A few days ago, Jesús López from Jerez was re-elected president of the Federation of Flamenco Clubs of Jerez, an association that represents a total of twelve flamenco entities. Today we’re meeting with him so he can tell us about the functions, responsibilities, and goals of this organization, as well as the importance of the flamenco clubs themselves.
Jesús, how did your connection with flamenco begin?
– I grew up in La Plazuela (San Miguel neighborhood), and since childhood, I would listen to flamenco singers in the neighborhood bars, especially at Bar Cantábrico on Pañuelos street. The best singers of the time used to pass through there around 55 years ago, just as they did later at Volapié in the La Asunción neighborhood. I lived in a traditional communal house back then, where people like José de los Camarones, El Mijita, and others grew up. Later, in another house across the street, Manuel Moneo lived with all his children. Behind me were Acebuche Street and Álamos Street, where great flamenco singers lived, although I didn’t have much contact at that point. When I was older, I used to go to the neighborhood flamenco clubs, such as the Peña El Garbanzo, which no longer exists. I also went to Los Cernícalos, the oldest peña in Cádiz, where I had a great time with good members and flamenco enthusiasts. I also belonged to the Peña Fernando Terremoto where I served on the board of directors for a few years.
Flamenco clubs haven’t lost relevance. In fact, they offer the most direct, intimate, and close connection with the artist.
You hear talk about the decline in relevance of flamenco peñas. What’s your opinion on this?
- Flamenco clubs haven’t lost relevance, in fact, they offer the most direct, intimate, and close connection with the artist. When the first flamenco peñas were established and officially registered over XNUMX years ago, they began with a small group of enthusiasts and in modest spaces. Today, they are more widespread across the country, some still operate in small venues, while others have fairly large headquarters, depending on the number of members and the capacity they can accommodate. All of them offer performances to a greater or lesser extent, depending on their income, which largely comes from the number of members. Smaller towns or are more limited, although they still fulfill their role. It must be acknowledged that many of these places are more like bars, but that doesn't mean they stop being important meeting points.
What are the objectives of the Jerez Federation of Flamenco Peñas?
– In the first place to maintain the union of the XNUMX member peñas, and offer them the required resources. To maintain a healthy collaboration with public institutions, obtain financial support in order to offer a greater number of recitals, and to promote and spread flamenco through the main players who are the artists themselves of voice, dance and guitar. One example of collaboration is with Fundarte (the Villamarta Theater) during the Festival de Jerez, and our series of Peña en Peña. In summer with the Viernes Flamencos we are important support for the program.
«There are major flamenco festivals in Spain supported by public institutions, such as the International Festival of Cante de las Minas or the Bienal of Seville, and none of them would be viable or even possible without public funding"
Young or middle-aged fans complain about the advanced age of the members and the intolerance toward new trends. How can the diversity of tastes be accommodated?
And they're not wrong, but they’re just the ones who need to contribute and get involved by becoming members of the peña that best lines up with their tastes. Because it's from within that change can happen and a generational shift can be fostered, introducing new trends, blending the old and traditional with the new. The foundation will always be there, and that source will always be drawn from.
Do you believe flamenco is sufficiently supported by public institutions?
Nowadays, public institutions support flamenco, given that it’s a cultural heritage and a symbol of Spain. The problem is that those on the payroll of these institutions and in charge of managing culture are not professionals, as they are in other sectors, and they leave things in the hands of people who don’t know how to allocate resources efficiently. There are major flamenco festivals in Spain supported by public institutions, such as the International Festival of Cante de las Minas or the Bienal of Seville, and none of them would be viable or even possible without public funding. In any case, we have a major problem in this country: Spaniards are not used to paying for culture.
