My body is still tired from what we experienced on Saturday, June 28 in Utrera on the occasion of the Gypsy stew, which celebrated its 69th edition and had Pitingo as the main attraction on a very hot night, although this isn't exactly new. It's usually a torrid night, though by dawn, sometimes you've covered yourself with the tablecloth. In this case, nothing at all, heat from start to finish.
En From Within, our blog, I'm going to tell you a few things that are far from merely artistic. For this you have a deep, extensive and professional critical commentary from our partner Kiko Valle. In these lines, as I have been doing in this section, I want to be a witness narrator and bring the reader closer to aspects that escape everyone's attention. This year, the "no tickets sold out" sign wasn't expected; there wasn't the expectation like in other years, even though the poster was betting on names like Aurora Vargas, who received the tribute in 2023 in the absence of Pansequito, or The Pele, another of the festival's most notable names of the last twenty years and who received the award in 2021 (it was actually in 2020, but with the pandemic it was moved to the following year). Another ingredient worth highlighting is the presence of Juana Amaya, a dance that is popular in Utrera and its gypsies. Andres Barrios, the pianist from Utrera flamenco who trained in classical music and covers urban music, composes and sings, enjoys it, was the one in charge of opening the square.
When I arrived, the clock struck 9 p.m., and the temperature was still approaching 40°C. The sound and lighting technicians were showing their sunburned faces, as were the members of the organization, who stated that "the wind chill at 50 p.m. was 80 degrees." All this effort should not be overlooked, as this festival, the oldest of festivals, is charitable, and it can be said that XNUMX percent of those who make it possible They are non-profit.
Some artists had already checked the sound at six in the afternoon. Juana Amaya, for example. When she came out to dance at two in the morning, she showed a certain weariness, although she did so with great elegance and even a smile. "I've been there for many hours, it's so hot," before she threw herself into a dazzling, emotional dance. "We're going to have to consider doing a sound check the night before; this is inhumane," a technician told me. Andrés Barrios' piano dominated the stage, despite the heat that so affects the sound. He enjoyed himself so much, along with his equipment, that his joy spread to the audience back home.
For those who have never been to Potaje, you should know what that night is like in that enormous courtyard of the Salesianos School in Utrera. There's a presidential row of tables where the honoree sits with his people, the Brotherhood with its guests, authorities and sponsors, the press, and a few other special guests. There, we are served food and drinks throughout the evening. A fence separates the rest of the tables spread throughout the courtyard. Diners sit down, having previously reserved their meal, and take out of their coolers—the typical beach coolers—bags and baskets, tapas and soft drinks, wines, and later whatever else they order. People are having a good time and enjoying themselves, which is perhaps why the festival doesn't seem so long.
"The Marseille native was there with Antonio Moya, and what had to happen happened. In the school hallway, perhaps the hottest part of the school complex, we stayed and partied to listen to Mari Peña, Iván Carpio, Manuel Tañé, Antonio Marsellés himself, Fernando Jiménez danced, José Malospelo… We were at ease, sharing the party in such a democratized way that even those who didn't know how to play the palmas "they touched them"
Aurora Vargas told me “nephew, dedication", with that characteristic artistry of hers, referring to the motivation I would give her in the words I was going to dedicate to her when introducing her. She was already prepared downstage, with her people, like a matriarch, to once again embroider a work of performing art. I just want to emphasize that the nearly two thousand people in the audience remained silent for a moment when Aurora stepped away from the microphone and her voice, absolutely clear, reached every corner. Viva Utrera! "Tata, the dress looks yellow offstage, but upstage it's greener," I told her. “It’s lime-colored, boy.”, he answered me with grace.
At the tribute, everyone is nervous; the protocol changes as guests appear, but in the end, everything goes well. This year, I have to congratulate the speakers, who were clear, concise, and emotional. The 600th anniversary of the Roma people in Spain served as a guiding light for the speeches of all the participants. The Senior Brother of the Gypsy Brotherhood of Seville He joined us at that moment. “What a gypsy name the mayor of Utrera, Curro Jiménez, has!” commented Pitingo, who asked for a short break so he could change his clothes and prepare for his performance.
Meanwhile, the stew was literally handed out for those present to dig in. There are many who aren't afraid of the heat or the hours. They even eat their neighbor's plate. In the dressing rooms (the school classrooms), there's an atmosphere of camaraderie, good friends, hugs, and kisses. The organizers are very strict about this, controlling who can access the area where the artists are. It's not a mess, and that's a good thing.
Pitingo took over the stage without any hurry, going through his work from the most flamenco, soleá or fandangos, to its most innovative style. A trio of soulful voices provided the note of color, the counterpoint, and, why not say it, the image of the evening. The entire audience turned on their cell phone flashlights to sing along to songs like Killing me softly with his song. As the end of the performance was approaching, I stood at the side of the stage to continue my presentation duties, and a member of the organization was smiling. "What are you laughing at?" I said. "Nothing, Juan, if I raised my head, more than one of them would cut it off." All in a joking tone, I was happy that Pitingo had the best reward of his big night: the devoted audience. Juana Amaya I was already dying to go out, and some of the audience was starting to leave their chairs to go home. It was 2 a.m. Juana danced so hard! You've already read about our colleague Kiko Valle...
It remained to be seen El Pele, who came from another commitment and came on stage with a serious expression, demanding that "the flamenco", the usual one, "that you have to listen to the cante,” partly asking for silence, and now sarcastically wishing everyone “lots of fun.” Pitingo stood up several times during his soleá to say ole. And he said goodbye with bulerías.
The Marseillais I was there with Antonio Moya and what had to happen, happened. In the school hallway, perhaps the hottest area of the educational complex, we stayed to party to listen to Mari Peña, to Iván Carpio, Manuel Tañé, Antonio Marsellés himself, Fernando Jiménez danced, José Malospelo… We were at ease, sharing the party in such a democratized way that even those who did not know how to play the palmas They played them. "We're in Utrera!" shouted the Marsellés, asking for silence and rhythm. At 6 a.m., we headed back to Jerez with zero alcohol in our blood, but with the best of flavors, because Potaje remains the festival of festivals.
