{"id":9930,"date":"2019-03-09T22:22:55","date_gmt":"2019-03-09T21:22:55","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=9930"},"modified":"2019-03-09T23:02:23","modified_gmt":"2019-03-09T22:02:23","slug":"antonio-canales-were-in-a-barren-fallow-age-of-baile-flamenco","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/interviews\/antonio-canales-were-in-a-barren-fallow-age-of-baile-flamenco\/","title":{"rendered":"Antonio Canales: \u00abWe\u2019re in a barren, fallow age of baile flamenco\u00bb"},"content":{"rendered":"

His personal, pure way of conceiving baile<\/em> made him into a leading flamenco star. Ballet Nacional<\/em>, National Prize of Dance, great scenic productions: Torero, Gitano, Bailaor<\/em>\u2026 A whole life under the limelight. He\u2019s one of the greatest, adored by the wider public and discussed by the critics. Among the latter is the director of this website, Manuel Boh\u00f3rquez<\/a>, who meet this artist as moderator of the round table honoring Antonio in latest Tac\u00f3n Flamenco de Utrera<\/a>. What a moving moment it was, this encounter between the artist and the flamenco critic, who used to be sworn enemies.\u00a0 \u00abI used to hate him with all my heart, and now I feel proud of sitting next to him\u00bb, stated the artist from Triana. It\u2019s what happens when good people who love flamenco get together.<\/p>\n

We enjoyed a pleasant conversation at the Teatro Enrique de la Cuadra<\/a> with Antonio G\u00f3mez de los Reyes<\/strong> (Seville, 1961), maestro Antonio Canales. The bailaor<\/em> seemed at ease being approached by a website he follows in the social networks, and unleashed his tongue in a thoughtful and measured way.<\/p>\n

 <\/p>\n

\u2013 Today, we\u2019ve enjoyed your golden words more than your art. We can only imagine how many unforgettable moments you\u2019ve experienced in a whole life devoted to baile flamenco<\/em>. How do you feel in this moment of your career, Antonio?<\/strong>
\n\u2013 I feel I\u2019m in my best and sweetest moment. There\u2019s still a horizon beyond the fence. I\u2019m working on a movie with Lolita to be released in October, and I spend a lot of time writing, which is one of my hobbies. And we\u2019ll premier a production at the Bienal de M\u00e1laga<\/em> on April 8th<\/sup>. It\u2019s titled Diario de Navegante<\/em>, about the bull (named Navegante<\/em>) who almost killed the bullfighter Jos\u00e9 Tom\u00e1s in Aguascalientes (Mexico) several years ago. It\u2019s directed by Rub\u00e9n Olmo. Then there\u2019s this tribute in Utrera, sweet as honey, the conferences, the master classes\u2026 And in a few days, I\u2019ll travel to Guadalajara, Mexico, to one of the most important flamenco fairs. It\u2019s a dream come true. I\u2019m going as director, choreographer and performer of baile<\/em>. The other day I danced at the T\u00e1vora theater, we paid tribute to maestro<\/em> Salvador.<\/p>\n

\u2013 You were an admirer of Salvador T\u00e1vora, right?<\/strong>
\n\u2013 The last time I talked with him, accompanied by Manuel Boh\u00f3rquez, he told me he wanted to direct me in a production called La mesa de camilla<\/em> (\u201cThe Warming Table<\/em>\u201d). \u00abWarming table, maestro<\/em>?\u00bb I asked him. \u00abYes, everything happens around warming tables\u00bb, he told me \u00abPeople flirted under it, they got warmed up drinking, ate chestnuts, chatted, cried\u2026\u00bb. Yet, he passed away without finishing it.<\/p>\n

\u2013 Now you\u2019re living away from the hustle and bustle of the city. <\/strong>
\n\u2013 I feel happy living in the countryside, with my hunting dogs and the flamencos<\/em> who sing their fandangos in the taverns. I only go to the city if I need to attend some event. I prefer to be by myself, enjoying nature. I\u2019m almost 60 and it shows. I feel well-regarded by the artistic world, the intellectuals, the townspeople, my colleagues\u2026 I feel a bit disillusioned on the cultural aspect, because there are so many obstacles for everyone. Newspapers get shut down, doors get closed.<\/p>\n

\u2013 Boh\u00f3rquez says you were always a bailaor<\/em> of inspiration. Is this a good or a bad thing?<\/strong>
\n\u2013 He says that about me. He\u2019s on the right track, because I was a very visceral bailaor<\/em>. I always tried to be very passionate with the cantes<\/em> and the characters I portrayed. This could be a good thing, but sometimes it wasn\u2019t. I would get started on a normal sole\u00e1<\/em> and then I\u2019d get that fiery spirit\u2026 Why so much drama? With time, I looked at myself and thought: \u00abwhoa, I\u2019m overacting there\u00bb. There was no need to go into a trance.<\/p>\n

 <\/p>\n

\"Manuel

Manuel Boh\u00f3rquez, Antonio Canales and Manuel Mar\u00edn. Tribute to Antonio Canales. Enrique de la Cuadra Theater, Tac\u00f3n Flamenco de Utrera<\/em>. Photo: Quico P\u00e9rez-Ventana<\/p><\/div>\n

 <\/p>\n

\u2013 During the round table, maestro<\/em> Manuel Mar\u00edn stated that your technique could be learned in an academy, but not your art. Do you agree with the first part of this statement? <\/strong>
\n\u2013 Yes, that got us thinking. We\u2019ve all gone through Mar\u00edn\u2019s training. \u201cThe footwork must be perfected? Go to Manolo Mar\u00edn\u201d. More than a performer \u2014 and he dances amazingly \u2014 he\u2019s a builder of bailaores<\/em>. \u201cYour left foot is pretty bad. Let me see under your boot\u201d. And he\u2019d see a whole map on the sole. Certainly, when it comes to technique it\u2019s possible to build a Sara Baras, a Canales, a Manuela Carrasco. But then Manuela comes out and does this or that gesture, or I come out with my own personality\u2026 That\u2019s the magnetism that cannot be built.<\/p>\n

\u2013 So, as we understand it, baile flamenco<\/em> can be learned in an academy, but not specifically the baile<\/em> of Antonio Canales. <\/strong>
\n\u2013 It can\u2019t, that would be impossible, because it\u2019s a visceral baile that I\u2019ve experience since I was a child, watching my grandmother and my mother dance. Then I\u2019ve perfected it. In an academy it\u2019s possible to learn the dry, hard technique, but not the baile<\/em> of Antonio Canales. Not even I would be able to teach it. Not even to that kid who performs Torero<\/em>, Pol Vaquero. Seriously, he\u2019s really good. He\u2019s the one who better nails it, he has brought that production into the 21st<\/sup> century. I\u2019ve been very careful and faithful with this production. What was good thirty years ago, is still good.<\/p>\n

\u00abWe\u2019re left without those voices and those performers who are the ones who should be giving a lot to flamenco, because it\u2019s their turn to contribute to this art, as they were born around it. They know it, they\u2019re not stupid\u00bb<\/em><\/p><\/blockquote>\n

\u2013 What\u2019s your opinion about baile flamenco<\/em> in our days? According to your words during the tribute at the Tac\u00f3n Flamenco<\/em>, I gather you\u2019re not happy with where it\u2019s going, or with the steps it\u2019s taking.<\/strong>
\n\u2013 I don\u2019t like the present time. We could say that nowadays there is a disfunction. More than fusion, there\u2019s confusion. In my early days I felt an urge to do crazy things. It was the 1980s, and Spain was experiencing democracy for the first time. It was the moment for culture, for explosion, for revolution. But nowadays there is none of that. I don\u2019t even see harmony between today\u2019s cultural or ethical terms and what\u2019s happening. It happened with that play by Salvador T\u00e1vora, Quej\u00edo<\/em>, which was the cry of the laborers, the sweat. Nowadays there are many things to cry for, to fight for. We must reconsider, because flamenco is a vehicle for that. Yet, I don\u2019t see such commitment with the innovations, the lyrics. I see a superficial commitment: the self, the ego above everything else.<\/p>\n

\u2013 Tell us about the bailaores<\/em> of our days. You\u2019d like some of them, right?<\/strong>
\n\u2013 There isn\u2019t one person or one show that has broken the norms. People used to say that it was just Antonio Ruiz Soler, Antonio Gades and myself, the \u201cThree Antonios\u201d. The triantonian<\/em> age. Is not that after me there haven\u2019t been any good bailaores<\/em>. Not at all, there are princes of baile<\/em> who are dancing very well such as Juan Manuel Fern\u00e1ndez Montoya Farruquito<\/em>, and Pepe Torres, from Mor\u00f3n. There is a Gypsy fierceness, people who do it well, Gema Moneo\u2026 But then there are lots of artists who are just there without saying anything. They are totally confused, I think. And besides they\u2019re cheered and acclaimed. I also had my fans who would follow me wherever I went.\u00a0 If I put a cake on my head, they would cheer and clap just the same.\u00a0 Now the same happens. Bailaores<\/em> do whatever they want and their fans shout \u201cOle\u201d. And the rest of us are left behind. Instead of bailaores<\/em> or artists, monstrosities are coming out. For example, the work of Israel Galv\u00e1n, which I\u2019ve loved my whole life. I saw him dance in the days of Mario Maya, I\u2019ve been following my Isra. Yet, I\u2019ve had to get up and leave from his latest productions. I couldn\u2019t stand what he was trying to say. I totally lost interest in him. Or Roc\u00edo Molina, in a different circumstance, talking about national awards. I know her since she was a little girl, so stubborn. I took her in my company. We made the tribute to La Chana, she danced a canti\u00f1a<\/em> with a bata de cola<\/em> in a small circuit with Rancapino and I told her, \u201cThat\u2019s how I like to see you dance, woman\u201d. In her show Bosque Ardora<\/em>, which is the last thing I saw of her, there was a point when I felt dizzy. I didn\u2019t know anymore what was that I was watching. I don\u2019t see her, I see a monstrosity. I don\u2019t know what her intentions are, I don\u2019t understand her. There is a lack of true innovators. We\u2019re in a barren, fallow age of baile flamenco<\/em>, of creativity. We\u2019re too idle. And I don\u2019t think that many of the things we\u2019re seeing now will take roots and have continuity. All will be lost.<\/p>\n

\u2013 What about flamenco, Antonio? The other day Jos\u00e9 Merc\u00e9 was telling us that when it came to traditional, true \u2018flamenco jondo<\/em>\u2019, there was not much to talk about.<\/strong>
\n\u2013 Indeed. There are El Purili, the Tomasas, El Boleco\u2026 I\u2019ve seen them perform and I was impressed. They\u2019re gold. We\u2019re all counting on them, because they are the heirs of genes and tradition. The bible is in their hands. Yet, besides them, it\u2019s a mess, nobody knows what they\u2019re doing. The last album of Arc\u00e1ngel, I don\u2019t understand the intentions of a man with such a stellar, solid career. I don\u2019t understand why Estrella Morente is singing copla<\/em>. I don\u2019t understand Miguel Poveda emulating Luis Miguel singing ballads. I get it, you have a great voice, but you\u2019re not Antonio Molina. They\u2019re not giving us anything new. They and their agents want to sell out stadiums. Yet, they haven\u2019t achieved any success in Latin America. Why? He\u2019s not Diego Cigala, who succeeded in his own way with Chicho and Bebo. Poveda hasn\u2019t succeeded in Miami or Latin America or any of these places, trying to sing their music. The same happens with Mayte Martin. She\u2019s getting all sidetracked and hasn\u2019t recorded an album as a cantaora<\/em> should. It\u2019s not that we\u2019re stuck in the past, I don\u2019t think so. It\u2019s rather a matter of bringing flamenco to the present time, but with rigour and flavour and taste. Who has created any new cante<\/em>? No one dares to, they don\u2019t even think about it. It\u2019s just the same old cantes<\/em> and they just fly around in circles. There isn\u2019t much to say about flamenco in general, that\u2019s the reality.<\/p>\n

\u2013 We may understand that one singer sings coplas<\/em> and the other one sings ballads in order to reach a wider public, right? Perhaps there aren\u2019t as many flamenco aficionados to sell out stadiums, apologies for being blunt.<\/strong>
\n\u2013 Yes, they\u2019ll listen to that song La bien pag\u00e1<\/em> (\u201cThe well paid<\/em>\u201d). But then we\u2019re left without those voices and those performers who are the ones who should be giving a lot to flamenco, because it\u2019s their turn to contribute to this art, as they were born around it. They know it, they\u2019re not stupid. But like you said well, they pretend they are not listening and do their own thing. That\u2019s terrible for us. It\u2019s not good. It\u2019s not healthy.<\/p>\n

\u00abWhen Rosal\u00eda became famous performing at Circo Price in Madrid, I went on the following day and asked her: but where are you trying to position yourself? You\u2019re doing like Ni\u00f1o de Elche! And she told me: Maestro, don\u2019t mix me up with that one, OK?\u00bb<\/em><\/p><\/blockquote>\n

\u2013 Are you as tired as many other flamenco aficionados regarding the big fuss about that young artist from Barcelona? There are even flamenco experts claiming she\u2019s the new Ni\u00f1a de los Peines.<\/strong>
\n\u2013 Mother of God, they\u2019re crazy. I think people get unhinged and take things out of context. I know her since she was a little girl. She wanted to come here to attend the Tac\u00f3n Flamenco de Utrera<\/em> the day of my tribute, where Remedios Amaya, Marina Heredia, Montse Cort\u00e9s and Rafael de Utrera performed\u2026 I told her not to. She has been recording in Mor\u00f3n all of last week. She has called her loudest critics around here, asking them to praise her. She\u2019s not a fool at all. The same goes for those around her. Rosal\u00eda liked flamenco, she sang what she knew, imitating Ni\u00f1a de los Peines and Marchena. Yet, she doesn\u2019t have what it takes for this. Suddenly she has positioned herself with a heck of a team in the background [El Guincho and the producer Canada<\/em>] and a product is created. A pop product. It\u2019s not flamenco, what happens is that she has a flamenco twist. Because in Spain it\u2019s in our DNA. Just like Az\u00facar Moreno<\/em> back in the day, right?<\/p>\n

 <\/p>\n

\"Homenaje

Tribute to Antonio Canales. Enrique de la Cuadra Theater, Tac\u00f3n Flamenco de Utrera<\/em>. Photo: Quico P\u00e9rez-Ventana<\/p><\/div>\n

 <\/p>\n

\u2013 Az\u00facar Moreno<\/em> had a point, though. <\/strong>
\n\u2013 Sure they did. We only live once! [an allusion to a hit by Az\u00facar Moreno<\/em>, \u201cSolo se vive una vez<\/em>\u201d] They had that Gypsy, Castilian thing, and much more art than this other girl. But she came in, all set to enter society. Ours, and America\u2019s. I have also performed at the Goya Awards. The other day I played the video, it was a revolution. Yet, she came out at the Goyas in the precise moment, with that choir. Whose version was that? It was by the cousins of Az\u00facar Moreno<\/em>. The intention was obvious. Singing a song of Los Chunguitos<\/em>, no less. [Az\u00facar Moreno<\/em> are sisters of Los Chunguitos<\/em>, whose song was performed by Rosal\u00eda at the Goya Awards ceremony]. When she became famous performing at Circo Price in Madrid, I went on the following day and asked her: \u201cBut where are you trying to position yourself? You\u2019re doing like Ni\u00f1o de Elche!\u201d And she told me: \u201cMaestro, don\u2019t mix me up with that one, OK?\u201d And just look at where are things going now. That wasn\u2019t the Rosal\u00eda of the Malamente<\/em> video yet.<\/p>\n

\u2013 Careful, you may upset some artist by saying those things, maestro. <\/strong>
\n\u2013 No, Rosal\u00eda won\u2019t get upset. She\u2019s an artist who is going in another direction. She\u2019s above all this fuss. Of course, she\u2019s Spanish, and that\u2019s the Spanish way. Any Spanish kid, even if they sing rock and have spiked hair, loves paella<\/em> and ham, lust like people from Finland love salmon. It\u2019s in the genes. And even if they haven\u2019t ever heard Marchena sing, when the do they feel that it\u2019s theirs, that it belongs to them. \u00a0She knew how to arrive at the precise moment, and she\u2019s entitled to believe in herself. But I don\u2019t think that she intends to be flamenca <\/em>or that she believes she\u2019s the new Ni\u00f1a de los Peines or anything like that. And all those flamencos who praise her saying those things are absolutely wrong. Because, first, Rosal\u00eda caters to a different audience. She already has millions of fans around the world and people who\u2019s taking her in another direction. For now, she\u2019ll star in the new movie by Pedro Almod\u00f3var.<\/p>\n

\u2013 At the Alameda theater, people asked her to sing Malamente<\/em> and she said \u00abNo, not at the Bienal\u00bb. \u00a0At least that sounded respectful. Unlike that other artist.<\/strong>
\n\u2013 She\u2019s not like him, she\u2019s different. She\u2019s very much into the feminist movement, the moment of women per se<\/em>. Note that all her choreographies are created by women. She uses the men, like she used the Nazarene on the skateboard or the bullfighter on the motorcycle. She\u2019s the one doing the bullfighting though. She\u2019s the boss. She\u2019s in charge. She leans on other values, other innocence. That other dimwit from Elche is an incoherent irresponsible. I don\u2019t know who told him he can sing, because he can\u2019t sing anything. It\u2019s not that Rosal\u00eda is a great singer, but at least she has a pleasant voice sometimes, but that other guy is always unpleasant.<\/p>\n

\u2013 What could we do so flamenco gets more respect? <\/strong>
\n\u2013 Well, we could start by taking the masters seriously. Those great artists who are no longer young but are still active and have a clear mind. And I mean this in every area: journalism, teaching, everything. Because those of us are the ones who can explain and say things about what we\u2019ve experienced. It\u2019s very important that the universities get to know the writers, researchers, flamencologists. That they approach flamenco and get to know it better. Then a national flamenco center would have to be created. Not a national dance company, but something along the lines of the Cristina Heeren center, but that\u2019s is not a national center, just a foundation. Flamenco is our heritage. There have been some attempts, one in Jerez, but they\u2019ve always failed. There\u2019s a need for a great center of documentation, information, events, teaching. A place where we could all get together and discuss ideas. Artists also need to be able to lead a dignified life in old age. Senior artists who don\u2019t earn enough and can\u2019t dance at 67 years of age because that would be ridiculous. How can anyone live with a pension of 420 euros? Summarizing, we need that big house of flamenco with opportunities for teaching and research, a government-funded place where people can get updated.<\/p>\n

\u00abI have to get used to these tributes. My colleagues tell me: thank you, but slow down, or you\u2019ll have a heart attack\u00bb<\/em><\/p><\/blockquote>\n

\u2013 Let\u2019s look back, at your contribution to baile flamenco. What do you feel most proud of?<\/strong>
\n\u2013 I feel proud \u2014 and I don\u2019t regret anything, even my failures \u2014 that baile <\/em>is what I have always liked, since I was a kid. And when I became a professional bailaor<\/em>, I invested in choreographies whenever I could. My wife asked me when we were going to spend our savings for ourselves. \u00abYou spend it all in your choreographies, your baile<\/em>, your dreams\u00bb. Like a kid who built a castle or a scalextric <\/em>racing set, I\u2019d buy a choreography which would cost thousands of dollars and then pay for it for five years. I think all of that becomes a style, we could call it canalista<\/em>. A way to see life with its consequences through baile<\/em>, through investment, through entrepreneurship. Now it\u2019s much harder. Now, if the Comunidad de Madrid<\/em> wants to pay for a re-run of Torero<\/em>, well that\u2019s great. I\u2019d put my effort, but they\u2019ll have to pay for it. Because having to come up with thousands and thousands of euros is very difficult nowadays, considering how things are. I\u2019m proud of having spent a lot and ending up in debt with my choreographies. This way I can show others what can be done, and that we must fight for what we believe in.<\/p>\n

\u2013 It\u2019s a good thing being honored with a tribute show, being so young. That\u2019s unusual in flamenco, isn\u2019t it? <\/strong>
\n\u2013 Yes, it\u2019s unusual. Last year, when I was 56, I was honored in Madrid on occasion of the 25th<\/sup> anniversary of Torero<\/em>. It fell on my birthday, December 3rd<\/sup>. All artists were there: Nacho Duato, V\u00edctor Ullate, Matilde Coral, Joaqu\u00edn Cort\u00e9s\u2026 I thought I was dying. They sang happy birthday and I watched my production without me on stage. I got the chills, I sweated more that if I were dancing. But then I though: well, I have to get used to this. We artists always say that we want tributes like today\u2019s before we get old. When I\u2019m alone later tonight, I\u2019ll be thinking about the words that each person told me today\u2026 Manuel Boh\u00f3rquez, whom I love, because I\u2019ve been trying to make him like my art for 20 years. Having him here by my side, someone whom I follow, read and reread. I agree with him in some things, disagree in others. We laugh, we wish death to each other. There is love and truth in what we do. I\u2019m living a dream. And better enjoying it now, not when I\u2019m dying. Like happened with the foundation that Gades set up and got started when he was no longer with us. I prefer having my foundation and seeing it all, up and running. Like Oscar Wilde, who would come out and greet the visitors. Then I\u2019ll go to La Puebla now and then and have a rice dish, laugh and have fun. Boh\u00f3rquez told me today: the day you announce your retirement, the myth will explode. My mother also told me: what\u2019s with that tribute, are you retiring? No, I don\u2019t think so. I also want to enjoy these moments. This in Utrera, that congress in La Isla\u2026 My colleagues tell me: thank you, but slow down, or you\u2019ll have a heart attack.<\/p>\n

 <\/p>\n

\"Backstage

Backstage of the Enrique de la Cuadra Theater in Utrera. One hour before the round table honoring Antonio Canales. Tac\u00f3n Flamenco de Utrera<\/em>, Feb, 26th,\u00a0 2019. Photo: Quico P\u00e9rez-Ventana<\/p><\/div>\n

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

The bailaor from Seville gave an interview to ExpoFlamenco after a tribute to his career in the \u2018Tac\u00f3n Flamenco de Utrera\u2019. It was a sensible, sharp conversation about the present of baile flamenco<\/p>\n","protected":false},"author":2,"featured_media":9693,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[72],"tags":[106,173],"class_list":["post-9930","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-entrevista-en","tag-homenaje-en"],"yoast_head":"\nAntonio Canales: \u00abWe\u2019re in a barren, fallow age of baile flamenco\u00bb - Archivo Expoflamenco<\/title>\n<meta name=\"description\" content=\"His personal, pure way of conceiving baile made him into a leading flamenco star. Ballet Nacional, National Prize of Dance, great scenic productions: Torero, Gitano, Bailaor\u2026 A whole life under the limelight. He\u2019s one of the greatest adored by the wider public and discussed by the critics. Among the latter is the director of this website, Manuel Boh\u00f3rquez, who meet this artist as moderator of the round table honoring Antonio in latest Tac\u00f3n Flamenco de Utrera. What a moving moment it was, this encounter between the artist and the flamenco critic, who used to be sworn enemies. \u00abI used to hate him with all my heart, and now I feel proud of sitting next to him\u00bb, stated the artist from Triana. It\u2019s what happens when good people who love flamenco get together.\" \/>\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\/antonio-canales-were-in-a-barren-fallow-age-of-baile-flamenco\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Antonio Canales: \u00abWe\u2019re in a barren, fallow age of baile flamenco\u00bb - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"His personal, pure way of conceiving baile made him into a leading flamenco star. Ballet Nacional, National Prize of Dance, great scenic productions: Torero, Gitano, Bailaor\u2026 A whole life under the limelight. He\u2019s one of the greatest adored by the wider public and discussed by the critics. Among the latter is the director of this website, Manuel Boh\u00f3rquez, who meet this artist as moderator of the round table honoring Antonio in latest Tac\u00f3n Flamenco de Utrera. What a moving moment it was, this encounter between the artist and the flamenco critic, who used to be sworn enemies. \u00abI used to hate him with all my heart, and now I feel proud of sitting next to him\u00bb, stated the artist from Triana. 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