It wasn't easy to take over the leadership of Nîmes Festival after the departure of Chema Blanco, a highly reputable manager in the sector of flamencoThis responsibility has been assumed this year, for the first time, by Amélie Casasole (Savoy, 1975), who was already at the helm of the French city's theater and has managed to culminate a 2006 edition with few surprises, but an undeniable box office success and the general support of the public. In his office at the Nîmes Coliseum, he received Expoflamenco and wanted to share with readers her impressions of this year and her goals for the future.
– This was your first time directing the Nîmes Festival. What's your preliminary assessment of this edition?
– Even halfway through the festival, we were delighted to see that the venues were packed. Every night there was a lot of enthusiasm, both for established acts like Tomatito and for artists relatively unknown in France, like La Chachi. There's a real curiosity about the diversity of the offerings.
– When she took over as director of this theater, she admitted to not being very knowledgeable about flamencoHow have you been able to alleviate these shortcomings?
– As a professional and programmer, I have been directing theaters for over 25 years. I surround myself with specialists, people who know theater, circus, dance, and the flamenco I'm a bit of a cook, a chef: we have several ingredients that need to be combined and measured well so that the festival is well appreciated and well received by the public. That's my job, to foster the encounter between the artists and the public. To do this, I have to pay close attention to the producers, directors, and other specialist artistic directors with whom I discuss and work. That's what shapes this festival.
"Our project rests on two pillars. On the one hand, tradition, transmission, and the legacy that must be respected. On the other, a more deconstructed, more relevant aspect, linked to the younger generation. For example, La Chachi's punk side is very refreshing."canteRight now we need people like that, who bring a touch of madness to the table.
– What do you think will change the most, compared to the last stage?
– I don't think there will be a major revolution in the festival's history, especially compared to the last five years. There's already an openness towards contemporary creation, and I will certainly reinforce and consolidate that aspect. I want to move towards greater co-production with Spanish artists, focus on a more contemporary scene, and open ourselves up to other regions of Spain, not just the south, while maintaining a strong connection with the major figures of the flamenco. It's a project built on two pillars: on the one hand, tradition, transmission, and the legacy that must be respected; on the other, a more deconstructed, more relevant aspect, linked to the younger generation. For example, La Chachi's punk side is very refreshing.canteRight now we need people like that, who bring a touch of madness to the table.
– In Spain, elections sometimes change the course of cultural projects. Does the same thing happen here? Should we closely follow the results of the upcoming elections to see what will happen with Nîmes?
– Let's hope not. I'm not too worried, because the Festival of Flamenco It's an institution that inspires unanimity. Despite a program that can sometimes be surprising, the public comes, curious and enthusiastic. Whatever happens on the political scene, I hope that financial support for culture doesn't decrease, something that can never be predicted. In any case, we will fight to defend public culture and to ensure that this event takes place and that artists can connect with the public.
– Given the current context, in which “we have to tighten our belts”, would you like to have a larger budget?
“Our budget is balanced; there’s no immediate need for more. When I talk about the lack of funding for culture, I’m referring to a general situation, not just in France, but also in the United States and Europe. Culture is no longer a top priority. However, in Nîmes, we’re fortunate to have a city deeply connected to culture through its history, a city that truly supports the festival and provides us with the resources to put on a high-quality event.”
"When I talk about the lack of funding for culture, I'm referring to a general situation, not only in France, but also in the United States and Europe. Culture is no longer a priority. However, in Nîmes we are fortunate to have a city deeply connected to culture through its history."
– Many cultural managers are concerned about the aging audience. How can we attract and retain young people?
– Precisely through our programming, by focusing on more contemporary and emerging artists who break the mold. This is how we can attract younger generations. We work with students and universities, organizing masterclasses and meetings with the artists. Furthermore, the flamenco It has something incredible: it's very much a family affair. We've seen it with Tomatito, for example, with families who came with eight- or nine-year-old children. There's a real transmission of tradition. There are also many dance schools in Nîmes, and during the festival we see young flamenco dancers coming to the theater. In the auditorium, you can feel a beautiful mix of generations.
– Are there any artists who personally appeal to you and who haven't come yet, but whom you would like to invite?
– I have the impression that almost all the greats have already passed through Nîmes. As programmers, what we enjoy most is discovering someone young and being able to support them in their creative process and career. That will come with the next generations. There is a young generation already coming to Nîmes, and we have projects for next season, supporting new productions and creations by these artists, while still programming established figures. But I can't give names yet. ♦
