That curious phrase was uttered by... Anzonini del Puerto the old over fifty years ago, one day while having beers and lupin beans in the Flamenco Cultural Gathering El Gallo de Morón de la FronteraA slight hangover lingered the day after the ninth. Andalusian Gazpacho Festival That year, one of the first events of its kind dedicated to flamenco, and which this year reaches its LIX (59th) edition.
This Anzonini, raised in the historic town of El Puerto de Santa María, was always spouting philosophical nonsense, like any good Andalusian. I've written a lot about him. flamenco partygoer. It's not a comical version of the dance flamencoAlthough there's certainly some of that too. That same "lite" dance is often sought in the cruel darkness of life when one sings Cañeta from Malaga for example: You married that old man for the money, now the money is running out and the old man is left behind. A whole novel script made festive by bulerías, without losing the sense of tragedy.
When a festero performer joins a flamenco ensemble, the atmosphere takes on a sparkling quality, sweet and at the same time richly aged, and technical execution moves into the background. A good festero is pure inspiration and discovery. Blink, and you miss it.
"Who hasn't seen that style of the great Manuel Parrilla? At first glance, it's hard to understand. No positioning, no heelwork, no turns, no flamboyance... Anzonini's words from that day are gospel, and you don't miss the apparent superficiality of some great figures."
A guitarist friend of mine talks about the genius of what he calls the "non-dance" of Manuel Parrilla (Jerez de la Frontera, 1945-2009). Who hasn't seen that style of Manuel's? At first glance, it's not quite understood. No posture, no heelwork, no turns, no swagger… Anzonini's words from that day are gospel, and you don't miss the apparent superficiality of some great figures.
The dancer Israel Galvan He is one of those who has changed the roadmap of dance flamencoOr rather, he is in the constant process of doing so. One of the elements that influenced him was Japanese dance. butoBased, as I read, on life, death, universality, and improvisation. Its spontaneity does not allow for choreography.
A master festival organizer whom I have mentioned relatively little in previous articles is Francisco Cortés Escudero, the much admired Paco ValdepeñasHe was born in Jaén in 1922, and was raised in ValdepeñaHe died at the age of 78 in Ciudad Real. He could have been a flamenco singer, but his work as a street vendor enabled a lucrative career as a festival organizer, divided between peñaHe performed at flamenco venues, fairs, and private parties, where he was always in high demand thanks to his flamenco elegance. If you don't know him, look him up in online videos or on recordings. Gypsy Stew from Utrera 1968 where her warm flamenco voice and her mastery of the festive art can be appreciated.
And what about the female festival participants? They're a whole different beast; each group has its own repertoire of moves. If the man mimes bullfighter poses, a female festival participant might pretend to be carrying a baby, or perform the popular routine of The korean (Isabel Expósito) who is on a bus full of men, or without pantomime, Cañeta from Malaga, Aurora Vargas, Lola Flores And many more… But we'll leave that for another day. ♦
