Emilio Jimenez DiazBorn in Seville in 1949, he passed away in November 2025. A great loss for the flamencowho owes him so much. flamenco and flamencoYes, for his work on behalf of the cause and for his generous nature. I had the opportunity to consider myself his friend, for he was the first to give me the opportunity to publish an article about it. flamenco.
We have met at several meetings of flamenco or poetry, and whenever I've asked him for information about something, for example, about Antonio Mairena o Miguel VargasFor two books about these artists, he responded with extensive and impeccable documentation. I interviewed him for the now-defunct magazine. Jondowebsitewhich I am recovering with this update, as it can no longer be found online or anywhere else, as a heartfelt and well-deserved tribute to which many fans and artists will surely add their voices. As they will to the profound tribute that my colleague wrote after learning of his death. Manuel Martin Martin in our ExpoFlamenco:
Writer, journalist, researcher, lecturer, poet, and lyricist. On his blog, From my cobalt towerHe greets us with this introduction: "I was born in a farmyard, called Los Sargueros, on July 18, 1949, when hunger and sadness were abundant. The miracle is that joy also reigned around the communal stoves, the shared and collective misery, the hopes – few, but welcome – and the despairs: the orphanhoods, close and near, the tears, the mourning…".
He has said of him Manolo Bohorquez In 2009: "Emilio Jiménez Díaz was for many years the benchmark of journalism flamenco in Seville, although he had an extraordinary force wherever there was a clump of grass that smelled of flamenco authentic"And we also endorse this: “…that the Regional Government should award him the Silver Medal next February, now that he has retired and is eager to continue fighting for Andalusia. He deserves this award for everything he has done, what he is doing, and what he can still do for the region.” flamenco and for our land."
He has received numerous awards and accolades for his work in radio, print, and television. And above all, he is admired by fans, who consider him a legend. flamenco –not only artists deserve this adjective, but also poets, researchers, enthusiasts, popularizers or critics of the jondo, like Emilio or another colleague who recently left us, Manuel Herrera Rhodes–.
Emilio's career path, in the flamenco and in creation and research, in activism flamenco, it is of a practically unattainable height. Many peñaHe has been awarded its gold badge or had conferences dedicated to him. He is a National Prize winner of the Chair of FlamencoThe Jerez de la Frontera lodge. He was elected by Andalusia Post Office, in a catalogue of Andalusian personalities, entitled Who is who...as one of "the one hundred most outstanding Andalusians". Town crier on religious, Christmas, literary or other topics flamencoShe has served as a judge in various competitions. She has hosted major festivals and events. She has written numerous book forewords and album introductions. Her lyrics have been recorded by several artists.
"This is how we said goodbye to this gentleman from flamencoelegant, competent in the flamenco and flamencoHe was, like few others, a lover of culture and of Andalusia (and of his Triana especially). Rest in peace, dear friend and teacher Emilio.
Ricardo Molina Journalism Prize of the 10th National Art Competition Flamenco From Córdoba, he received the Manuel Torre Prize from the Regional Government of Andalusia, was named Trianero of the Year in 1993, and was named an Honorary Trianero by Mayor Zoido at the Velá de Santa Ana in 2013. In 1979, he spearheaded the effort to have flamenco singer Antonio Mairena named an Adopted Son of Seville, which took place on December 20th, during Luis Uruñuela's term as mayor. In 1980, he began directing, from its very first issue, and later co-directing, the magazine Flamenco Seville, the official publication of the Provincial Federation of Flamenco Associations of Seville. In 1984 it was created, with Enrique Osborne Isasi, from the Cruzcampo firm, the emblematic distinction Compass of the cante, called the "Nobel Prize of flamenco", of which he was the perpetual secretary of the jury until very recently.
Among his publications, there is an intense dedication to the culture and environments of Triana, his birthplace, reflected in books such as Triana on the lips of the copla -an approach to an anthology of verses and songs—, published by Ediciones Giralda, 1998. Other books include Between drinks and songs, Córdoba, 1998, or Eroticism and humor in flamenco songsBarcelona, 1997. In short, many activities and achievements, and this is just the tip of the iceberg of a long and fruitful career that we must all recognize.
Bring their words to ExpoFlamenco It is a true luxury, and for me an exercise in memory, admiration, and gratitude. In 1986, at the age of twenty-five, thanks to him, I published my first article on flamencoIn this case, the result of a survey among my students, which I titled "Illiteracy flamenco"—today, unfortunately, it could surely be titled the same—. He invited me to his house, then to publish more articles in Seville Flamenco —a generosity that we know he has shown to many— and we coincided at various events flamencoand literary, since we are both lovers of flamenco and of literature. Since then, a friendship that distance—Emilio moved to Córdoba long ago for professional reasons—and time have not diminished. Emilio was always there, and he knew it, and for that reason and for his mastery as a connoisseur of flamenco I asked him directly for the prologue to my book. El cante By right. A profile of the flamenco singer Miguel Vargas -1942-1997–, published in 2010.
Let's see a cante by Miguel Vargas, whom Emilio appreciated, playing bulerías por soleá, in a home recording at the home of guitarist Juan Antonio Muñoz in 1970:
→ We begin this interview with one of my mentors in the hobby, criticism, dissemination, and research of flamenco.
– How were your beginnings in the flamenco as a fan, and as a critic and researcher of it?
– I think I was a flamenco enthusiast from birth, having been born in a tenement courtyard in the Gypsy quarter of the Triana neighborhood, and my paternal grandfather being a Gypsy from Nerva who had lived in Seville since his youth. I was his first grandson, the firstborn in the family, and I grew up with him until his death in 1958. Besides, my mother, originally from Constantina, sang very well, with a voice very similar to that of Pastora Girl of the Combs, embroidering the cantes of Manuel Vallejo, Palanca y Marchena, also being a virtuoso of the Copla.
My beginnings as a critic were in 1975, when, as a result of a festival in homage to farrucoIn the now-defunct Chapina sports club, on the occasion of the sad death of his son in an accident, I wrote a chronicle of it in the evening newspaper Nueva Andalucía, whose director was the journalist Javier Smithwho invited me to continue collaborating. After his disappearance, the father José María Javierre, director of Andalusia Post OfficeHe called me to take charge of a weekly eight-page column which I named E-mail Flamenco and for which I invited to collaborate Luis Caballero, Joaquín Herrera Carranza y Manuel Bohorquez, among others.
During this period, I also received a call from the director of Radio Popular de Sevilla, part of the COPE network. Manuel Fernández Peña, to offer me the opportunity to present and direct the daily, one-hour program, Being from the south, which, until his move to SER, had been created and directed by the great professional Paco HerreraIt was a highly popular program that won two National Awards: the Ricardo Molina Tenor Award at the 10th National Art Competition Flamenco from Córdoba, and the one from the Junta de Andalucía on the figure and work of Manuel Torres, both in 1983. In 1980, I created and directed the magazine Seville Flamenco, whose address I later shared with Manuel Herrera Rodas.
Once my time at Radio Popular ended, due to disagreements with the disastrous new management, which was carrying out Fernando TorresAfter leaving me with four hundred thousand pesetas (of that time), Radio Nacional de España hired me to direct, along with Gonzalo Rojo GuerreroHe, from Malaga, the program Heard at Cantewhich I abandoned due to exhaustion after a year or so.
– When I met you back in the mid-eighties, you were living in Triana and writing in Andalusia Post Office or the magazine Seville FlamencoHow do you remember those times?
– Those were wonderful years, as there was a roster of irreplaceable artists in all three facets of FlamencoIt was a pleasure to present artists like Antonio Mairena at a festival. Phosphorite, Juan the Lebrijan, El Camarón, Fernanda y Bernard, Chano Lobato, The chocolate, Joselero, Shake, Rancapine, Agujetas…and the strip, plus a host of unestablished artists who are now huge stars. Those were different times. And the flamenco dancers: Matilde Coral and her husband Rafael the Black, Manuela Carrasco, Miracles Mengíbar, Pepa Montes, Mario Maya, Cristina Hoyos placeholder image, The Güito…And guitarists like Melchor de Marchena, and his son Enrique, Manuel Morao, and the Bean, Pedro Peña, Paco Cepero, Jose Luis Postigo, Manolo Franco, Manuel Domínguez the Blond...
– An important moment in your career so far.
– They were all important, although I'd choose creation, along with gift. Enrique Osborne y Luis Marín, Compass Distinction of Cante, which I led for thirty-four years.
– A special moment of elf as a fan, both in private gatherings and in shows.
– Antonio Mairena scratched me many times at private parties.
– How do you see the situation of the flamenco today?
– I see her very agitated, but very focused on political handouts. Flamenco He cannot, he should not, cry so much about those patronages.
– What do you think about the recurring discussion about the Gypsy element in the flamenco?
– There should be no discussion whatsoever. The Gypsy has been extremely important in its origins and will continue to be so throughout the centuries.
– What is your opinion on the recently much-discussed, and viewed from different perspectives, sexism in the flamenco From before and now, regarding the artists, the lyrics, the cantes, etc.? We know that your opinions are generating controversy. How do you perceive this situation as well?
– I don't believe, in all sincerity, that much-touted notion of machismo in the FlamencoThroughout history, women have shared their voices with male artists. Have we forgotten about them? PastoraAnd what about Fernanda and Bernarda? And those who came before them? And those who grace the stage today's greatest shows? I disagree with those who offer opinions on a subject that exists only in their minds. It would be fitting to recall here what Manuel Torres once said: "What you need to know is to distinguish."
"I don't believe that much-touted idea of machismo in the flamencoDid we forget about PastoraAnd what about Fernanda and Bernarda? And those who came before them? And those who today grace the stage in the best shows? I disagree with those who offer opinions on a subject that exists only in their minds. It would be fitting to recall here what Manuel Torres once said: "What you need to know is to distinguish."
– What assessment would you make of your work? -positive and negative aspects- at the flamenco Until today?
– My work should be judged by others, for better or for worse, although, analyzing myself, I believe there are more positive aspects.
– You are a researcher of topics flamencoYes, although you've focused more on the critical aspect. What have you contributed and what has it meant to you personally?
– When I immersed myself in the world of flamenco, that "difficult world", as my teacher used to say Manuel BarriosMy only goal was to disseminate, promote, and dignify Art. Flamenco Overall, I think I achieved that. I'm satisfied with that.
– You are also a composer of flamenco songs. Have any of them been sung and/or recorded by flamenco singers? How important do you think the flamenco lyrics or song have in the canteand the poetry of flamenco in general?
– I've written very few flamenco lyrics, some of which were recorded Diego Clavel, The Nougat Maker y jesus herediaThat's about it. I'm not gifted for that kind of difficult inspiration. I find myself unable to create a masterpiece in the soleá style or any other genre. palos, as some friends who are true masters do: Antonio Murciano, Víctor Jiménez, Juan Peña o Jose Luis Rodriguez Ojeda, among others, or the flamenco singer himself Jose de la TomasaBut flamenco lyrics have a sublime importance: they are the scaffolding and framework of all flamenco. cantes. As for poetry, apart from the well-known monstrosities that we all know, there is a very interesting and admirable poetic production.
– Your favorite flamenco singer.
– I'm more about the art than the person who interprets it, but I have in the niche of my heart a Thomas Pavon and Antonio Mairena.
– Your singer.
- Pastora completely, evidently in the discography he left us, and Fernanda, because she is the pure marrow of cante by soleá.
– Your favorite flamenco dancer. Dand history and current events.
– Dance, being an aesthetic work in motion, must be seen. Therefore, I can't speak about those I didn't know. Of the current generation, I really liked Farruco and I still like El Güito.
– Your favorite dancer.
– There are several that are refined and elegant: Matilde, Merche EsmeraldaPepa Montes… In terms of race, I'd choose Manuela Carrasco.
– Your guitarist, male or female guitarist, that they exist.
– Everyone. The guitar excites me in the hands of anyone who knows how to play it.
– A style of cante what do you like.
– The toná, the seguiriya and the soleá.
– A style of dance.
– In women, joy. In men, the soleá.
– A style of touch.
– Because of its harmonic range, the rondeña. Although all the styles are beautiful.
– A lyric you like, one from the tradition -or other lyricists- And another one of yours.
– One by Manuel Machado:
We've all been sung to
on a night of revelry
songs that have killed us.
None of mine are worth it. Honestly.
– Short and medium term projects…
– To enjoy what remains of my life, until I kick the bucket, with my children and my six grandchildren. May it be a long-term goal. In the short term, to continue having my flamenco gatherings with my friends and to collaborate in any way I can with the newly formed National Council of the Flamenco.
– Your dream is…
– That support be given to Flamenco From every possible area, but without political favors and without any kind of constraints. I wish!
Did Emilio consider this dream fulfilled? Hopefully, he left with that impression. And so we bid farewell to this gentleman. flamencoelegant, competent in the flamenco and flamencoHe was, like few others, a lover of culture and of Andalusia (and especially of his Triana). Rest in peace, dear friend and mentor Emilio. ♦
Here's the interview Flowers in rhythm for Emilio Jiménez, which Manuel Bohórquez made for him:
