The smile never leaves the face of Lionel Niedzwiecki throughout the interview: he cannot hide his love for him flamenco, nor his satisfaction with the work carried out for the 36th edition of the Mont-de-Marsan Festival (France), which he currently directs. This journalist, a restless and approachable man, agreed to answer the call of expoflamenco in the weeks leading up to the new event, which starts on Monday, June 30, with figures such as the Ballet Flamenco from Andalusia, Jesús Carmona, Israel Fernández, Rosario La Tremendita, and Manuela Carrasco, among many others. But first, let's learn a little about the person at the helm of such a prestigious ship.
You came from the festival's Communications Department. How did you end up managing Mont-de-Marsan?
Yes, I did come from Communications, I'm a journalist. The first time I heard flamenco It was at the Seville Biennial, at a recital that took place just before a press conference for the Mont-de-Marsan Festival. Before that, I had heard a little about flamenco classic, Camarón, Paco de Lucía… I thought it was incredible, a music that was orally transmitted and also with a lot of work on rhythm and harmony, and with a very strong sensitivity. There is a moment in the flamenco It's an indescribable thing, more than jazz, more than any other music. For me, it's a world…
For us too, it's a universe. But how did it continue?
I then worked in the Landes department, which organizes the Festival, as Director of Communications and on the Steering Committee. And for the past four years, I've been the Festival's General Director. One of my first actions was to work with a programming team featuring Domingo González, Fernando Campomanes, and Patrick Bellito from Nîmes. Because they're not only excellent programmers, passionate and discerning, and highly knowledgeable about the world of culture, but also a team of experts. flamenco, but are also servants of the public, of culture and of flamencoAnd ours is a public festival, essentially. For me, that's fundamental.
Would you dare to describe the Mont-de-Marsan audience, given your years of experience working at the festival? Is it very different from that of other venues?
I think so, because first it is an audience that knows the flamenco. It's very demanding. There's been an artistic demand at the Festival since its first edition. The first edition had Camarón de la Isla, to Paco de Lucía, then to Antonio Gades. First-class people, yes. And it also contemplates the three pillars of the flamenco: cante, dance, and guitar, represented with balance. It's a local audience, from the Landes, and many refugees from Spanish families during the Civil War, who came to southwest France. We're only a year apart from Nîmes, but we can say it's the same audience in France. They're the two great references.
"Mont-de-Marsán is a small town of 30.000 people. That makes the festival a unique experience. There's a closeness, a connection between artists, audiences, and the organization... like a family."
Do you mean that, for Spanish descendants, these festivals are a way to reconnect with their past, their roots?
Yes, yes. In the Landes, that's very present; it has a lot to do with our flamenco tradition. But there's another important thing: the Mont-de-Marsan audience also appreciates the expression of creative freedom for the artist. For example, last year Manuel Liñán, with Dead of Love, was very popular for the freedom it displayed. This is never experienced as a confrontation with tradition, but rather as a diversity. In this edition, we ask: What will remain in the future of what we do today? It's a universal question in culture, a question that always confronts artists.
Do you dare to venture an answer?
El flamenco It is undoubtedly framed in a tradition, but it is undergoing an aesthetic evolution throughout that history. And that is always reflected. For us, there is no flamenco pure. There is something else, a way of dancing, of singing, of living the flamenco in a pure way, but the aesthetic evolves. It's an art of transmission, but also of creation.
Do you think the Mont-de-Marsan public can understand things better than some of the Spanish public?
I think so. In dance, for example, in Mont-de-Marsan, the audience is very open to creative proposals, but with sincerity. There's a very interesting fit, yes. But the audiences in Spain and France share the same sensitivity. There's no barrier between them.
Is there anything that never fails to please you in Mont-de-Marsan? Is there anything, an artist, or a particular aesthetic that you know people always go crazy for?
There are many artists… For example, this year we have Manuela Carrasco, who always works. She's a legend in Mont-de-Marsan, and in Spain too. Eva Yerbabuena, the same thing. Or José Valencia, who comes because there's a very strong history between Mont-de-Marsan, Lebrija, and Utrera too. Dorantes, the first time he plays Orobroy, it's in Mont-de-Marsan. And now there's also a very strong exchange with Extremadura, with Badajoz, with San Juan del Puerto...
And is there anything that would never work in Mont-de-Marsan? Can you think of any merger or proposal that you know wouldn't fit there?
I don't think so. The public is very open. Although there are shows that don't find their audience, but that's the lifeblood of creation, isn't it? There's something a little difficult to define: sincerity. I consider it the most important thing: sincerity and artistic rigor.
"For us there is no flamenco pure. There is something else, a way of dancing, of singing, of living the flamenco in a pure way, but the aesthetic evolves. It's an art of transmission, but also of creation.
Do you remember your moment of glory as festival director?
The emotion felt by the artists, for a festival organizer, is incredible. I remember a solo recital by Rafael Riqueni at the Théâtre Le Moliére, which was an incredible moment because Rafael was having a serious problem, and it was an indescribable emotion. And as I said, Liñán's show last year was incredibly powerful here, although there are many, many moments: a meeting between José Valencia and Pedro El Granaíno, a soleá by Juan Amaya... I felt the duende in all of them.
And any bad moments you remember, of having a bit of a hard time with organizational issues, or an artist not showing up or something like that?
Yes, recently with Israel Galván, because we had a project with him before his physical accident in the United States. A very interesting, unique project that we couldn't do with him, and for an organizer, that's a shame. And a Rafael Riqueni concert that we couldn't do, although we managed to do another recital later. But what makes a festival special is the audience.
You previously stressed the importance of the festival's public nature. Could you explain that further?
Yes, our premise is equal access to culture for all. For example, in Mont-de-Marsan we can attend a Ballet production. Flamenco from Andalusia for 10 euros. Or a recital of cante by José Valencia or Jesús Méndez for 10 euros. It is a very important reality for us and so is transmitting the flamenco to young people. And we can implement this pricing policy because we're at a public festival. That, and the fraternity so important in our chaotic world, are the hallmarks of our festival. flamenco It eliminates borders and creates bonds. It invites us to discover others and better understand ourselves.
Are there any artists you'd like to bring to the festival that haven't been able to yet?
[laughs] Ugh… No, there are artists who haven't come back for many years. However, for us, more than the name of the artists, the most important thing is the project. And with the Programming Committee, with Domingo, Fernando, and Patrick, we work in that direction. It's not a commercial construct; it's a necessity. If there's an interesting project, the artist comes to Mont-de-Marsan. And if there isn't an interesting project, they don't come. Similarly, an important aspect of the festival is supporting emerging, young artists. It's a mission.
What if you could resurrect someone who's no longer here? Who would you resurrect?
[laughs] Oh-la-la!
«There has always been an artistic demand at the Festival. The first edition had Camarón de la Isla, to Paco de Lucía, then to Antonio Gades. First-class people, yes. And it also contemplates the three pillars of flamenco: cante, dance and guitar, represented with balance"
If you could negotiate with Saint Peter for a one-night stand, who would you call upon?
It wouldn't be just one person or one night, it would be a whole procession! Obviously, Camarón…Obviously, Paco de Lucía… Pedro Bacán… Carmen Amaya… I think it’s an incredible orchestra.
Did you know that when Barceló presented his poster at the Seville Biennial, there was a huge controversy? However, the same artist also created a poster for Mont-de-Marsan, and there was no controversy. Why?
There has been only one discussion about his interpretation of the flamenco. Barceló made a cover for a record of Camarón...
Yes, yes, and another one from Rancapino.
That's right. But it's an artist's vision. It's a version a bit like... primitive art, rooted in Africa and connected to nature, always very interesting. He's very well-known in France and highly regarded. He's a major artist.
Could you make an invitation to all readers of expoflamenco to come to Mont-de-Marsan?
Mont-de-Marsán is a small town of 30.000 people, and that makes the festival a unique experience. There's a closeness, an exchange between artists, audiences, and the organization—like a family. For me, it's a unique opportunity to listen and see artists, but also to experience that close coexistence. ♦
