remedios Reyes.<\/p>\n

The \u201cthird leg\u201d of our\u00a0cante<\/i>\u00a0concerts have been of those artists who don\u2019t perform in big events as much as we\u2019d like to, if at all. That\u2019s the case of In\u00e9s Bac\u00e1n, La Ka\u00edta, Diego el Cabrillero, Enrique Soto, Antonio Agujetas, M\u00e1rquez el Zapatero, Luis Moneo, Morenito de \u00cdllora, Dolores Agujetas, Cancanilla de M\u00e1laga or Mari Pe\u00f1a.<\/p>\n

Concerts of flamenco guitar seldom feature in these types of venues. Yet, that\u2019s not our case, as we have featured performances by stars with the stature of V\u00edctor Monge \u2018Serranito\u2019, Rafael Riqueni, Paco del Gastor, Diego de Mor\u00f3n, Diego del Morao, Alfredo Lagos or Dani de Mor\u00f3n, among many others.<\/p>\n

We conceive\u00a0baile<\/i>\u00a0as an artistic expression closely associated by the emotion produced by\u00a0cante<\/i>, and not so much as a dance discipline where the voice is just a tool which appears, disappears, stretches or shortens according to the needs of the dancer. Going against the flow, we have enjoyed performances by Carmen Ledesma, Pepe Torres, Javier Heredia and Jos\u00e9 Pa\u00f1ero, and Diego de la Margara. We would like to develop and expand the presence of\u00a0baile<\/i>\u00a0in our programming.<\/p>\n

The icing on the cake, on top of all these concerts, are our albums, produced under the title\u00a0Directos en el C\u00edrculo Flamenco de Madrid<\/i>\u00a0(\u201cLive at the\u00a0C\u00edrculo Flamenco de Madrid\u201d<\/i>). Up to now, we have released two of these: one featuring Antonio Reyes and Diego del Morao in 2015, and the other featuring Tomasa La Macanita in 2016. Both albums were nominated for the Latin Grammy Awards. We are working an a third one.<\/p>\n

As I said earlier, the other pillar in our programming is all the activities which help to understand flamenco in greater depth, from very different angles. Naturally, our music can be enjoyed just out of simple curiosity, but when aficionados understand flamenco better, they\u2019re able to perceive a wider range of nuances, and that definitely makes it more enjoyable.<\/p>\n

\"\"<\/p>\n

Among these complementary activities stand out the meetings with artists who are no longer performing, or who never had a public career. That is the case of Antonio el Rubio, Antonio el \u00c1lvarez, El G\u00fcito or Luisa Triana. The\u00a0cante<\/i>s performed by the two first artists are still reverberating in out minds, as well as all of their testimonies.<\/p>\n

We have also held events honoring institutions or personalities who are no longer with us, such as Enrique Morente, Antonio Gades, Jos\u00e9 Blas Vega, Canela de San Roque, Tablao Las Brujas, Corral de la Morer\u00eda, Casa Patas or the Esteso-Conde luthier dynasty.<\/p>\n

Book launches is another activity which we often carry through. Up to now, we have presented almost twenty books by authors such as Jos\u00e9 Luis Ortiz Nuevo, Jos\u00e9 Manuel Gamboa, Guillermo Castro, Alfredo Grimaldos, Antonio Conde, Juan Verd\u00fa, Francisco Moreno Galv\u00e1n, Silvia Mar\u00edn, Pablo Tortosa, and the undersigned.<\/p>\n

We consider the teaching of flamenco as something essential, so we have promoted master classes by some of our most renowned guitarists: Manuel Parrilla, Diego del Morao o Dani de Mor\u00f3n.<\/p>\n

Our intense activity is promoted by the wonderful posters of Mar\u00eda Artigas, a novelty regarding flamenco information, avoiding clich\u00e9s and exploring new expressive options.<\/p>\n

All this audiovisual material doesn\u2019t just disappear: we record and store it in a special box each year (not for sale), giving one each for our members, as well as for the Spanish National Library and for the Andalusian Center of Flamenco Archives.<\/p>\n

To wrap it up, I have to say that from the beginning we were faced with many difficulties. Standing up for a flamenco taste like ours, from Madrid, is not easy. We are located away from the natural flamenco centers (let\u2019s not forget that flamenco artists no longer settle in Madrid as in former times, and many who did so have now returned to their hometowns), and that adds up to our expenses. As we live in a big city, it\u2019s harder to get in touch with our public representatives: in Andalusia, many\u00a0pe\u00f1as<\/i>\u00a0operate from venues handed over by their municipalities, yet in Madrid that would be unthinkable. Another problem is that, with so many options to enjoy flamenco in the Spanish capital, less seasoned aficionados don\u2019t feel the need to join an association like ours. I could go on listing other hurdles, but this project –collective and distinct \u2013 demands our attention. We shall keep working on it!<\/p>\n

\"\"<\/p>\n

Carlos Mart\u00edn Ballester<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The\u00a0pe\u00f1as flamencas\u00a0of Madrid have played an essential role in the last few decades.<\/p>\n","protected":false},"author":4,"featured_media":6757,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[73,258],"tags":[],"class_list":["post-6756","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion","category-signature"],"yoast_head":"\nFifth anniversary of the \u201cC\u00edrculo Flamenco de Madrid\u201d - 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\/opinion\/fifth-anniversary-of-the-circulo-flamenco-de-madrid\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fifth anniversary of the \u201cC\u00edrculo Flamenco de Madrid\u201d - 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