How difficult it is to be Andalusian and flamenco not feeling trapped at times, to a greater or lesser extent, by the flamenco sacred that represents the cante through arrows. Ever since I've had the use of deep, soulful reason, in moments of ups and downs in faith, I have always found in this cante a letter, an expression, a whirlwind of ideas to express what one carries inside, whether from the little one can contribute personally or from the voice, the melody or the sincere lament that others can do.
As with almost everything in my life, I don't like boasting and chest-beating. Profundity, the pellizcoThe feeling must come from within the one expressing it and pierce the soul of the one receiving it. The only visible manifestation should be goosebumps or a tear of emotion. In this context, which I've described, and both of which were presented by our colleague, the journalist... Carmen Arjona PabonTwo flamencoTwo people with different personalities have shared their truth with us, extolling the saeta. Two unique truths, imbued with the reality of the times they have lived through. Seen in this light, we could define them as shared truths.
José Antonio Castilla led to the Flamenco Cultural Gathering of the ColoniesFrom the traditional neighborhood of the same name in the city of Huelva, his experience and elegance were made manifest in words. He spoke to us from the wisdom and knowledge he possesses. Standing on that pulpit of humanism from which he views life. From those feelings that surface after a long experience as a connoisseur and lover of the brotherhoods, of the flamenco and from the intimacy where solitude and silence are transformed into verse. He took us to the Huelva of yesteryear, where his elders held the chair of the Huelva saeta. Not surprisingly, Manuel and Dolores Gómez -Little butcher from Huelva y Dolores La Pera—, the first great-uncle, and the second paternal grandmother, They were and are renowned flamenco singers from this region. He spoke to us about those who stirred his emotions and took us by the hand, leading us into his own personal hourglass, transporting us back to past experiences and present moments. He remembered those who are no longer with us and called upon... cante, before the gaze of the image of Our Lady of Sorrows, to Manuel Ortiz, Trinidad Navarro y Jesus Naranjoas if they were impromptu arrows from makeshift balconies. Manuel Ortiz –Manuel de Monte– He gifted us the saeta in the martinete style and his subsequent lament of praise to the sorrowful mother. Trinidad Navarro stirred us deeply in the siguiriya variant. And this writer attempted it in lyrics of Moreno Galvan y Ortiz New.
And walking through time and space, our companion Kiko Valle climbed onto the lectern of Peña Huelva Women's, presided on this occasion by two plastic works by the artist from Huelva Miguel Verdejo: Christ of Faith and the Virgin of Charity, both from the Brotherhood of Faith from the Viaplana neighborhood.
"Kiko Valle defined the saeta as 'those five letters like five swords that make up the accurate and piercing dart or that chilling prayer.' The exalter clings to the wood of his life moment, in which he searches for his faith in the bag of his memories. He proclaims himself a lover of the short saeta, straight to the heart."
Borrowing the words of Carmen Arjona, "sometimes we need subject and predicate to let us see the reality that our reason hides from us. The oil painting of words by Kiko Valle, a brave and daring orator and critic, appealed to what flamenco "And his feelings to link his truth, the truth of the moment he was living, to the reality of the platform where he stood." Kiko defined the arrow. , the "Those five letters, like five swords, form the unerring and piercing dart, or that chilling prayer." The exalter clings to the timber of his life's moment, rummaging for his faith in the bag of his memories. He proclaims himself a lover of the short, sharp arrow to the heart.
Kiko Valle shared his experience with us, interspersed with words and short verses of saetas in his voice, and reminded us of that first saeta he ever performed publicly: My Mother of Sorrows / you have a divine face. / So great is your beauty / that your sorrow cannot break / nor can your tears disfigure you.
I was moved by this man from Utrera praising flamenco singers from Huelva, like Manuela Sánchez, Eduardo Garrocho, Paco Garrido, Rafael Jurado or Dolores la Pera, and leading brotherhoods of this city, such as La Esperanza, Los Judíos, or El Nazareno, among others.
Kiko stopped time at each of the moments where the saeta singers, in an intimate setting, raised their voices, describing the cold sweat of Christ, according to Trinidad Navarro, praising the Virgin in the melody of Mari Ángeles Cerrejón y Rocío de los Santos, the pile driver of Ruben Franco and the enormous arrow of Helga Molina: Do not place carnations / on the Christ of Faith / Do not place carnations / inside his heart / he has them made of blood.
When the cante It carries and expresses truth; little more can be asked. The same occurs when that truth, each person's own, emerges in the form of words to bring us feelings and a personal vision of intimate moments and realities. José Antonio and Kiko, Kiko and José Antonio, wove their words together to make us tremble inside, to transform the arrow into verse. To call to cante and so that the cante It came leaving behind a taste of experiences, laments, and prayers.
Credits
Exaltations of the Saeta
José Antonio Castilla and Kiko Valle
Flamenco Cultural Gathering of the Colonies and Peña Huelva Women's
Lent 2026
CanteTrinidad Navarro, Manuel Ortiz, Jesús Naranjo, Helga Molina, Mari Ángeles Cerrejón, Rocío de los Santos and Rubén Franco
