Amparo Correa She was a fighter in life, and against life, until that September 22, 2007 when, like the Cid Campeador, a legend and symbol of Huelva, of its fandangos and even of its carnival, and therefore deserved to rediscover a monument in its honor every day that also recognized its valuable educational work and its leadership.
A commission was created, chaired by his father, the indefatigable Manolo Correa, but the budgetary implications weren't easy. It seemed like the time wasn't right. But yes, after eighteen years—not of absence, but of physical deprivation, because he will always live on in our hearts—his exceptional qualities have been reflected in a statue, located at the intersection of Calle Father Larañand the Miss Whitney Avenue, will motivate subsequent generations to be better every day and inspire those present to achieve their goals.
It was June 13th, a memorable date because it marks a historic day. It should be noted that since 2021, the Provincial Council's plenary session set June 13th to commemorate the Huelva Fandango Day, coinciding precisely with the birth of the singer and friend in memory Paco Toronjo.
This birthday also coexists with the commemoration of another revealing event that will also be very special in Huelva: the coming into the world of María Amparo Correa Beltrán, 'Amparo Correa' (Huelva, 1974-2007), the woman who lived her present embracing perpetuity, but also the voice that left a mark for eternity, since no one could have imagined how far her influence would reach.
«In Huelva, the right of flamenco women has been consolidated as a human right, because in response to this collective demand, a monument has been inaugurated to someone who continues to pay the warmest praise to flamenco with her work. flamenco female"
That's history. And it will have to be rewritten as many times as necessary. If we want to maintain perspective on what we were, we can't make our memories fade away. Enjoying life's memories, delighting in the knowledge of our past, is what determines our future.
But as a complementary reflection to the event to which I have had the honor of being invited, I allow myself to remember that if every March 8 we celebrate the International Working Women's Day, and we do so within the framework of a social context of freedom, justice and equal opportunities, in Huelva the right of flamenco women has been consolidated as a human right, because in response to this collective demand, a monument has been inaugurated to someone who continues to pay the warmest praise to the flamenco female.
The sculpture, discovered by Pilar Miranda, mayor of Huelva, was erected in honor of one of the greatest flamenco women—singer, guitarist, and teacher—in the contemporary history of Huelva. And not only because she captured the fandango at its most complex, ensuring its contours, but because her life was marked as a source of knowledge, a lesson in substance and originality. Hence, we consider her the Huelva native who sowed the seed of knowledge in subsequent generations.
Amparo Correa has therefore been placed on a pedestal because her teachings have not fallen on desolate ground. Those voices that shaped The Children of Huelva confirm that the impact of our protagonist's teaching on society was immeasurable, so much so that in the foundation she created we find values that cannot be compared, as she projected countless Huelva ambassadors with names such as Rocio Marquez, Argentina, Jesus Corbacho, Sandra Carrasco o Macarena de la Torre.
In this regard, a sculpture has been erected in her honor for having contributed, through her work, to promoting a future project free from prejudice and discrimination based on gender, but also because the significance and influence of flamenco artists like Amparo have often been overlooked or presented in a biased way by history.
In addition, this work of art has been discovered both to those who have contributed and preserved the sound heritage of Hueva and to those who have transmitted it to future generations, and because in this way, the family Correa Beltrán, the respectability and social recognition of his daughter María Amparo is guaranteed, who outlined, with extraordinary tenacity, the fundamental lines of the current panorama.
«Twenty years ago I christened Amparo Correa as The Bride of the Fandango. That aphorism has not fallen on desolate ground, and since June 13, 2025, it is engraved on the pedestal of a monument erected to an admirable woman, committed and in love with the cante"from your land"
But, as a corollary, this monument to Amparo Correa has been honored to raise awareness among everyone, both native and foreign, in order to raise awareness in society and redress the historical wrongs caused by the exclusion women once suffered in the field of their professional practice.
We have been present, therefore, in a roundabout that, from that June 13th, will be the symbolic center for the flamenco women's movement according to Huelva. Her artistic features, accompanied by her own guitar, her involvement in teaching and her human qualities, have made Amparo Correa a universal figure, an iconic figure in which all women whose commitment to art can be reflected - now in the cante and instrumentation, whether in teaching or in dissemination, transcends time and is not limited by the flow of chronology.
This is how the author of the monument shows it to us, Sergio Sánchez, who, based on a photograph taken by his own father, Manolo Correa, during a performance in front of the Town Hall, did not conceive a bust, but a figure rising into the future under the Huelva sky. And it is not fake; it is a lifelike sculpture brought to life through sculptural realism, a movement that reflects reality in a precise and detailed manner.
And the sculptor – whom we congratulate from here – gives shape to the life of the artist who is the honor of her parents, Manuel and María Amparo; the double pride of Pablo, her husband and son; the example for her sisters, Laura and Concha María, but also the reference point for the blessed city of Huelva, which can boast of being the birthplace of a flamenco style closely linked to the achievement of artistic dignity, which is nothing more than the recognition of being worthy of the utmost respect.
Twenty years ago I baptized Amparo Correa as The Bride of the FandangoThat aphorism has not fallen on desolate ground, and since June 13, 2025, it is engraved on the pedestal of a monument erected to an admirable woman, so committed and in love with the cantes from her homeland who constantly dedicated her life to teaching because she was “lucky enough – as she confessed to me – to have been born into a family with a strong musical calling,” without forgetting the suffering of “those who were on the lookout for failure,” whom she ignored, comforting her spirit “with hard work and living without resentment or rancor.” Hats in the air!
