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Starting on November 5th the cycle begins in Madrid flamenco From Silverio Franconetti to Ramon Montoya, directed and coordinated by the renowned journalist, researcher and critic flamenco Manuel Bohorquez (Arahal, Seville, 1958). A series of conferences that will take place in the Bullfighter Room and which can be enjoyed from that same month until June 2025. A great opportunity for all Madrid residents, residents of Madrid or even tourists passing through who want to learn and delve deeper into the role that the capital has in the history of the flamenco, as well as being able to meet some of the personalities who have built it. Reliable witnesses who develop the story from their own experience. «I am a defender of the flamenco In this city, I don't understand this art without Madrid," says Bohórquez.
- Who is Manuel Bohórquez?
– A man in love with flamenco who has been enjoying this art and fighting for it for half a century. He has founded peñaand festivals. Who has published twelve books and tens of thousands of articles. Who has worked in radio and television and who is going to die writing about this art. I feel sorry for those who want me to retire completely, but I see myself writing for a century, even if it is in bed. For love and necessity.
- What does the cycle consist of? flamenco From Silverio Franconetti to Ramon Montoya, which will be available in Madrid between November this year and June next year?
– It is a series of interviews to analyze the two centuries of flamenco in Madrid, where I will have an hour and a half conversation with flamenco experts such as Romualdo Molina, José Manuel Gamboa, Carlos Martín Ballester or Pablo San Nicasio, among others, and artists such as Merche Esmeralda, Serranito, Sandra Carrasco, Paco del Pozo, El Mistela, Cancanilla de Málaga and many more. We are going to analyse the primitive era, that of the cafés and also the best, I think, which was that of the tablaos. Something like this had never been done in Madrid. It is a modest cycle, with hardly any budget, but we will do it well. As expected, it is organised by the Tablao El Torero, whose director is El Mistela, the great Sevillian dancer.
- What does this tablao inspire in you?
– El Torero is a tablao with flavor and recognized prestige that is next to the Plaza de Santa Ana, where the flamenco for decades. Every time I go I walk through that area and it still smells of art. I see Don Antonio Chacón and Ramón Montoya in its taverns. Madrid should exploit its flamenco history, in a good way. It's not all business, the flamenco It is culture and we must remember those who created this marvel. The fact that a tablao, which is supposed to be a business, has to do it gives an idea of how things are. El Torero is the only tablao in Spain that supports flamenco culture with its Cultural TuesdaysI am not aware of any other tablao doing this.
«It is a series of interviews to analyze the two centuries of flamenco in Madrid, where I will have a conversation of an hour and a half with flamencologists such as Romualdo Molina, José Manuel Gamboa, Carlos Martín Ballester or Pablo San Nicasio, and artists such as Merche Esmeralda, Serranito, Sandra Carrasco, Paco del Pozo, El Mistela, Cancanilla de Málaga…»
- Have you received financial assistance from any institution?
– We have not asked for anything. El Torero is financing it. Although I must clarify that the guests have not asked for it either and they have come selflessly. They know that in some way it is a recognition of themselves. We have invited the Community of Madrid, but so far we have not received any response. I would love to be able to interview Isabel Díaz Ayuso, by the way.
- Why from Silverio Franconetti to Ramón Montoya?
– Because Silverio was a decisive artist in the arrival of the flamenco to the Villa and Court. And because Don Ramón Montoya is the great figure of the flamenco in the capital of Spain. He was born here and is the greatest thing that Madrid has given from the point of view flamenco. He should have a monument for his contribution to the guitar. We will also talk for a month, probably in the spring, about Madrid and the flamenco guitar.
- Who is this initiative aimed at?
– Anyone who wants to attend, and it's free. Anyone from Madrid, a Dutchman or a person from Murcia who happens to be here can go. We're going to have a good time, for sure. I've been researching for forty years and I always tend to contribute new things. But I remind you that the guests will be the ones who will be talking.
«When in Seville, my land, we still had certain prejudices with the flamencoIn Madrid, they opened theatres for Silverio, Paco el Sevillano, Juan Breva and the Canario de Álora. The press treated us poorly and in some newspapers they branded us a flamenco plague, but without Madrid nothing would have been possible.
- Do you expect fans and artists from Madrid to come?
– The place is small and we don't know how they will respond. We are going to go all out. Hopefully we will have to use the basement which can hold seventy-something people. We are excited and we want everything to go well to do other cycles. I think Madrid and the flamenco they are suing him.
- Recently Ayuso, the president of the Community, said that Madrid is the capital of flamencoDo you think this statement could irritate other communities, such as Andalusia?
– Madrid is the capital of Spain and one of the most important cities in the world. It is, therefore, the capital of almost everything. Without this city we would not be able to understand the history of flamenco. When in Seville, my land, we still had certain prejudices with the flamencoIn Madrid, they opened the theatres for Silverio, Paco el Sevillano, Juan Breva or the Canario de Álora. The press treated us poorly and in some newspapers they branded us as a flamenco plague, but without Madrid nothing would have been possible. The capital of flamenco and the cradle is Seville, but for decades it was this city. As an Andalusian, I thank Mrs. Ayuso for her support to the flamenco and that he values this art enough to say what he said. He didn't say anything stupid, by the way. As action speaks louder than words, he should support this cycle and the artists of Madrid.
- What relationship does Manuel Bohórquez have with the capital?
– The relationship between a professional flamenco critic and Madrid is something that has to be seen as normal as that between a bullfighter or a theatre actor. It was forty years ago that I first came to an interview on Spanish Television, and I have come over the years to give lectures, see premieres of shows or attend presentations of records or books. I have also come for pleasure or for love, to see exhibitions or to eat and see monuments.
"Not even a nuclear bomb the size of Madrid would wipe out the flamencos. They are immortal. They have endured epidemics, wars, revolutions, dictatorships… flamenco "It sheds its skin, like snakes, but it will never die. We sometimes don't like changes, but art is constantly changing. What was avant-garde a hundred years ago is classic today."
- Why do you think there is a debate about Madrid and the capital of the world? flamenco?
- The flamenco It is the art of debate, isn't it? We debate everything and that is not bad. Is it a gypsy art or not? Is it Andalusian or purely Spanish? It is also a polemical art. We are always using the stick, which is very Spanish. Maybe this keeps it alive. Debating is not bad. What is bad is not saying anything.
- Certain newspapers in Madrid also rejected the Andalusian and the flamencoWhy this confrontation between Madrid and Andalusia?
– Actually, anti-flamencoism is something national, not just in Madrid. It still exists, even if it seems strange at this point. There are Spaniards who detest this art. Even rulers. In Andalusia and in Madrid. Until a few years ago, the flamenco It was banned in certain Andalusian and Madrid theatres. They thought it was something of no class, of low quality. On Andalusian public television, for example, bullfighting is treated much better than bullfighting. flamenco. They show live bullfights almost every week. The thing about flamenco They solve it with unbearable, boring rehashes, and at inappropriate times when no one is watching TV.
- On the first day, the guest will be Romualdo Molina. He is a key figure in the flamenco in the capital?
– Journalist Pablo San Nicasio, from the portal, will also be there ChalauraRomualdo Molina Muñiz is a Sevillian who has lived in Madrid for more than half his life. flamenco Spanish television would not be understood without him. We owe him unforgettable programs. He is a reliable witness because of his good memory. He is over ninety years old, but he is in great shape and will be a good match, because he is also a clear and not biased man. He has written good books about flamenco and copla. In other words, he is a character and knows almost more than anyone else about this art and its relationship with Madrid.
«El Torero is a tablao with flavor and recognized prestige that is next to the Plaza de Santa Ana, where the flamenco for decades. Every time I go I walk through that area and it still smells of art. I see Don Antonio Chacón and Ramón Montoya in their taverns.
- It's a long cycle... What else are we going to find during the next eight months?
– In January we will talk about Chacón and in February about Manolo Caracol and Los Canasteros, taking advantage of the anniversaries of their deaths. To talk about tablaos like El Corral de la Morería or Las Brujas, it was essential that Merche Esmeralda and Serranito were there, for example. We are going to try to have Blanca del Rey and other entrepreneurs there as well.
- What do you think about the future of flamenco?
– There is a future. There always was. Not even a nuclear bomb as big as Madrid would put an end to the flamencos. They are immortal. They have endured epidemics, wars, revolutions, dictatorships… flamenco It sheds its skin, like snakes, but it will never die. We sometimes don't like changes, but art is constantly changing. What was avant-garde a hundred years ago is classic today.
- Finally, what do you expect from Madrid? flamenco?
– Everything. I am in love with Madrid and a defender of the flamenco in this city. I do not understand this art without Madrid. Long live Madrid, which is the Court! And all of Andalusia.
