In the auditorium of Isabel de España University Residence HallThe walls speak. And they tell a story that transcends a quarter of a century, the story of the festival. Uncle Luis from Juliana, which has seen the cream of the crop pass through that stage cante, of the dance and the playing: of Carmen Linares a The Macanita o Mayte Martín, serranito o Pepe Habichuela a Yerai Cortes, Y de Cristina Hoyos placeholder image o Miguel Funi a Eduardo GuerreroThe festival's journey perfectly summarizes the evolution of art jondo of the last decades.
Although the longed-for Saint John the Evangelist, the JohnnyIt has remained in memory as the university residence hall flamenco By excellence, there are more than enough conditions to consider that those honors belong to the Isa, as it is popularly known. And the center itself, under the direction of the writer and humanist Nicanor Gómez Villegasand with a board of trustees chaired by Marisa MunozIt has once again asserted itself with a new edition of the Festival, which was held this week paying tribute, among other things, to flamenco Madrid.
The lineup for this 36th edition was, once again, undeniable. The first day, dedicated to cante, had as protagonist paco of the well, a flamenco singer awarded the Lámpara Minera, brilliantly accompanied by the virtuoso guitar of Jerónimo Maya, Noe Barroso y Rafael Peral at palmas y Roberto Vozmediano to percussion. The second day, dedicated to dance, featured a Alfonso Losa, a brilliant exponent of the Amor de Dios school, well escorted by Ismael the Ball y Eleazar Cerreduela, and Angel Flores to the six strings. And the third and final day was for the guitar, this time with the veteran Pepe Nunez as a prominent figure, a talent behind the scenes who has accompanied great celebrities, and who had the opportunity to shine with Sara Díaz y The Nati al cante, Mario Nunez to percussion and Kiko Martín y Juan Carlos Gil at palmas.
Memory of Madrid flamenco
He was the journalist and popularizer Jose Manuel GamboaIn a brief masterclass, the person in charge of reviewing the long love affair of art jondo with the Spanish capital. “The flamenco "He entered Madrid from the South, through Toledo Street," he began, before explaining that "people always talk about the triangle of flamenco in the South, but in Madrid it is a pentagon that passes through Magdalena Street, Amor de Dios Street, León Street, Ventura de la Vega Street and Santa Ana Square.”
Based on this cartography, Gamboa referred to landmarks such as The little gypsy Plans Exemplary novels by Cervantes, from 1613; the moment when the traveler Richard Ford He hears for the first time in Madrid some Andalusians singing a caña in chorus; or when the label begins to crystallize flamenco, “which had a lot to do with the traditional Madrid.”
Gamboa's route also included the Cadiz native Paquirri the Glove, inventor of the soleá, who ended up in jail; Silverio Franconetti, who wanted to open a café cantante in the city, but died before; the Clarín, which decreed in the face of the rise of this art that “the cante has defeated Echegaray”; the arrival of Chacon, the Pope of cantethat one Lunar Parakeet who records his anthology for Hispavox, or the Miguel Borrull who came from Valencia to reveal himself as a great soloist; the Ramon Montoya that “improves everything” to lay the foundations of flamenco guitar; the boom of the tablaos, the fertile substrate of Broken Pipe, Candle and countless references that make Madrid a key focus for fans.
A different festival
In that long adventure he has Isa its own golden chapter. And much of the credit goes to John Joseph GilBorn in Extremadura but now living in Leganés, he is a carpenter and cabinetmaker by trade and a true enthusiast. “My grandfather liked the flamencoBack then, I used to buy cassette tapes at the flea markets on Fridays in my village, and that's how I got into collecting and collecting things. And now, well, I have a very extensive collection of shellac records, wax cylinders… But as a programmer, I started by organizing the contest of cante "The Golden Chair, in Leganés, which we had for 27 years until the city council got rid of it."
The seed of the Tío Luis el de La Juliana Festival had as its first promoter the late critic Angel Alvarez KnightThen he took the baton Manuel Rios Ruizwho gave him a name; it happened to him Angel Lacalle until his death, and Gil, who had worked closely with Lacalle, took over the event fifteen years ago. “The Isabel de España is older than the San Juan Evangelista in terms of programming, but it is true that it became something very high-profile.” flamenco In Madrid, there were also many sponsors, even El Corte Inglés was involved… Here, no one sponsors anything; the school's board of trustees pays for everything. So, let's say it's more discreet, and perhaps that's why it's gone a little unnoticed. But at ISA they organize a great many things, not just… flamencoThey have an immense number of activities.”
Regarding the festival, he emphasizes its free nature, “something very important, because nowadays tickets are exorbitantly priced, and many people can't afford them. And we have top-tier artists, the kind you can see at the Teatro Real, the Auditorio Nacional… And also up-and-coming artists, whom the school has brought to the forefront, given an opportunity. Let's not forget that they've won the prize established by the school.” Fernando Terremoto, Sordera, El Pele, Blanca del Rey… A lot of very important people.”
Regarding the audience, Gil points out that “there’s one thing the school has been working on for many years, and that’s young people. But it’s proving difficult. They call on students to design the poster, for example, or to hand out flowers at the end of the show, as a way to involve them in some way.” To conclude, the programmer believes that “today the flamenco He moves very openly around many places. And Madrid, as Gamboa rightly said in his speech, has contributed a great deal to it. flamenco".
Another 25 years at the helm of the Festival? “If my health holds up, of course,” Gil replies with a smile. ♦
