Guía sol y flamenco_en.qxp
Transcription
Guía sol y flamenco_en.qxp
Malaga TOURIST BOARD & CONVENTION BUREAU Sun and Flamenco COSTA DEL SOL TOURIST BOARD Plaza del Siglo, 2 29015 MALAGA - SPAIN Telephone: (+34) 952 12 62 72 E-mail: info@visitcostadelsol.com Website: www.visitcostadelsol.com Tourist Guide 16 Available online: www.visitcostadelsol.com Spanish, English, French and German versions Costa del Sol Tourist Board Gu a sol y flamenco_en.qxp 21/08/2007 16:32 PÆgina 2 In its three modes -singing, dancing, and guitar playing- flamenco is deeply rooted in Andalusia's cultural heritage. Narrowing its scope down to the so-called "Málaga flamenco" only -that is, the flamenco expressions born and kept in Málaga and brought to the surrounding areas by mule drivers (Granada and Córdoba) or migrant mine workers (Jaén, Almería, and Levante), which have given rise to the Málaga school of singing-, its musical richness is remarkable. From primitive "verdiales" to "cantes abandolaos," "Malagueñas," and "cantes of Ronda," the abundance and variety of Málaga flamenco is extraordinary. Thus, we can take pleasure in "jabegotes," "cantes of Juan Breva," "jaberas," and "malagueñas," and their wide range of styles, "polos," and "cañas." Graphic design: Conmunica Mediatrader. Editing: IT Department at the Tourist Borrad and Conmunica Mediatrader. www.visitcostadelsol.com When poet Antonio Machado called Málaga "the singer," he knew what he was talking about. It was not a flattering compliment; it was not "ojana" (sugaring the pill); it was nothing but the naked truth. Gonzalo Rojo Guerrero President of the National Flamenco Arts Foundation and the author of this travel guide Preface COSTA DEL SOL TOURIST BOARD Plaza del Siglo, 2 29015 Málaga Telephone: (+34) 952 12 62 72 E-mail: info@visitcostadelsol.com Website: www.visitcostadelsol.com However, Málaga can also savour tangos, a style born in Cádiz but having given origin to its own varieties in our province, thanks to Rafael a.k.a. El Piyayo and Trinidad-Perchel. El Piyayo seasoned his tangos with "guaijra" or "carcelera" touches. As for the latter, although it may seem that La Repompa recreated La Pirula's tangos, they were no different from those locals had sung and danced crossing the Guadalmedina river since the dawn of time. In a not-so-rare osmosis process, Perchel and Trinidad influenced one another's music, nurturing from the amazingly beautiful magma oozing out of the mouths, hands and feet of the gypsies settled in the area. Málaga has been the hometown of several interesting and influential flamenco singers, such as the late Juan Breva, Paca Aguilera, El Cojo de Málaga, Anilla la de Ronda, La Pirula, Sebastián el Pena, La Trini, El Perote, Enriqueta la Repompa, and El Niño de Vélez. Málaga-born flamenco dancers include La Cuenca, María la Bonita, La Cándida, La Espinosa, and a long list of performers. As for flamenco guitarists, Málaga witnessed the birth of Pepe el Calderero, Manuel Cañestro, Santiago el Ciego, Diego el del Gastor, Manuel Cómitre, Enrique el Gitano, and many others. Nowadays, there are a large number of artists from Málaga in the three modes. Many of them have earned national and international renown. CONVENTION BUREAU preface TOURIST BOARD & . 2 Index www.visitcostadelsol.com Málaga, Sun and Flamenco 3 Gu a sol y flamenco_en.qxp 21/08/2007 16:33 PÆgina 4 TOURIST BOARD & CONVENTION BUREAU index Málaga, Sun and Flamenco . . . . MÁLAGA SINGS FLAMENCO MÁLAGA'S CANTES ARTISTS FROM MÁLAGA FLAMENCO ROUTES . MUSEUM OF FLAMENCO ARTS . FLAMENCO PEÑAS 4 page 6 page 7 page 31 page 49 page 63 OR CLUBS IN THE PROVINCES page 67 . . GLOSSARY page 77 FESTIVALS AND COMPETITIONS page 87 . FLAMENCO ANECDOTES Malaga in Flamenco Biennial page 93 5 Gu a sol y flamenco_en.qxp 23/08/2007 17:01 PÆgina 6 Málaga Sings Flamenco It is a fact universally acknowledged that the province of Málaga has been key to the birth and development of flamenco, and it has influenced other Spanish provinces, such as Córdoba, Almería, or Granada. Flamenco rhythms and tunes reached these lands thanks to the voices of skinners, miners, and farm workers. Once settled, the migrants and local people adapted flamenco to their own spirit and setting, but the songs never lost their original hallmark. This is why scholars have considered a series of cantes -fandangos de Lucena, granainas, cartageneras, fandangos de Frasquito Hierbabuena, fandangos de La Peza, zánganos, and others- as grouped under a common category, namely, the Málaga school. Málaga Sings Flamenco This guide is intended to be a substantial (but by no means thorough) review of the most important features of flamenco-singing Málaga (Spanish poet Manuel Machado referred to the province as "Málaga cantaora"). Thus, it has been divided into nine sections, exploring different aspects of the most universal of Spanish arts. These sections delve into Málaga's cantes, Málaga-born flamenco singers, Málaga-born flamenco dancers, Málagaborn flamenco guitarists, flamenco routes, flamenco folk clubs, the Museum of Flamenco Arts, flamenco festivals and competitions in Málaga, and a collection of anecdotes revealing less known details about flamenco customs and traditions. Málaga´s cantes. Málaga, Sun and Flamenco . Verdiales . Cantes abandolaos . Malagueñas . Artists from Málaga . Artists from other provinces . Ronda Cantes . Non Native Málaga Cantes Málaga, Sun and Flamenco . . In this English version of the guide, readers will find some words in Spanish. They describe key concepts in the field, and they are very difficult to translate without losing a great deal of the local flavour flamenco has to it and has transferred to the language used to talk about it. All these words are defined in section six, which is a glossary of fundamental flamenco terms. Málaga's Cantes 6 TOURIST BOARD & CONVENTION BUREAU Index Málaga, Sun and Flamenco 7 Gu a sol y flamenco_en.qxp 21/08/2007 16:34 PÆgina 8 TOURIST BOARD & Verdiales The full list of cantes or ways of singing in Málaga is very long. Among them, verdiales, an ancient form of music and dance, stand out for their refinement. The Dorian mode of their melodies is linked to astronomy calculations and to the summer and winter solstices as well. Verdiales, reminiscent of the Mediterranean culture, were voiced together with vine cultivation, which according to British archaeologist Chapman, started in Mediterranean Spain by the year 2500 B.C. 8 Index www.visitcostadelsol.com Regarding the noun "verdial", there are old texts in which it is used meaning verde ("green" in Spanish) or "verdial," which according to Julio Casares's Diccionario Ideológico de la Lengua Española, means "a plot of land whose humidity helps keep its lushness even at times of the year when the earth is usually parched." Sometimes, the noun is used to refer to a variety of olives or figs, as Fernán Caballero says in this quatrain: Salga el sol y alumbre al campo y sus verdiales, que el amor que yo te tengo de las entrañas me sale. Let the sun rise and shine On the fields and their verdiales; My love for you is sincere, as it comes just from my bowels. Málaga´s Cantes Málaga, Sun and Flamenco . According to the scholar José Ruiz Sánchez, when the Arabs invaded the Iberian Peninsula, verdiales continued to live in the interior of the province of Málaga, the highlands and the country, since the "new authorities in the The main verdiales rituals are celebrated simultaneously with pagan celebrations. The winter solstice was the time of the year the rural festivals in honour of Dionysus were held in the region of Attica, and Emperor Domitian set the dates to celebrate Saturnalia between December 19th and 23rd. Verdiales emerged from pagan celebrations and their major festivals are held from December 24th (Christmas Eve) to the 28th (Feast of Fools), which is why verdialeros or pandas' members are called "tontos" ("fools" in Spanish). Something similar occurs with the summer solstice, a feast of sun worshipping, known as the Midsummer Eve, and now St. John's Eve. Málaga´s Cantes A gem of the cultural heritage of Málaga, this archaic musical feature has remained one of the Iberian or Tartessus mysteries for centuries, extending from the mouth of the River Vélez to the current western border of the province of Málaga and surviving in spite of the arrival of different invading peoples who took their own cultural features to the region. It lived there along with many Iberian rites until the coming of the Roman Empire. At that time, some patricians took it to different cities of the Empire, as can be seen in "Travelling Musicians," a mosaic from Cicero Villa, in Pompeii, which has been kept by the Naples National Museum. The mosaic depicts a group of musicians (ludiones) playing the same instruments as those played in verdiales (tambourines and cymbals), and touching their heads, covered in leaves and flowers forming something similar to the present-day hat worn by verdiales artists. occupied territory were interested only in levying taxes and in becoming strong in the area, so what the Spaniards sang or their beliefs didn't matter to them in the slightest," as can be read in Sánchez's essay "Morisma y Mozarabia." CONVENTION BUREAU MÁLAGA'S CANTES 9 Gu a sol y flamenco_en.qxp 21/08/2007 16:34 PÆgina 10 TOURIST BOARD & By mid twentieth century, verdiales started to move from their primitive area to the capital city. Since then, they have grown increasingly popular in urban areas, helped by the Peña Juan Breva and Antonio Fernández Fernández "Povea." In the Montes de Málaga, they organise competitions, Verdiales Weeks, and so the three existing verdiales styles, Almogía, Comares, and Montes de Málaga have become popular. . Your lashes are like a bunch of little pins, little bunch of pins, and every time you look at me they pierce my soul, they pierce my soul. Málaga, Sun and Flamenco High, high up in the sky Is where Comares lies, High, high up in the sky, Between the hills and the olive ties, As beautiful as a bright star, As beautiful as a bright star. The Montes de Málaga style comprises the rural areas of Santa Catalina, Arroyo Coches, Jaboneros and Barranco del Sol, with its centre in the chapel of Verdiales. The violin goes in vara corría but it is tapped in some paseíllos. The tambourine, big star of the fiesta, accompanies the initial or final notes at a descending double time starting in the centre of the membrane. At times, there's a long strumming near the jingling disks. The cymbals mark the time with a batío that keeps the pace of the tambourine, leaving the beating aside . Partío de Verdiales partío de muchas viñas, partío de Verdiales, entre viñas y olivares estoy queriendo a una niña y no me la da su mare, y no me la da su mare. From the verdiales we've addressed so far most of the flamenco styles in the province of Málaga have emerged, as we'll see below. Cantes abandolaos Juan Breva's cantes Fandangos abandolaos and verdiales were the only cantes from the Málaga school that Juan Breva ever recorded. Now, the title "Malagueñas" appears three times on the record, but Juan Breva didn't record this falseta, which was well-defined back in 1910, when his records were released. By then, El Canario, La Trini, Chacón, El Perote, or Fosforito had already defined the malagueña musical structure, and it would have been quite strange that Juan Breva got to make up a brand new way of structuring this cante. And what he played happened to be malagueñas, they were quite different from those we do know. the second, a long bandolá, and the third, a verdial. Most probably, the traditional Málaga character of Juan Breva made the record label name these cantes the way it actually did. However, we can claim that it was from his cantes that malagueña derived, which is easy to check if we listen to "Caleta y Limonar," by cantaor Niño de Vélez.Out of the many lyrics of the wide variety of songs by Juan Breva, we'll copy only three. The first one is a short bandolá, Index www.visitcostadelsol.com Málaga´s Cantes Ni el canario más sonoro, ni la fuente más risueña, ni la tórtola en la breña harán cantar como lloro gotas de sangre por ella. The whistling bird, The giggling fountain, Or the turtledove in the scrub Will never give out sounds as sad As the blood tears I shed for her. Tienes tan malas entrañas que gozas en mi agonía, pero un día llegará que llorando noche y día me has de venir a buscar. Málaga, Sun and Flamenco . 10 Manojitos de alfileres me parecen tus pestañas, manojitos de alfileres, y cada vez que me miras se me clavan en el alma, se me clavan en el alma. Por lo más alto del cielo me han dicho que está Comares, por lo más alto del cielo, entre sierras y olivares más bonito que un lucero, más bonito que un lucero. From Verdiales where vines abound from Verdiales among vines and oliver orchards I love a girl and her mother will not let her be mine her mother will not let her be mine. Málaga´s Cantes Málaga´s Cantes The Almogía style spreads from Yeseras de Cártama to El Torcal, which makes it the most outstanding style in terms of geographical extension. It has a faster pace than verdiales from other regions, and the cymbal beating is quite distinct. The violin began to be used in the 20's, and it replaces guitar plucking in the salida, paseíllos and parada . The guitar only accompanies the main instruments, and the musicians play the tambourine hitting it with their fingertips. There are over forty kinds of mudanzas or dance moves and steps. The Comares style stretches over virtually the entire region of Axarquía, from Santo Pitar to Barranco de Huit. The violin goes up in paseíllos and the lute, which is used only in the verdiales of Comares, is played with a pick as is the guitar. CONVENTION BUREAU The word "verdial" might derive from the Latin word "viridi," meaning "young," "vigorous," or "lively." 11 Gu a sol y flamenco_en.qxp 21/08/2007 16:35 PÆgina 12 TOURIST BOARD & The stanzas are in the major scale pattern, moving to the Dorian mode in the last fragment, as is the case in all the fandangos which rondeñas are related to. From the point of view of metre, rondeñas are made up of four eightsyllable lines, generally with consonant rhyme, which are actually five, since one of them is repeated. Fosforito, Antonio de Canillas, Alfredo Arrebola, Antoñita Contreras, El Bolo, and Paqui Corpas are some of the top performers. Your heart is mean, And so you enjoy my agony. But a day there'll be When, weeping day and night, You'll come to fetch me. 12 Málaga, Sun and Flamenco Sailing through the sea Suddenly I got lost And nothing could I see But your eyes were like my key Which opened the door to the port. An urban cante, apparently born in the district of La Trinidad, related to fandango and malagueña but having its own features. It has an abandolao air and passes quickly but quite orderly from deep to high-pitched tones, and it's a bit harsh, which makes it different from the malagueña. It has six linked tercios or lines adorned with melismas, the second linked with the third, and the fourth with the fifth, the first and the last one being free. Dos hermanas, dos mozuelas del barrio la Trinidad, dos hermanas, dos mozuelas, pregonaban por jaberas y desde entonces "pacá" las canta Málaga entera. Serafín Estébanez Calderón mentioned this style for the first time in Escenas andaluzas, published in 1847. He wrote: "It was a malagueña with the La Jabera style… a popular cantaora." This cante was ignored for a long time, and it was only sang in isolated places in the province of Málaga, especially in Vélez-Málaga and Torrox, where it was known as "cante of María Tacón." As it cannot be modelled by artists, it doesn't show significant personal variations. Some performers: El Canario de Madrid, El Mini, El Chato de Jerez, El Mochuelo… more recently, Ángel de Álora, Juan de la Loma, Pepe de la Isla, Niño de Málaga… and nowadays, Antonio de Canillas, Fosforito, or Niño de Bonela, among others. Index www.visitcostadelsol.com Two sisters, they were maidens, From La Trinidad they were, Two sisters, they were maidens, And they hawked using jaberas Since then and until now They're sung all around Málaga, This fandango, also known as "cante de los marengos" on the coast of Málaga, is the oldest existing bandolá. According to Pepe Luque Navajas, jabegote is "typical of the beaches near the capital city, its name derives from the fishermen who sang this kind of song Málaga´s Cantes Málaga, Sun and Flamenco . . In La Cala there is fiesta And Mother will take me And Mother will take me As I'll be dressed up for romance I will be asked to dance, So my castanets are having their chattering chance. Navegando me perdí por esos mares de Dios, navegando me perdí, y con la luz de tus ojos a puerto de mar salí. Málaga´s Cantes Málaga´s Cantes Mi mare me llevará en la Cala hay una fiesta, mi mare me llevará, yo como voy tan compuesta, me sacarán a bailar: llevo yo mi castañeta. CONVENTION BUREAU This is a very old fandango belonging to a certain area of the capital city. It acquired its structure in the past century, when it moved from the country to the city, and as José Luque comments, it is one of the most vivid cantes. However, its first examples were less ornate and a bit slower than present-day rondeñas. 13 Gu a sol y flamenco_en.qxp 21/08/2007 16:35 PÆgina 14 TOURIST BOARD & My tears move no-one And I sing through day and night My tears move no-one. I am like the bird cold and white, Who sings by the snow in the dark,, When the sun is about to rise. The following artists usually perform jabegotes: Cándido de Málaga, Antonio de Canillas, Fosforito, Paqui Corpas, Juaneque... Cayendo. Copos de nieve en tu cara parece que están cayendo, cuando más te estoy mirando mejor me estás pareciendo. Estando la mar en calma se me mojaron las velas, y fue de las puras lágrimas que yo derramé por ella. The ocean was calm But my sails got wet It was the tears That I shed for her. This malagueña is based on a rural cante, called gañán, besana or temporera in its Álora version, which Juan Trujillo 'El Perote' used to know so well, since he was a rural worker in Álora before starting his career as a singer. The copla usually includes a popular saying. Málaga, Sun and Flamenco . Although the cantaor from Álora created several malagueña styles, all of them included in Pizarra's discography from early twentieth century, we'll address the type of malagueña that has been most well-known in the last six decades. It's a very brave malagueña, and the singer must perform it intensely. It starts with a broken line taken from one of the first two lines of the stanza, a characteristic that was then adopted by Enrique el Mellizo, Niño de La Isla, La Trini, Chacón, and Fernando el de Triana, Donde hay yegüas, potros nacen, es un refrán verdadero. Pero lo dices llorando. Tú dices que no me quieres, pero lo dices llorando; tu corazón desmintiendo lo que pronuncian tus labios. Yo se lo que estás sufriendo. ¡Adelante!, no hay que apurarse. Buenas noches, caballeros. Por ser la primera, pase. Where there are mares, there'll be colts, A true proverb this is. Go ahead, no need to jolt! Gentlemen, good evening. You're the first one, come in. Index www.visitcostadelsol.com But you're weeping when you say it That you don't love me any more But you're weeping when you say it. Your heart belies The words your lips bring to life: I know you're suffering a lot. . 14 Mi llanto a nadie conmueve cantando paso la vía, mi llanto a nadie conmueve, yo soy como el ave fría que canta al pie de la nieve al amanecer el día. El Canario style The second malagueña is a charming and sensual version sang by La Trini, taken from Maestro Ojana's creation: Málaga´s Cantes Málaga´s Cantes El Caribe style La Trini sang more than one style of this cante, specifically three. She enjoyed mainly the one we'll show right below, the most interesting of them all. She used to sing the following: I try but can't forget April the fourteenth On this day I was as close To death as one can get For you I fell and fell so low. El Perote style Artists from Málaga: La Trini styles No se borra de mi mente el día catorce de abril: en ese día me vi a las puertas de la muerte sólo por quererte a ti. Falling, Snowflakes on your face, They seem to fall on your face. The more I look at you, The more you look full of grace. Malagueñas It's the oldest malagueña that has survived. Its creator, Juan Toledo, performed it in Málaga back in the nineteenth century. It's a nice lament that has come down to us thanks to the Málaga-born cantaor Adolfo Carrasco Ceón, known as Adolfo el Cuchillero, and the successive recording by Antonio de Canillas. There aren't many cantaores who do sing it, but it's just because they don't know it. The most popular verses are: among other artists. It was used also in the introduction of tientos, cartageneras and some fandangos from Huelva. The nice musicality of this malagueña was useful for the creation of the taranta known as totanera. The text goes: CONVENTION BUREAU while arranging their fishing nets and sitting on the sand close to their anchored jábega [fishing boat]." Jabegotes have come down to us via Málaga-born cantaoras Joaquina Payáns, La Brígida and María la Chilanga, as well as fishermen themselves. Málaga´s Cantes Málaga, Sun and Flamenco 15 Gu a sol y flamenco_en.qxp 21/08/2007 16:36 PÆgina 16 TOURIST BOARD & Paloma mía. Yo recuerdo que una vez fuiste tú paloma mía, y olvidaste mi queré por una habladuría. My dove. Let me remind you, Once you were my dove. But our love came to a halt Just because of foolish talk. Maestro Ojana style This is another very old type of malagueña. Its author sought for inspiration in the jabegotes' cante. Diego el Perote, el Breva Chico, and Ángel de Álora were familiar with this cante, as today is Antonio de Canillas. 16 Málaga, Sun and Flamenco This malagueña was born from the Perota school. Joaquín Tabaco stamped his personal seal, and this is the reason why this style bears his name. Mind, where are you taking me? Remember I can't follow, Don't get into narrow streets, Which you won't be able to leave, 'Cause I'm drowning in my sorrow. Joaquín's nephew, Pepe Aranda, used to sing it in cabales' meetings when he was over ninety years old, and Antonio de Álora recorded it in 1973. María la Chilanga style María la Chilanga's cante is based on one by La Trini, of whom the former was keen admirer. One of her most frequently recited texts was the following: Darle la vía a mi mare si con lágrimas pudiera, darle la vía a mi mare, seguro que lloraría hasta que yo me muriera por devolverle la vía. Could I bring Mother to life With the power of my tears Could I bring her to life, I would cry myself to death To restore her life, my dear. Loriguillo de Coín style Francisco Lorigillo composed his cante with bits and pieces of several perota and serrana malagueñas. The Loriguillo malagueña is missing nowadays, as the last cantaor to sing it was Loriguillo' s fellow countryman, Frasquito Jiménez, who passed away in 1960. La trampilla que tenía la pagó en esta ocasión, la trampilla que tenía. La he recogío en las breñas, la pegué en mi corazón salió esta malagueña. A un cura me confesé y me dio la absolución. Los pecados cometíos no tenían comparación con lo que yo había sufrío. The trapdoor that I had, Was finally torn apart, The trapdoor that I had, I found in the rough ground, I stuck it to my heart, And this malagueña came out. Luisa la Chirrina style La Chirrina's malagueña is an offshoot of a perota malagueña. She used to sing a malagueña whose text was also performed por soleá by Ramón el Ollero. The arrangement consisted in the addition of one line to the stanza. Pensamiento aónde me llevas que no te pueo seguir, no te metas en callejuelas Index www.visitcostadelsol.com . . Noble lineages aren't stained By a person being poor Noble lineages aren't stained. Jesus came to our world, Without clothes, or heat, or food. de aónde no pueas salir, porque me ajoga la pena. Málaga´s Cantes Málaga´s Cantes Ni mancha ningún linaje. El ser pobre no es deshonra, ni mancha ningún linaje, Jesucristo vino al mundo pobre y sin calor de nadie. Joaquín Tabaco style CONVENTION BUREAU The third one, a bit strange indeed, wasn't performed by La Trini very often. Moreover, its lyrics were not thought for a woman singer. Málaga´s Cantes Málaga, Sun and Flamenco 17 Gu a sol y flamenco_en.qxp 21/08/2007 16:37 PÆgina 18 TOURIST BOARD & Baldomero Pacheco or El Pena style This cantaor revisited malagueñas, creating a unique style, whose distinct feature lies in the end of the first, third and fifth tercios. Apparently, he found inspiration in a malagueña by La Trini. Experts believe this malagueña was made by Sebastián el Pena, who recorded it as a malagueña of his own. There's a version by La Rubia as well. Niño de las Moras is one of the more modern cantaores who recorded it. And all contemporary artists sing it. Porque andando me desmayo las paeres me arrimo. Porque andando me desmayo. Yo me encuentro desvarío sirviendo de mal vasallo y tú la culpa has tenío. As I walk, I lose heart, And turn to walls for support, As I walk, I lose heart. I rave as never before, I cannot play my part, And on this you'll be asked to report. Niño del Huerto style There isn't any special text or melody, so there's no point in basing on this one. Al campo me fui a robar pa alimentar a mi mare, al campo me fui a robar, estando ella en su agonía me llevaron a la cárcel. Pitana style Cipriano Pitana, from Cártama, based his malagueña on La Chirrina's, but his extraordinary talent and his unique style have given his version a personal seal. Antonio de Canillas was the first cantaor to record it many years ago. Para más martirio darme mientes a quien más quería, para más martirio darme. Yo te juro por mi vía, que he de venir a cobrarme a todas las horas del día. Fortunately, Niño de Vélez recorded it with Columbia records. Caleta y el Limonar viva Málaga que tiene, Caleta y el Limonar, su Parque lleno de flores a la orillita del mar, donde nacen los amores. CONVENTION BUREAU After hearing my confession, The priest chose to absolve me: All my sins, he said, Were nothing, As compared to my suffering. Caleta and El Limonar, Long live Málaga, their home, Caleta and El Limonar. The park full of flowers, Just by the seashore, The origin of many lovers. Intended to torture me badly, You lie to those I love best, Intended to torture me badly. I swear on my chest: To get my pay I'll come gladly Every hour and every day. Diego El Perote style Diego el Perote also adopted La Trini as his teacher. He added new features to the malagueña and produced a different cante: Niño de Vélez style Que yo sigo con mi pena. This is a beautiful malagueña, with an air of Chacón and Juan Breva which Niño de Vélez managed to fuse with elegance, creating "Caleta" and "Limonar," a true Málaga cante. Dile a esa mujer que ría, que yo sigo con mi pena A esa mujer no la olvío Porque pa mi ha sío muy buena el tiempo que ha estao conmigo. Con qué pena moriría. Leave me alone with my grief, Málaga´s Cantes Tell that woman she can laugh now, Leave me alone with my grief. I just can't forget her -how?-, . 18 Málaga, Sun and Flamenco Index www.visitcostadelsol.com Málaga´s Cantes Málaga, Sun and Flamenco . For I believe she has been, As good to me as she could be. I can't imagine her grief, so frail. Málaga´s Cantes To the country I turned for stealing, And thus get my mother's bread, To the country I turned for stealing. But I was sent to jail When she was in her deathbed, 19 Gu a sol y flamenco_en.qxp 21/08/2007 16:37 PÆgina 20 TOURIST BOARD & Enrique el Mellizo style Apparently, this is the oldest malagueña made by an artist from a province other than Málaga. It's an impressive cante due to its solemnity, grandeur and musicality; in a way, it's a departure from tradition. Although it's different from the malagueña by El Canario, the fact that it starts with a broken line isn't pure coincidence. According to some experts, this malagueña is closely linked with Gregorian chant, used in religious services. Other scholars, however, disagree. The cantaor Niño de la Isla was the most appealing among the different followers of this cante, which is the type of malagueña most frequently performed by gypsies. A llamarme. Serían las dos de la noche vino mi hermano a llamarme, levántate hermano mío que se ha muerto nuestra mare y nos queamos huerfanitos. At two o'clock at night, My brother came to wake me up: "Get up, little brother of mine, Our mother has died, We're orphans, you and I." Chacón was an extraordinary artist, an incredibly talented musician. His malagueñas have covered the history of flamenco with glory. He also recreated other styles with musical features of different cantaores from Málaga - Trini, Canario, Ojana, among others-. However, he stamped his own style on malagueñas, so that they bear his name: Chacón malagueñas. A qué tanto me consientes si tú no me has de querer, a qué tanto me consientes, mátame ya de una vez, yo te perdono la muerte que no quiero padecer. The first copla is a magnificent work by the cantaor from Jerez. It links with the second one, which shows remnants from La Trini. This is one of the first malagueñas by Antonio Chacón. According to José Blas Vega, he sang it at Café de Silverio. Y allí fueron mis quebrantos, en un hospital la vi y allí fueron mis quebrantos, quién me había de decir, mujer que yo quise tanto iba a tener tan mal fin. Que te quise con locura yo en mi vía negaré, que te quise con locura, mira qué cariño fue que siento la calentura que tuve por tu querer. This is what my pain has come to, An ill woman in hospital, in bed, This is what my pain has come to, Nobody would have said The woman I've loved so much, Was to end up not so well. I went mad about your love, I will never say that's wrong, I went mad about your love. Imagine: it was so strong That I still feel hot like a winter glove For your love, to which I once belonged. This is one of the best creations by Chacón in the world of malagueñas. Do not spoil me like a child If thou are not going to love me, Do not spoil me like a child. Kill me now, I beg thee, I forgive thee for my death, so mild, But I do not want to suffer, please. Qué tienes por mi persona, a qué niegas el delirio, qué tienes por mi persona, le das martirio a tu cuerpo y te estás matando sola y yo pasando tormentos. No me habías de conocer si me trataras de nuevo, no me habrías de conocer. yo tengo distinto genio y otro modo de querer más cariñoso y más bueno. What is your problem with me? Why d'you deny you're crazy? What is your problem with me? Inflicting torture on your body, You're killing yourself slowly, And tormenting my soul, poor me. You wouldn't know me now If you came across me, ay, You wouldn't know me now. I am different today, I am a different lover, Much warmer and much kinder. . . 20 Málaga´s Cantes Málaga´s Cantes Wake up, Chacón styles CONVENTION BUREAU Artists from other provinces Málaga, Sun and Flamenco Index www.visitcostadelsol.com Málaga´s Cantes Málaga, Sun and Flamenco 21 Gu a sol y flamenco_en.qxp 21/08/2007 16:38 PÆgina 22 TOURIST BOARD & Del convento las campanas si preguntan por quién doblan, del convento las campanas, diles que doblando están por mis muertas esperanzas, por mis muertas esperanzas. If about the convent bells Someone asks for whom they toll, About the convent bells, Tell them they just toll For my dead hopes, For my dead hopes. There's another example of the Chacón style, in which we can see slight reflections of Enrique el Mellizo's, which José Blas Vega believes was added later. ¡Viva Madrid que es la corte! ¡Viva Málaga la bella!, Y para puertos bonitos: Barcelona y Cartagena. ¡Viva Madrid que es la corte! Court. . When the clock strikes one, And the bells do sadly toll When the clock strikes one. I'll be waiting until two For the love you feigned, my soul, And at three I'll still be weeping, and so blue. Málaga, Sun and Flamenco Long live Madrid and the court! To beautiful Málaga, long life! And the Spanish pretty ports, Cartagena and Barcelona. Long live Madrid and the court! Personal style of the cantaor from Cádiz which was highly successful in the past. It is based on the Perota school. The following malagueña was recorded by the cantaores Diego el Perote, Antonio de Canillas and other artists from Málaga. Desde que te conocí mi corazón llora sangre, desde que te conocí, yo me quisiera morir porque mi pena es mu grande y así no pueo vivir. From the very day I met you My heart's shed tears of blood From the very day I met you. I'd rather die, I tell you, So grievous is this love I just can't live without you. con la ventana entreabierta, tú estás dormía en la cama, y agonizando en tu puerta hay un querer que te llama: despierta, mujer, despierta. You're sleeping on your bed, This malagueña's musicality is similar to that by El Canario. The lyrics are precious, far from the usual tragic lyrics sang in those years. Diego el Perote, Juan de la Loma and Antonio de Canillas recorded this malagueña. Index www.visitcostadelsol.com Apparently, the cantaor Alpargatero from Málaga was Antonio Grau Mora, also known as Rojo el Alpargatero. We know that he lived in Málaga for years, he married María del Mar Dauset here, Antonio Grau Dauset, his son, was born. He got acquainted with El Canario. Tú estás dormía en la cama Fernando el de Triana style Eres guapa. Dios te guarde, y en tu puerta da la luna. Acaba de desengañarme mira que va a dar la una y preciso retirarme. Rojo el Alpargatero style Your window is ajar, You're sleeping on your bed, And by your door, my love, not far Is about to drop dead, Wake up, you woman, wake up. Chato de las Ventas style La Trini's influence through Paca Aguilera is quite clear in this malagueña. El Chato embellished it a bit. This is a malagueña that many people like a lot. . 22 Corte. Francisco Lema "Fosforito" style God bless you, you're a beauty And the moonlight plates your door, So I'm not just self-deluded. Look, it's one o'clock And I must leave you now, my booty. Málaga´s Cantes Málaga´s Cantes Dando en el reloj la una de aquella campana triste, dando en el reloj la una, hasta las dos estoy esperando el querer que me fingiste me dan las tres llorando. This is one of the best-known malagueñas from Chacón's repertoire. We can hear echoes from Master Ojana. Another version starts as follows: Del Cristo del Desengaño/ si es que pasas por la ermita… Magnificent recreation of a malagueña based on one by El Canario. It contributed to increase Chacón's popularity. CONVENTION BUREAU Fernando el de Triana says "these were his favourite lyrics and as he sang them passionately, from the bottom of his heart, audiences used to give him enthusiastic ovations..." Málaga´s Cantes Málaga, Sun and Flamenco 23 Gu a sol y flamenco_en.qxp 21/08/2007 16:39 PÆgina 24 TOURIST BOARD & The thought of you makes me mad, I'd like to loathe you by tomorrow, The thought of you makes me mad. I'd rather not have been born, I can't live like this, it's so bad, I'm drowning in my sorrow. Ronda cantes Flamenco styles from Ronda comprise four cantes which extend beyond the region towards Campo de Gibraltar and western Cádiz, and even to the north up to the first villages in Seville. These cantes are serrana, caña, polo and rondeña. Serrana Serrana is a cante typical of shepherds, bandits, skinners and smugglers who spend the night on inaccessible crags, or hearing sheep's bleat or dreaming of some distant lover who cannot be reached. From the point of view of metre, it uses seguidilla castellana, or 7-5, 5-5 syllable lines, after cante por liviana and before the so-called macho de la serrana. To finish, they sing a siguiriya by María Borrico, Perico Frascola, Junquera de Jerez, or any other short siguiriya to round the song off. This gypsy of mine is driving me mad: Of my own flesh and blood I'm eating up. Doblen las campanas doblen con dolor, que se ha muerto la mare de mi alma y de mi corazón. Let the bells toll, Let them toll in grief, My dear, dear mother Is now deceased. Down Sierra de Ronda She's coming to us, Her little black eyes Smuggling dust. Index www.visitcostadelsol.com Málaga´s Cantes Málaga, Sun and Flamenco . Málaga´s Cantes A…………y! But forgetting all about you Málaga´s Cantes ¡A………………….y! Pero olviarme de tu persona, arsa y viva Ronda, reina de los cielos eso no lo manda la ley. In Sierra de Ronda I was robbed of my horse. My wings have been stolen Now I worth nothing, of course. . ¡A………………….y! A mí me pueden mandar, ¡ay! mandar servir a Dios, servir a Dios, y al rey A…………y! But forgetting all about you That they cannot ask. That the law cannot forbid. En la sierra de Ronda perdí el caballo, me robaron las alas ya nada valgo. Málaga, Sun and Flamenco This is another cante typical of Ronda. Although it isn't performed in festivals or meetings very often, it features, undoubtedly, the grandeur of the Ronda cantes. At the beginning, there's the characteristic "ay!" and then comes a quatrain made of octosyllables, another melodic "ay!" and the macho de la caña, which was apparently used first by Enrique Ortega "El Gordo." The cante must end with a soleá of Enrique el Gordo or Triana. ¡A………………….y! Pero olviarme de tu persona, eso no lo manda, eso no lo manda la ley A…………y! They can ask me, Woe! ask me To serve God and serve the King. Por la sierra de Ronda viene bajando, unos ojitos negros de contrabando. 24 Caña Esta gitana me está poniendo que de mis propias carnes yo estoy comiendo. CONVENTION BUREAU Pensando en ti desvarío, aborrecerte quisiera, pensando en ti desvarío, pa vivir de esta manera más valía no haber nacío porque me ahoga la pena. 25 Gu a sol y flamenco_en.qxp 21/08/2007 16:39 PÆgina 26 TOURIST BOARD & The cantaor José Joaquín Vargas Soto, from Málaga, known as Cojo de Málaga, was one of the greatest performers of cantes of mine workers and he composed some of them too. Maybe the most popular of his tarantas is "La Tortolica": ¡A………………….y! Los lamentos de un cantivo no pueden llegar a España, porque está la mar por medio y s'ajogan en el agua. ¡Ay! la llamo… y toas las mañanas la llamo, y pa echarle de comer, y al tiempo de echarle el grano, que donde se vino a poner: y que la tortolica en la mano. A…………y! The wails of a prisoner, Can but never reach Spain, As the ocean is between them, And they drown making their way. Polo This is a lively, agile cante in major mode and ternary time, related to the caña. There's the polo natural, which reached its peak in the eighteenth and nineteenth centuries. One of its most popular performers was Curro Dulce. Another polo is the polo Tobalo, created by the Ronda-born cantaor Cristóbal Palmero, known as Tobalo de Ronda. The best-known text of polo natural goes: En Carmona hay un fuente con catorce o quince caños, con un letrero que dice: . According to other authors, the last line in the quatrain reads, "Viva el pueblo soberano y viva el polo de Tobalo." Therefore, there are three ways of singing it. Málaga, Sun and Flamenco Little pilgrim, you're the devil, And you're coming here to tempt me, Little pilgrim, I'm no devil, I'm your mistress, do come with me. Non native Málaga cantes These palos are not grouped together with Málaga styles but were composed by cantaores from Málaga. Some of them are tarantas by Cojo de Málaga, certain cantes by La Repompoa, a soleá by Juan Breva, petenera by Rubia de Málaga. Oh, I call her… And I call her just to feed, Every morning I call her. While I'm giving her the seeds, Look where she comes to perch, The turtledove: on my hand, indeed. El Cojo de Cojo de Málaga transformed this taranta into a truly monumental miners' song. José Luis Navarro and Akio Iino comment: "There's an 'ay!' at the beginning of the first line which reaches a very high pitch, followed by a dramatic pitch descent, and closing the tercio or line modulating in B flat, characteristic of some miners' cantes. An ascending sequence reaches its peak in the second tercio with peculiar falls of an enharmonic on the second syllable of "mañana" and the first syllable of "llamo", quite unusual in Western music, and a very difficult descending modulation resembling Gregorian chant that links with the third tercio. A fourth tercio starts with a melody similar to that of the second line, and closes in a gradual descending scale like all the tarantas. A brave and beautiful descending lengthening appears on the last vowel of the fifth line. This cante features a strong flamenco vibrato. Index www.visitcostadelsol.com Hey, come, look what I got you: I come from the Carboneras mines, Hey, come, look what I got you: A pair of flap boots. With their buttons on the side, You can wear them when it suits you. Let's focus now on a taranta that stands out for its musicality and dramatic content. It is called murciana. The cante starts with Joaquín Vargas singing a line that descends slightly as it unfolds. The second line ascents slowly and the third one is similar to the first. The fourth tercio offers moderate tones and the next, powerful, ones make up a beautiful and long melodic arc. Échese usted al vaciaero, aperaor de la Lavá, échese usted al vaciaero, y diga a Venancio Corral ¡ay! que con él batirme quiero, aperaor de la Lavá. Málaga´s Cantes . 26 In Carmona there's a fountain With fourteen or fifteen spouts, "Long live Seville's polo!" The sign on it invites to shout. Eres el diablo romera, que me vienes a tentar, no soy el diablo romera, que soy tu mujer natural. Que mira lo que te he comprao… que vengo de las minas de las Carboneras, que mira lo que te he comprao: unas botas de cartera, que con los botones a un lao; te la pones cuando quieras. Málaga´s Cantes Málaga´s Cantes ¡viva el polo sevillano! In the so-called polo de Tobalo, the text has been taken from the romance of Conde Sol. It says: There's another precious taranta, quite different from the one mentioned above, known for the text "Mira lo que te he comprao." Cojo de Málaga leaves the first, third and fifth lines as if they were hanging in the air, while the second, fourth and sixth lines consist of tone ups and downs. CONVENTION BUREAU Cojo de Málaga Arsa and viva Ronda! A queen in the sky. That the law cannot forbid. Málaga, Sun and Flamenco 27 Gu a sol y flamenco_en.qxp 21/08/2007 16:40 PÆgina 28 TOURIST BOARD & When even honour men lose Women are to blame. Even honour men can lose. No-one'd be surprised, then, That out of my mind I came, Serrana, for your love ruse. Oh, please go to La Lavá, mister foreman at the mine, And tell Venancio Corral That with him I want to fight mister foreman at the mine Cojo de Málaga was a master of cante por fandangos, which were taken to the highest peak by Cepero, Marchena, Carbonerillo, Pena hijo… Rubia la mujer primera hizo Dios por un ensayo, rubia la mujer primera, como no le gustó la tuvo que hacer morena. . And I so like them such! Málaga, Sun and Flamenco Enriqueta Reyes Porras is widely known in the ay world as La Repompa or La Repompa de Málaga. She was a magnificent singer who, unfortunately, passed away when she was only 22. She recreated tangos by La Pirula, revisiting them from her own perspective. These tangos were the same as those that had been sung and danced since time immemorial on the other side of the River Guadalmedina and that passed from Perchel to La Trinidad, drinking from an extraordinary magma poured by local gypsy communities. These cantes were known as tangos del Perchel as well. They were taken by La Pirula first and La Repompa later, The girls who want madroños Should go to the sierra. In the world of soleás, Antonio Ortega Escalona or "Juan Breva" was an outstanding performer. He sang soleares de Utrera and Triana, but he was wise enough to create a soleá of his own. Si no fuera por mi hermano me hubiera muerto de "jambrie", nunca le faltó a mi hermano cachito de pan que darme. -¡Ay, ole morena! vaya a la sierra, porque se está esgajando mi madroñera. If it weren't for my brother, I would have surely starved to death, He always tried, like no other, To give me a bit of bread. Ay, ole my morena!, Go to the sierra, Branches are snapping off In my madroñera. ¡Ay, ole morena! mi madroñera. Ay, ole my morena!, In my madroñera. Apart from tangos, La Repompa made fandangos por soleá, something only a few managed to achieve, save for Pepe Pinto, Fernanda de Utrera and no one else. She was an acknowledged master of rumbas and bulerías. La Rubia de Málaga La Rubia de Málaga, whose real name was Encarnación Lagos Montero, was born in Peñarrubia. She made a petenera that, as Romualdo Molina would say, "is a majestic cante, a difficult one, with liturgical echoes that become stronger when sang by Antonio de Canillas, the most reliable transmitting artist so far. La Rubia de Málaga managed to make this petenera achieve considerable popularity in Seville, where she performed in cafés cantantes." En el cristal de mi copa tu cara se reflejó, yo me la llevé a la boca ¡de veneno me sirvió! El que se tenga por grande que se vaya al cementerio, y verá lo que es el mundo: ¡en un metro de terreno! In the bottom of my cup Your reflection I could see When I took it so my mouth, It was like poison to me. If you think you're brave and bold, Go to the cemetery once: You'll see how the world unfolds In a few acres of land! Index www.visitcostadelsol.com Málaga´s Cantes Málaga, Sun and Flamenco . 28 God made the first woman fair, He was just trying his hand, So the first woman was fair. But he didn't like her much, Then he made her dark-haired, La Repompa La que quiera madroños vaya a la sierra. Juan Breva Málaga´s Cantes Málaga´s Cantes ¡Morena la quiero yo! The first text was frequently sang by Cojo de Málaga. He recorded it for the first time ever together with Miguel Borrull. The second one has the same musical aesthetics and was recorded in 1921. They say that this cante originated the cante por granainas, as can be seen in its harmony and the lack of granaina as we know it. providing artistic wealth to Málaga's flamenco. La Repompa sang them as follows: CONVENTION BUREAU Pierde el hombre hasta su honor por culpa de una mujer, pierde el hombre hasta su honor, y nadie se asusta de ver que yo perdía la razón, serrana por tu querer. 29 Gu a sol y flamenco_en.qxp 21/08/2007 16:40 PÆgina 30 TOURIST BOARD & CONVENTION BUREAU artists from Málaga. . Cantaores or singers . Bailaores or dancers . Guitar players Artists from Málaga . 30 Index Málaga, Sun and Flamenco 31 Gu a sol y flamenco_en.qxp 21/08/2007 16:41 PÆgina 32 TOURIST BOARD & CANTAORES OR SINGERS . Three remarkable women singers also born in the nineteenth century were La Águeda, from Antequera, and La Chilanga and La Chirriana, from Málaga City. La Águeda was a beautiful Málaga, Sun and Flamenco The singer Paca Aguilera was born in Ronda in 1867. Besides singing malagueñas like an angel, she was a remarkable singer of soleares and knew how to sing other flamenco styles, as we realise when we listen to her old records. She performed in Madrid alongside Juan Breva; in the Romea Theatre, accompanied by guitarist Salvador Ballesteros; and in Café Madrid, in Oviedo. Had she been born some years later, she'd have been one of the most important flamenco singers ever. La Trini, who was her teacher, was born in Málaga in 1868. She met the top flamenco artists in cafés cantantes in Málaga and Seville. She's the author of several malagueñas. She was operated on by Doctor Gálvez Ginachero, and Juan Breva organised a tribute to her in the Vital Aza Theatre, in Madrid, to rise funds for Ángel de Álora was a singer and a waiter at the same time. As a boy he worked as a typesetter at the daily La Unión Mercantil, owned by one of his uncles, and as an assistant at Café Suizo, in Plaza de la Constitución, in which he would listen to good artists. He was born in Málaga in 1917, and knew very well how to play malagueñas, soleares, fandangos, cantes del Piyayo, cantes de Juan Breva… Pepe de la Isla was an outstanding singer. He was born in Coín in 1925. He took part in shows offered in La Jimena de Coín is the first in our account who was born in the twentieth century, in 1911, to be more specific. With her fine voice, she recreated a kind of cante that was a fusion of heterodox verdial and fandango abandolao, which fortunately, she recorded. Four years later, two interesting singers were born in Málaga City -María la Faraona y Dolores la Pirula. La Faraona is probably the artist from Málaga who has performed the highest number of times as a professional. She was a member of big flamenco companies as well as less famed ones. She was part of Spanish tours and played in local villages too. María used to sing saeteras and bulerías, as well as soleares and tangos. La Pirula was a gypsy from El Perchel, a great singer who performed por bulerías, soleares, tangos, bulerías por soleá and fandangos. She recreated the so-called tangos of Málaga. Her headquarters were located in Index www.visitcostadelsol.com Artists from Málaga . 32 Juan Breva is the first in the list. He was born in the nineteenth century and we have already mentioned him several times, as he is an important figure in the world of flamenco. Born in Vélez-Málaga in 1844, Antonio Ortega Escalona was a friend of King Alfonso XII, of different Crown Ministers, of tenor Julián Gayarre, of musician Eduardo Ocón, and more. In Madrid, he performed in three cafés cantantes and he was paid in gold. Eleven years after Breva's birth, Ana Amaya Molina was born in Ronda. She was known as Aniya la Gitana or Anilla la de Ronda. She was an excellent singer of the styles from Ronda, especially soleares, and she played the guitar herself. She sang in cafés cantantes in Ronda and Málaga, and was invited to participate in the Andalusian Week of the Universal Exposition, held in Barcelona in 1930. José Joaquín Vargas Soto, whose name as an artist was Cojo de Málaga, was born in Málaga in 1880. He suffered from poliomyelitis, which resulted in a limp. When he was still young, he moved to Linares, where he learned to sing tarantas. He excelled in performing miners' songs, fandangos, saetas, and other styles as well. Diego el Perote, from Álora, was born in 1886. He moved to the capital of the province when he turned 18 to work in Café España with Juan Breva, Fernando el de Triana and guitarist Carlitos Sánchez. Diego el Perote knew how to sing cantes from Málaga and was a disciple of Trinidad Navarro "La Trini". Many cantaores were, in turn, his disciples. He composed a malagueña. the Sevilla Bar, on Sánchez Pastor Street, where Antonio el de la Calzá and Antonio Mairena used to listen to her, deeply moved by her voice. La Cañeta de Málaga was La Pirula's daughter. Artists from Málaga Artists from Málaga It's virtually impossible to prepare a list populated by all the cantaores born in the province of Málaga, since there have been more than one thousand singers from Málaga. This is why we've made a short list including only the most prestigious or well-known artists. woman and an excellent singer too, so much so that Fernando el de Triana said that La Águeda stood only behind La Trini. It's a pity she died so young. La Chilanga was one of the most remarkable singers of the España and Chinitas cafés. She composed a cante por malagueña and, along with Joaquina Payáns, La Brígida, and others, she offered the melody of cante de jabegotes. La Chirrina, who was the epitome of Spanish women's beauty and kindness, composed a cante por malagueña. Legend has it that the whenever this beautiful singer walked along Larios Street, even women would make flattering comments. her. She owned an inn in La Caleta, and in 1917 there was a new homage to her in the Novedades Theatre, in Málaga. Late in her life, she left Málaga. CONVENTION BUREAU Artists from Málaga Málaga, Sun and Flamenco 33 Gu a sol y flamenco_en.qxp 21/08/2007 16:42 PÆgina 34 TOURIST BOARD & Artists from Málaga . In 1937, a girl was born in the House of the Sisters of Perchel, Málaga. She was christened Enriqueta de la Santísima Trinidad Reyes Porras at the church of Santo Domingo de Guzmán. She started singing when she turned 7 or 8. She would visit taverns, open-air stages and other sites in El Perchel and La Trinidad so that people would listen to her. La Repompa began working at tablaos in Málaga, and soon she went to Madrid, where she was highly acclaimed. She specialised in bulerías, tangos, rumbas, fandangos, tientos, among other cantes. Early in her life, she met Cañeta de Málaga, who hit the headlines in Spain, Mexico, the US, Japan, and other countries. She went then to Marbella, where she has lived since with her husband, children and grandchildren. She offers shows from time to time, and whenever she sings, she is as impressive as she used to be when she was younger. Her husband is the singer José Salazar. La Cañeta has been the favourite artist of Manolo Caracol, Lola Flores, Beni de Cádiz, Alejandro Veja, La Paquera de Jerez, Adela la Chaqueta and many others. Index www.visitcostadelsol.com Born in Ardales in 1939, Talete, or Diego Rodríguez Paz, is a cantaor with a deep voice and a sensitive soul who, however, has been out of luck, but things are getting better now for him. The singer Antonio García Aguilar, or Antonio de Tolox, was born in 1947. We can see him in summer festivals and competitions. Actually, he's been awarded a lot of prizes. Pepe Vergara, from Álora, was born one year later than Antonio. His family is composed of singers, and he often performs greatly the cantes of the land. Born in the capital city but grown up in Totalán, Enrique Castillo Martín has a powerful voice, and sometimes he sings as Manuel Vallejo. Enrique Castillo usually performs siguiriyas, soleares, malagueñas and saetas, which earned him several first prizes in the Saetas National Competition. Gitanillo de Vélez is another cantaor born around the same year in Periana. Early in his life, he moved to Vélez-Málaga, a city where he's living now with Artists from Málaga Málaga, Sun and Flamenco . Málaga, Sun and Flamenco A few years later, in 1929, Antonio Jiménez González was born, in Canillas de Aceituno. He is also known as Antonio de Canillas. Antonio is one of the most important cantaores born in the province of Málaga. He never stops performing and travelling all over the world. He has released a lot of records including malagueñas, cantes de Levante, fandangos, saetas, cantes de ida y vuelta, soleares, and cantes abandolaos. He was granted the Cante de Las Minas National Prize and other prizes in Andalusia too. A flamenco festival to honour Antonio de Canillas was held in 2006 in his hometown. Moreover, a bust was unveiled next to the Canillas Town Hall, a biography was published and a double CD was released with almost forty cantes covering all his career. Artists from Málaga 34 CONVENTION BUREAU Andalusia and the whole of Spain, and he also travelled abroad, first with José Greco's flamenco group. On that tour, he visited Johannesburg, Port Elizabeth, Cape Town, Pretoria, and Mozambique. There were further tours, also with José Greco, on which he travelled to Canada, the US, Mexico, the Philippines, Honolulu and Australia. Pepe de la Isla was good at many styles, mainly at malagueñas, soleares, siguiriyas, saetas, cantes de Juan Breva and fandangos. He was also known as Niño de Vallecas, and was a member of Los Cuatro Barmans in Barcelona. When he returned to his homeland, El Pena named him Cándido de Málaga. Usually, he sings cantes abandolaos and saetas, and he has been awarded prestigious prizes for singing these types of songs. 35 Gu a sol y flamenco_en.qxp 21/08/2007 16:42 PÆgina 36 TOURIST BOARD & Lionel Sackville-West soon fell in love with the 22-year-old dancer from Málaga, who retired to her lover's palace at Arcachon (southern France) and died after giving birth to her sixth children, when she was 41. Women have started to play a key role in flamenco in Málaga, so much so that nowadays singers from Málaga take part in almost all the festivals in the province and beyond. Some of these women who have worked hard to make a name for themselves are Rocío Alcalá, Francis Bonela's wife and singer of cantes de compás; Virginia Gámez, who works as a teacher in Seville and expert at all cantes; Laura Román, a flamenco lover and excellent singer and dancer; Amparo Heredia, Enriqueta la Repompa's niece and an expert on bulerías and tangos; Rocío Bazán, a cante lover and fine cantaora; Antoñita Contreras, a true master who sings a wide range of cantes; Three years after the aristocratic gypsy's birth, La Malaguita was born. She became a renowned dancer, and was well thought of within the world of flamenco. Although she moved to Madrid, whenever she returned to her homeland, people were warm and friendly and were proud of her success. Trinidad Huertas, also known as La Cuenca, used to dance at Café Imperial, in Madrid, in the early 1880s. She was the first artist ever to dance soleares de Arcas as flamenco footwork, and dressed as a man, as always, Paqui Corpas, who has won a national award and knows how to sing cantes libres and cantes de compás; and finally, Rafaela la Repompa, very good at different styles and a woman who has young artists as her students. Artists from Málaga . Málaga, Sun and Flamenco The field of flamenco dance has been similar to that of singing -our province has been generous enough to offer a wealth of dancers to the world. We'll include the best on these pages. In the nineteenth century, there were the following dancers: Pepita Durán, a gypsy from El Perchel born in 1830, who proved she was talented but couldn't make it. Her mother took her to Madrid, and the manager of the Príncipe Theatre, stunned by her beauty, hired a teacher for her. Pepita's career was getting better all the time, and she toured all over Europe. In Paris, she met a member of the UK Embassy in Stuttgart, and there was a turning point in her life. Index www.visitcostadelsol.com Artists from Málaga . 36 BAILAORES OR DANCERS Artists from Málaga Likewise, male artists are gaining strength as young singers are making efforts to study more and improve their natural skill. Some of them are Francis Bonela, who is determined to be successful; Pepe de Cañete, who masters cante por soleá; Rafael Sánchez, who has studied a wide variety of cantes; Luis Perdiguero, young cantaor and heir of ancient flamenco dynasties; Jesús Jiménez, an enthusiast follower of good singers, and many other artists who have decided to enter this complex and marvellous world of flamenco. CONVENTION BUREAU his wife, also a singer, and his children a singer and a guitar player. He is very good at cantes de compás. Málaga, Sun and Flamenco 37 Gu a sol y flamenco_en.qxp 21/08/2007 16:43 PÆgina 38 TOURIST BOARD & Although her family was from Cádiz, Rita Ortega was born in Alozaina, and in the last decades of the nineteenth century she lived in San Juan Street with her husband, Paco el Artists from Málaga . Málaga, Sun and Flamenco In the 1930s there were several dancers, for instance, Trini Heredia, whose husband was the singer and dancer Rafael Ortega and whose son was the singer and guitarist Manzanita. Trini and other artists opened the tablao La Gran Taberna Gitana in Málaga, in 1963. She performed in different tablaos in Madrid, and lived in Alhaurín de la Torre with her son. La Quica, whose real name was María Luisa Vargas Fajardo, was a magnificent dancer. Like other dancers, she started working in bars and taverns. El Refugio was her first tablao, then she started performing in Pimpi. She worked in Sitges and, of course, in La Gran Taberna Gitana. She's retired and currently lives with her old. She was very young when she married pianist Blas de Alva, and had a child, Salvador de Alva, also a pianist. Ciudad Jardín, Beatas, Duque de Rivas, Pasillo de Santo Domingo and Plaza de la Merced, were the places where Doña Angelita set up her dance school. Among dancers from the 1920s we'll only mention Imperio de Granada, from Málaga. She was La Repompa's cousin and Antonio el Chaqueta's sister. Imperio left for Madrid in the 1930s. Then she headed for Seville and then she travelled to Granada. Her brother Antonio el Chaqueta said, "whenever Imperio danced, she was virtually intoxicating." She married Salomón, a Index www.visitcostadelsol.com Artists from Málaga . At the dawn of the twentieth century, two artists stood out: La Paula and Angelita Didier. The former, born in Los Negros Street, was the daughter of guitarist Matías García and dancer Antonia Fernández. She would start dancing very early in her life, but being very close to her mother, she never travelled abroad. La Paula danced at the Gran Taberna Gitana or in parties in local inns. Leathery, slight, wearing slippers and a blue shawl embroidered in white covering her head and shoulders, she would dance in Pasaje de Chinitas or in the Peña Juan Breva, and she was hospitalised dressed this way. She suffered from senile dementia and died in the Civil Hospital in 1978. As for Ángela Valdivia Plaza, she took dance lessons and performed at the Romea Theatre, in Madrid, when she was 12 years Jewish man from Tangier, and opened a bar -which no longer exists- on Armengual de la Mota Street. Artists from Málaga 38 Guarriro. She was a bullfighting enthusiast, so much so that she never missed a bullfight. Rita would wear Manila shawls and her husband, wide-brimmed hats to attend the Spanish fiestas. One evening, she wasn't feeling well but all the same she asked Paco to take her to Café de Chinitas, where she danced for the last time as in ecstasy, in 1882. Antonia Fernández, born in late nineteenth century, performed in cafés cantantes. She married the guitarist Matías García, and had a daughter who was also a dancer, La Paula. The dancer Elisa Romero achieved fame in Barcelona, where she made her debut in 1903. Like many other artists, she packed her case and travelled to Latin America. Her art drew loud applause in Argentina, Chile, Uruguay and Cuba. La Camisona, as Teresa Aguilera was known, lived in Barcelona, a city her son -guitarist Paco Aguilera- was born in. She was wellknown in cafés cantantes. CONVENTION BUREAU she performed at New Circus, in Paris, as leading performer in the show La Feria de Sevilla. Mariquita Ruiz, or La Bonita, was born in the late nineteenth century. She performed along with La Mejorana, Josefina la Pitraca and Antonia la Roteña at Café el Suizo, in Málaga, as well as in other dance stages. The way she moved her arms and her extraordinary elegance and beauty made her become one of the top dancers of her time. Málaga, Sun and Flamenco 39 Gu a sol y flamenco_en.qxp 21/08/2007 16:44 PÆgina 40 TOURIST BOARD & Artists from Málaga . Málaga, Sun and Flamenco In 1966 Antonia offered a show at the marquee of the Peña Juan Breva, in the park. Maribel Barrientos was a very remarkable dancer. A disciple of Doña Angelita, Maribel soon began to work with El Pimpi, forming an artistic duo with Pepito Vargas. When she was 17, she was hired by Madrid's tablao Las Brujas, and in the summer she went to Torremolinos, where she used to dance at Las Cuevas. After marrying Fosforito, she and her husband travelled to New York with Manuela Varga's ballet to perform at the Spanish Pavilion of the World's Fair. Back in Spain, she worked together with Pepe Pinto and Juanito Valderrama in Café del Burrero, with El Güito as her costar. Shortly after, her children were born and she quit dancing. Carmen la Terremoto was already a dancer of Antonio de Canillas's ballet when she was 8 years old. They travelled across Andalusia, and when she turned 14, she went to Germany, where she stayed for one year along with her sister Remedios. When she came back home, she danced with Pilar Martín at El Mañana, in Torremolinos. . 40 Heredia Santiago has been a great bailaora and had a lot of fans. Antonia Imperio was a big sensation in Málaga's tablaos in the 1950s. While working at El Duende she was elected queen of the House of Málaga in Madrid, where she staged an act imitating Café de Chinitas's performances, assisted by Pepe el de la Matrona and using texts by José Carlos de Luna and Máximo Andaluz. At a later date she embarked on a Mexican tour. Artists from Málaga With El Charro as co-star, Custodia danced on many stages and tablaos in Madrid first, and then in La Gran Taberna Gitana, in Málaga. Custodia and El Charro broke up, she went to Melilla, got married and set up a flamenco dance school. The bailaora and cantaora Ana María, from El Perchel, was a member of different companies led by Pepe Marchena, Niño de Orihuela and Manolo el Malagueño. When she was working with Marifé de Triana, Ana María met Emi Bonilla. Ana María and Emi established a professional team which continued to be active for many years. At present, she lives in Marbella, where she owns a renowned tablao flamenco. Rosa Mari Coll is a graduate from the Spanish Classic Dance Conservatoire; however, she only teaches flamenco dance. A disciple of Enrique el Cojo and Mercedes León, daughter of Frasquillo and La Quica, she believes women must show off on stage and captivate the audience. According to her, women aren't pieces of theatrical furniture or Olympic athletes, but human beings who want to bewitch or charm people through art. Here, we'll mention artists who were popular in the 1940s. Carmen Sibajas was one of them. Although she loved dancing, her parents forced her to study piano. Meanwhile, her grandmother bought colourful flamenco dresses for her young granddaughter. Carmen completed the piano course and started offering dance shows throughout Spain. On a tour of France, she met the cantaor Perico Sevilla, with whom she performed in Paris and to whom she married on returning home. She danced at El Corral de la Morería until 1986, and from then on she has been teaching music. La Chicha, bailaora from Marbella and sister of Cancanilla, made her first appearances in local tablaos. When she was 25, she -and her brother too- was a member of José Greco's staff. They went to America together and stayed one year there. Luisa CONVENTION BUREAU family. María Soto Sepúlveda, from the Capuchinos quarter, was a student of Galiano. She performed at different tablaos in the Costa del Sol, and made it for the first time in Luna de Agosto Festival. Then, she decided to leave for Madrid to study and dance. She travelled through Europe and worked at the Champs Élysées Theatre. Later on, she became a member of José Greco's company. She toured America six times with Greco. She had gone a long way already when she fell in love and married a surgeon. At present, she lives in Madrid with her family, and she's always kept flamenco in her heart. Index www.visitcostadelsol.com Artists from Málaga Málaga, Sun and Flamenco 41 Gu a sol y flamenco_en.qxp 21/08/2007 16:45 PÆgina 42 TOURIST BOARD & Artists from Málaga . To conclude, we'll mention Estepona-born Luisa Palicio, born in 1984. This bailaora is one of the big revelations of present-day Málaga's flamenco. Currently, she is studying flamenco dance with Milagros Mengíbar, in Seville. More recently, in the 1970s, many great dancers were born. Gema Garcés was one of them. She got married to guitarist Antonio Soto. La Lupi, who is married to guitar player Curro de María, is a remarkable dancer and teacher. Solera Chica, bailaora Solera de Jerez's daughter and bailaora Laura Cano's sister, participated in the show Málaga, of Málaga en Flamenco. Loli León is a dancer of Index www.visitcostadelsol.com Artists from Málaga . Málaga, Sun and Flamenco The 1950s witnessed the birth of many dancers, one of them being Sacramento Sobajas, who started her career at La Gran Taberna Gitana with the group Las Cuatro Rosas. Later on, she was partner with Pepito Vargas and El Duende. Years later, she danced at Madrid's Corral de la Morería. She quit dancing when her first child was born. India Flores, singer Agustín el de las Flores's daughter, made her debut in her father's ballet. They offered performances on the Costa del Sol and travelled to different European and American countries. India launched a record featuring Diego Vargas playing the guitar. La Chata had only danced at family reunions when Miguel de los Reyes introduced her to the public in the Canary Islands and Madrid. Then she worked at La Pagoda Gitana and La Gran Taberna Gitana. She's married to cantaor José Soleá. Making her first appearances in Barcelona, Málaga-born Trini Santiago debuted in Barcelona, and upon returning to her hometown she started working with Pepito Vargas. She travelled to the US and Portugal with Carmen Mota. In 1986 she acquired the tablao El Vito, in Torremolinos. She is seen as a dancer belonging to the classical school, since she's a meticulous performer who believes the movement of a dancer's dress train, arms and hands should be perfect. Carmen Mota's dance groups. Pilar Soto is a talented flamenco dancer. La India, Luci Montes and Mariano's daughter, is a bright young hope of flamenco dance. María José Cañete is another great dancer. She is the daughter of cantaor Pepe de Cañete and is dwelling on the Canary Islands at present. Raquel Heredia, Rafaela La Repompa and guitarist Luis Heredia's daughter, is also a valuable dancer. Artists from Málaga 42 Mariano is a serious and orthodox dancer. He is married to bailaora Luci Montes, with whom he has shared the stage for years, and La India is their daughter. Rosi de Alva, musician Salvador de Alva and dancer-singer Encarnita Molina's daughter, and granddaughter of Doña Angelita Didier, teaches dance at the Conservatoire. She danced in numerous countries and founded the Spanish classical ballet company, of which she's principal dancer. CONVENTION BUREAU El Remache is a spirited dancer who has learned the secrets of flamenco on his own. He is very original as a flamenco dancer, and highly admired by experts. More often than not, he dances at meetings of cabales. Gloria Vargas is the daughter of guitarist Niño de Almería and dancer La Tembleca, and sister of guitar player Antonio Rosa. She was born in Casa de las Monjas, on La Puente Street, El Perchel. She had recently learned how to stand upright when her father taught her how to move on a wooden box. Later Gloria married cantaor Chiquilín and worked at different tablaos, one of which she even came to own. Málaga, Sun and Flamenco 43 Gu a sol y flamenco_en.qxp 21/08/2007 16:46 PÆgina 44 TOURIST BOARD & Málaga has been generous as far as flamenco singers and dancers are concerned, but the province has not offered as many guitar players. Málaga has been the birthplace of good guitarists, indeed, but singers and dancers have outnumbered guitar players. You'll find some of them below. . There were four guitarists from the first decades of the twentieth century who are worth mentioning. Diego el del Gastor is one of them. Born in Ronda en 1908, he grew up Málaga, Sun and Flamenco From the 20s, or the roaring twenties, as the decade has been called, we'll mention three remarkable guitar players. First, Sebastián Montiel, who was born in Casabermeja in 1922. He was a real "guitar worker" who performed at the tablao La Gran Taberna Gitana and accompanied numerous flamenco singers and dancers. Second, Juan el Africano. He wasn't born in Málaga, but he spent most of his lifetime here and his children are from Málaga City. He made his debut as a singer, but when Manolo Caracol told him that he would be a great guitarist, he left the cante behind and concentrated on the guitar. The third guitarist is Manolo Cómitre, quite an institution of the second half of the twentieth century. He studied with Maestro Navas and Manuel Linares. Maestro Cómitre, as he was called, was part of the Flamenco Mass of Málaga and played with Index www.visitcostadelsol.com hundreds of cantaores, Pepe Marchena, for instance. Cómitre and Marchena performed together in many records and played on countless occasions in festivals. Maestro Cómitre taught flamenco guitar lessons at Peña Juan Breva, in Coín, Pizarra, Alhaurín, Cártama, and in many schools of Málaga. Enrique Naranjo was born in 1932. He was the principal guitarist at Gran Taberna Gitana and Radio Juventud, in Málaga. Paco de Antequera, who was born six years later, accompanied top singers in Madrid, where he lived. He travelled more than once to Japan, since Japanese audiences loved him. He died in a car accident. Pepe el Marinero is another guitar player from the 1930s. Antonio Martín Perea, who was the brother of dancer Pili Martín Perea, has played the guitar for many flamenco stars, one of them being Alfredo Arrebola. The talented guitarist Pedro Escalona was a member of important troupes and toured different countries. Famed Artists from Málaga Málaga, Sun and Flamenco . 44 La Caleta with Paco, and Maestro Onjana completed the trio who enjoyed the flamenco gatherings at La Caleta, especially those held at El Zocato's. Ronda-born Casimiro Bravo was a renowned guitarist at the dawn of the twentieth century. Matías García, La Paula's father, was married to bailaora Antonia Fernández. In his spare time, that is to say, all day long, he would play the guitar in cafés cantantes and small restaurants. Manuel Cañestro was a professional guitarist in the 1920s. In 1927, he accompanied Cojo de Málaga at the Fuencarral Theatre, in Madrid. Pepe el Calderero, born in Antequera in 1891, was friends with El Cojo de Málaga and he loved fishing. In 1953 he still went to flamenco parties very often. Artists from Málaga Artists from Málaga We'll start our account with a woman from the nineteenth century, Anilla la de Ronda, guitarist and singer born in Ronda in 1855. Queen Victoria Eugenia gave her a Manila shawl at a private fiesta organised to honour the royal family. Santos Ramos was a wise artist who could adapt easily to new contexts. He accompanied Niño de Cabra. Juan Navas was a flamenco guitar master and excellent accompanist. According to Domingo Prat, Paco el Águila used to visit a small restaurant in La Caleta owned by his friend and guitar player El Zocato. Carlos el Betunero and Enrique el Negrete, two guitarists, would go to and lived in Arriate until his family moved to Gastor first and to Morón de la Frontera later. Although he was an exceptionally gifted guitarist, he was an odd character, and this fact affected his performances. Pepe Alcoba, also known as Niño de Algarrobo was born in Algarrobo one year later. He lived in Barcelona, played at inns and visited different cities. Carlos Ramos, born in VélezMálaga in 1910, was an outstanding flamenco artist. He travelled all over Europe and the United States with José Greco, and he settled in Washington DC. Niño de Almería is the last in our list of tocaores. He was a real talent scout -he "discovered" a lot of singers and dancers in Málaga during the 1950s and 1960s. He accompanied a high number of cantaores and bailaores. He was married to Pepa la Tembleca and his children were the bailaora Gloria Vargas and the guitarist Antonio Rosa. CONVENTION BUREAU GUITAR PLAYERS 45 Gu a sol y flamenco_en.qxp 21/08/2007 16:47 PÆgina 46 TOURIST BOARD & Three well-known guitarists were born in the 60s: Pedro Alarcón who took his first steps in the art of flamenco at Peña Juan Breva. He took further lessons with Enrique de Melchor, José Luis Rodríguez, Manolo Sanlúcar, Pedro Blanco and Pedro Escalona. He has written a book about a method of the interaction . In the 40s and 50s Málaga delighted our ears with these guitarists: Antonio de los Reyes, disciple of Doblones, Niño Ricardo and Juan el Africano. He was part of his brother's Miguel de los Reyes- ballet companies. Paco de Teba plays in festivals, contests and peñas. He's singer Pepe de Campillos's cousin. Antonio Rosa, La Tembleca and Niño Four popular guitarists were born in the 70s, three of them in 1971 and one in 1974. Chaparro de Málaga plays so beautifully that all the cantaores who come to Málaga from other places ask him to join them on stage. Francisco Javier Jimeno, from Estepona, is an exceptional musician. He has won the national prize in Córdoba twice, the Bordón Minero in La Unión and the Giraldillo of Seville's Biennial. Andrés Cansino is a schoolteacher and a remarkable guitarist. Curro de María is a member of a new Málaga, Sun and Flamenco www.visitcostadelsol.com Index Artists from Málaga . 46 between music and dance. Antonio Soto has won the Flamenco Guitar National Award in Córdoba and the award named Bordón Minero, in La Unión. Currently, he's Fosforito's guitarist. And the last one of the decade, Gabriel Cabrera, who came to live in Málaga, studied music theory in Cádiz. He was awarded the first prize at an alegrías competition in Cádiz. He performs in peñas, festivals and competitions. Artists from Málaga Artists from Málaga singers used to sing with him playing the guitar parts. Also great tocaores learned to play the guitar with Pedro Escalona as their teacher. Carlos Pastor was a gifted guitar player who performed with successful singers, one of them being Carlos Alba. Antonio Losada, from Benaque, has studied with Maestro Cómitre and takes part in festivals, contests and peñas. generation of artists who has travelled around the world and is married to La Lupi, the dancer. The best artists born in the 80s are Patricia Ramos, who lives in Estepona and plays the guitar at Peña Flamenca de San Pedro de Alcántara, and Curro de Ronda, son of Paco de Ronda, who is also a guitar player. CONVENTION BUREAU de Almería's son, has frequently played with his mother or his sister's bands. By the way, his sister is Gloria Vargas. El Chino, son of Rosa de África and Juan el Africano was singer as well as guitarist. Unfortunately, he died when he was very young. Paco de Ronda is a good musician and accompanist, very popular with singers. Enrique Campos is an excellent tocaor who works as a nurse and has played the guitar in some records as accompanist. Málaga, Sun and Flamenco 47 Gu a sol y flamenco_en.qxp 21/08/2007 16:47 PÆgina 48 TOURIST BOARD & CONVENTION BUREAU flamenco routes. . La Axarquía or La Bandolá Route . Antequera . Western Costa del Sol . Guadalteba . Sierra de las Nieves . Serranía de Ronda . Guadalhorce Valley . Nororma Flamenco Routes . Málaga . 48 Index Málaga, Sun and Flamenco 49 Gu a sol y flamenco_en.qxp 21/08/2007 16:48 PÆgina 50 TOURIST BOARD & LA AXARQUÍA OR LA BANDOLÁ ROUTE These cantaores or singers were born in La Axarquía: Juan Breva (Vélez-Málaga, 1844Málaga, 1918), Niño de Vélez (Benamargosa, 1906-Vélez-Málaga, 1975), El Canario de Colmenar (Colmenar, 1909-1993), Cristóbal Mejías (Alcaucín, 1931), Manuel López (Almáchar, 1941), Ricardo Peñuela (Benamargosa, 1936), Antonio de Canillas (Canillas de Aceituno, 1927), Paqui Corpas (Colmenar, 1955) and Gitanillo de Vélez (Periana, 1951). Also in this region of the fandango abandolao these guitar players were born: Antonio Losada (Benaque, 1940), Pepe Sánchez (Comares, 1942), and guitar maker Juan Conejo Cebrián (Riogordo, 1928). . You can enjoy a good evening full of cante and dancing in the peñas flamencas El Canario de Colmenar (Colmenar), La Soleá (Nerja), El Piyayo (Rincón de la Victoria) or Niño de Vélez (Vélez-Málaga). Málaga, Sun and Flamenco Ni el canario más sonoro, ni la fuente más risueña, ni la tórtola en su breña cantarán como yo lloro gotas de sangre por ella. The whistling bird, The giggling fountain, Or the turtledove in the scrub Will never give out sounds as sad As the blood tears I shed for her. En la Cala hay una fiesta mi mare me va a llevar como iré tan compuesta me sacarán a bailar con mi par de castañetas. In La Cala there is fiesta And Mother will take me As I'll be dressed up for romance I will be asked to dance, So my castanets are having their chattering chance. The malagueña by José Beltrán Ortega "Niño de Vélez” is a beautiful cante, typical of Málaga, which has been part of flamenco history and has borne his author's signature since the very beginning. The singer from Vélez put all his inspiring and inspired energy into this malagueña. Index www.visitcostadelsol.com ANTEQUERA To the north of the mountain range that goes through the Serranía de Ronda to Sierra de la Axarquía and to the south of part of the Córdoba´s Sub Baetic range stretches the region of Antequera, a kind of crossroads between the River Guadalquivir and the Mediterranean areas of Andalusia. This huge region is today divided into three distinct areas: Nororma (northwest of Málaga) to the right, Guadalteba to the left, and the large central plain, dotted with hills and hillocks. In the old days, Antequera comprised Alameda, Almargen, Antequera, Archidona, Ardales, Campillos, Cañete la Real, Cuevas Bajas, Cuevas de San Marcos, Fuente de Piedra, Humilladero, Mollina, Sierra de Yeguas, Teba, Valle de Abdalajís, Villanueva de Algaidas, Flamenco Routes Málaga, Sun and Flamenco . 50 The flamenco route through this region is at its finest in the summer, when important festivals feature singing, dancing and guitar playing. The top festivals are those held in Alcaucín, Canillas de Aceituno, Cómpeta, La Viñuela, Periana, Algarrobo and Rincón de la Victoria. VélezMálaga organises the traditional Juan Breva Festival in December, a few days before Christmas. Colmenar and Nerja, in turn, run great flamenco cante festivals, and Comares holds a verdiales exhibition every year. Cantes in this region consist of bandolás of Juan Breva and malagueña of Niño de Vélez. The former are flamenco fandangos deriving from verdiales but only the guitar accompanies the singer. While singing bandolás de Vélez, Antonio Ortega Escalona, known as Juan Breva, recreated the cante, which came to be known as cante de Juan Breva. Out of the many lyrics sung by the cantaor from Vélez, we'll offer two, one is a short bandolá and the other, a verdial veleño. Flamenco Routes Flamenco Routes In his book Geografía de España, published in Barcelona, in 1928, Martín Echevarría states:"The rough terrain of la Axarquía stretched to the north and east of Málaga city, divided by the Montes de Málaga, foothills of the Torcal of Antequera and Sierra de Alhama which reach the sea." In Conversaciones históricas malagueñas (Málaga, 1789) Cecilio García de la Leña mentions the following places as belonging to the Axarquía: Olías, Totalán, Borge, Cútar, Benamargosa, Macharaviaya, Benaque, Moclinejo, Benagalbón, Almáchar, Riogordo, Comares, Colmenar, and Casabermeja. Then the following were added: Alcaucín, Alfarnate, Alfarnatejo, Algarrobo, Árchez, Arenas, Canillas de Aceituno, Canillas de Albaida, Cómpeta, Frigiliana, Iznate, La Viñuela, Nerja, Periana, Rincón de la Victoria, Salares, Sedella, Torrox and Vélez-Málaga, its capital city, and Casabermeja and Olías were excluded, the former being part of Antequera and the latter was included as a district of Málaga City. CONVENTION BUREAU Flamenco routes 51 Gu a sol y flamenco_en.qxp 21/08/2007 16:49 PÆgina 52 TOURIST BOARD & However, Antequera won Casabermeja, which used to belong to the region of Málaga. Nowadays, Antequera is made up of the districts of Alameda, Casabermeja, Fuente de Piedra, Humilladero, Mollina, Villanueva de la Concepción, and its capital city, Antequera. Málaga, Sun and Flamenco . If I was found by death, As I love you so, so much, Holding disdain in my breath, To see how jealous you are I would let Him take revenge. My miseries are so dark As will your feelings be. What makes you enjoy and laugh Is what tortures me. The Inquisition would be fair enough. Josefa Moreno was born in Antequera in 1889. Known as La Antequerana, she travelled to America and met the most popular figures at that moment. Then she went to live in Madrid, where she died in 1961. This was among her favourite texts por cartageneras: Following a route from Málaga City and crossing the Guadalhorce, you'll get to a strip that stretches along the Mediterranean shore up to the province of Cádiz and that is known as Costa del Sol Occidental (Western Costa del Sol). When it runs along this region, the old road N340 becomes a very long street, one of the longest in the world. Another flamenco singer from Antequera was La Niña de Écija, who was born in 4 Juan Adame Street and christened in the Church of San Pedro, in 1909. She died in America. And of course, La Niña de Antequera, who was born in Antequera in 1918 and died in Seville in 1972. As to guitar players from Antequera, we can mention Eduardo Mistrot (1868-Buenos Aires 1933). Pepe el Calderero, who was born in 1891 and died in Málaga in the 1960s, and Paco de Antequera, born in 1938 and died in a car accident in 2000. Singer and guitarist Niño de Alameda was born in Alameda in 1913. He died in Málaga in the 1970s. Also from Antequera is singer Antonio Fuentes Melero, who was born in 1948. Although there aren't any special cantes from Antequera, there have been versatile artists from this town. For instance, La Águeda, a good cantaora of malagueñas, and La Antequerana sang miners' songs or cantes mineros. La Niña de Écija, in turn, knew very well how to sing cantes de compás. The Peña Flamenca Paco de Antequera de Cartaojal holds a flamenco festival in July every year. Index www.visitcostadelsol.com The Western Costa del Sol used to be made up of the following districts: Benahavís, Benalmádena, Casares, Estepona, Fuengirola, Istán, Manilva, Marbella, Mijas and Ojén. Later Torremolinos was added, when it became independent of Málaga City. Following the changes made to restructure the different regions in the province, the Western Costa del Sol lost Istán and Ojén, which were assigned to the newly created region of Sierra de las Nieves. The flamenco route you can follow within the boundaries of a cosmopolitan area such as this one starts in Torremolinos in August with a huge flamenco festival held at the Príncipe de Asturias Auditorium. You'll be able to see the auditorium crowded with tourists from other countries who are eager for good flamenco singing and dancing. Flamenco Routes Málaga, Sun and Flamenco . 52 La Águeda was one of the top flamenco singers from nineteenth-century Antequera. Her professional career wasn't very long, since she passed away when she was young. Below, you'll find a song she used to sing. It came down to us through Fernando el de Triana. Son tan negras mis fatigas como son tus sentimientos, tus mejores partías son mis mayores tormentos: Inquisición merecías. Flamenco Routes Flamenco Routes In July, specifically on St James's eve, Casabermeja holds a flamenco festival that draws a large number of aficionados from the entire province. It's one of the few festivals in which artists perform twice, as they used to do in the 1960s. In August, the Antequera Town Council organises a flamenco festival in front of the magnificent Royal Collegiate Church of Santa María the Great, in the Andalusian Renaissance style. The festival gathers flamenco stars and the winner of previous festivals. When crossing the Arco de los Gigantes (Giants' Arch), you'll believe you are part of a late sixteenth-century scene. WESTERN COSTA DEL SOL Si la muerte m'encontrara de tanto quererte a ti, aunque yo la despreciara, por los celos que te di dejaba que se vengara. CONVENTION BUREAU Villanueva de Tapia, Villanueva del Rosario and Villanueva de Trabuco, but following the division, Almargen Ardales, Campillos, Cañete la Real, Sierra de Yeguas and Teba, in the west, were ceded to Guadalteba, the Abdalajís Valley, in the south, was then part of the Guadalhorce Valley region, and Archidona, Cuevas Bajas, Cuevas de San Marcos, Villanueva de Algaidas, Villanueva de Tapia, Villanueva del Rosario and Villanueva del Trabuco, in the east, were part of the Nororma region. 53 Gu a sol y flamenco_en.qxp 21/08/2007 16:49 PÆgina 54 TOURIST BOARD & Málaga, Sun and Flamenco Flamenco Routes . Popular flamenco artists were born in this region: Francisco Doncel Quirós, or Niño de la Rosa Fina (Casares, 1896-1981), who published a lot of records in his lifetime. Agustín Núñez Fernández, or Agustín el Gitano (Estepona, 1920-Málaga, 1991), cantaor who performed in Madrid and Campo de Gibraltar along with the celebrities of his time; Isabel Fernández López "La Zapatera" (Marbella, 1904-1985), who attracted many famous artists to her home in La Línea de la Concepción; Juan Gambero Martín "Juan de la Loma" (Mijas, 1913-Fuengirola, 1983), an undisputed cante celebrity and winner of Lámpara Minera and many other prizes across Andalusia; Juan Ledesma Mena "Juan de la Revuelta" (Casares, 1951); Inmaculada Chacón Carrasco (Estepona, 1968), excellent bailaora and dance teacher; Francisco Javier Jimeno GUADALTEBA The region of Guadalteba, located in the westernmost part of the so-called Surco Intrabético, in the nortwest of the province of Málaga, is bounded on the north by the province of Seville, on the south by the Guadalhorce Valley, on the east by the Vega de Antequera, and on the west by the Serranía de Ronda. The districts that make up the region -at one end of the natural corridor that links Andalusia with the Levante region- are Almargen, Ardales, Campillos, Cañete la Real, Carratraca, Cuevas del Becerro, Sierra de Yeguas y Teba. It's a very beautiful area, with many natural assets like the Desfiladero de los Gaitanes defile, the reservoirs of Guadalhorce and Guadalteba, and the lake of Campillos. In the nature park that surrounds the reservoirs are delightufl spots to do hiking and not so far away are the Mesas de Villaverde with the Bobastro ruins and the cave church. In this region, tourists can visit all the attractions and still they will have time to enjoy their spare time listening to flamenco music at the Peña Flamenca El Castillo, in Ardales, the Peña Flamenca La Gañana, in Sierra de Yeguas, the Peña Flamenca La Bambera, in Teba, or in any Index www.visitcostadelsol.com of the two peñas of Campillos: La Soleá or La Flamenca. In Campillos, they host a good flamenco cante festival in front of the Town Hall, which used to be a public school. In Ardales, there's a cante competition year in, year out, and in the summer, they organise a flamenco festival in which top singers, dancers and guitar players participate. The following artists were born in the region of Guadalteba: Miguel Ruiz Martín, cantaor, born in Carratraca, in 1911. He was also known as Miguel el del Cincel, ("cincel" means chisel) since he had worked as a marble mason and stoneworker. As a singer, he travelled across the country accompanying different flamenco companies. He died in Málaga in the 1980s. Other cantaores from the region are Antonio Calderón Durán "El Floro" (Ardales, 1936), Flamenco Routes Málaga, Sun and Flamenco . Mijas organises a cante competition every year. The classification rounds take place in local peñas, and the final round, in the Mijas This region boasts important flamenco peñas in which nights become days beneath the magic of the guitars. These peñas are worth a visit: Peña Flamenca Los Amigos del Arte, in Torremolinos, which holds a cante competition whose winner performs in the August festival, in the Príncipe de Asturias Auditorium; Peña Flamenca del Sur, in Cala de Mijas, also organising a cante competition every year; Peña Flamenca El Gallo, in Mijas-Costa which, along with Peña Flamenca La Unión del Cante, holds a flamenco cante competition once a year; the Peña Flamenca of San Pedro de Alcántara, with plenty of activities throughout the year; Peña Flamenca Sierra Blanca, Marbella, and the Peña Flamenca of Estepona, which holds a song and dance competition year in, year out. (Estepona, 1971), top guitar player; great cantaora Rocío Bazán Ramírez (Estepona, 1977); Luisa Palicio Martín (Estepona, 1984), top flamenco dancer; Cristóbal Moyano Escalona "Barquero de Fuengirola" (Fuengirola, 1945), cantaor; Andrés Lozano Gil (Manilva. 1951), a great star from the coast; Pepe Lara (Marbella, 1942), top cantaor; Sebastián Heredia Santiago "Cancanilas" (Marbella, 1951), contemporary cante figure. Flamenco Routes 54 Marbella, in turn, was also transformed by tourism. Some decades ago, the town was a mining location and later an agricultural area, but now it has become a top travel destination. It offers many flamenco events in the Ciudad de Marbella Municipal Theatre. auditorium. Also Estepona organises a prestigious song and dance competition year after year. It gathers artists from the entire region of Andalusia, not only from the province of Málaga. CONVENTION BUREAU In October, Fuengirola plays host to a festival to celebrate the Virgin of the Rosary, patroness of Fuengirola. This town used to be quite different in the past. Its main activities were agriculture and fishing, but the arrival of tourists brought about a huge transformation. In the district of Santa Fe de los Boliches, they hold a flamenco festival year in, year out. 55 Gu a sol y flamenco_en.qxp 21/08/2007 16:50 PÆgina 56 TOURIST BOARD & where we can taste a delicious must and go to Peña Flamenca San Roque. SERRANÍA DE RONDA SIERRA DE LAS NIEVES Sierra de las Nieves is a wonderfully beautiful region in the province of Málaga. Those who like holidays combining the mountains with the sea will find that Sierra de las Nieves is perfect, since it sits near the Costa del Sol. The region boasts the largest Spanish fir forest in the world, and the oldest tree in the Sierra -Castaño Santo or Holy Chestnut Tree- can be found in Istán. Naturally, the region features great flamenco routes. You can start in Alozaina, hometown of magnificent dancer Rita Ortega, although her family was from Cádiz. She married Málaga-born entrepreneur Paco el Guarriro, and they made a perfect couple. They loved bullfighting, which was only natural for her, since she belonged to the Los Gallo family. My beautiful Rita has passed away, My sweetheart is now dead, Now there's no-one who can say: Paco, of the bullring I'm not afraid! Málaga, Sun and Flamenco La Lola se va a los Puertos, La Isla se queda sola. Y esta Lola, ¿quién será?, que así se ausenta, dejando la Isla de San Fernando tan sola cuando se va... La Lola. La Lola goes to the Port, And leaves the Isle on its own. Near Alozaina, in Casarabonela, they organise a flamenco festival in July, and a little further, towards Puerto del Viento, you'll reach to El Burgo. There you can listen to Agustín García Chicón at Peña Flamenca La Serrana. And down in Guaro, there's a festival organised by Peña El Almendro, and in Ojén, a huge August festival, among the oldest in the province. Also in Monda you can enjoy listening to the cante they perform at Peña Alcazarín and attend the summer festival. The tour can end in Tolox, in the heart of the region of Sierra de las Nieves, Who can this Lola be, Who leaves the Isle just like this? The Island of San Fernando Is lonely when Lola leaves… María la Nena made her name as a bailaora or dancer. She was so charming and beautiful that smuggler and matador Tragabuches fell in love with her. María la Nena was used to the audiences' applause. A lot of people went to see her to the traditional singing cafés in Index www.visitcostadelsol.com Flamenco Routes Málaga, Sun and Flamenco . 56 La Lola. Once the old region of the Serranía de Ronda consisted of twenty-three villages, two of which . The people in Málaga used to sing a song dedicated to Rita and Paco: Ya se murió mi Rita bonita, ya se murió mi tesoro, ya no tengo quien me diga: ¡Paco, llévame a los toros! Flamenco also has taken root in the Serranía de Ronda. In its capital city, for instance, María la Nena was born at the same time as Lola, mentioned by Manuel Machado in his wellknown poem entitled "Cantaora." Flamenco Routes Flamenco Routes Sierra de las Nieves is a must for hiking enthusiasts. It has excellent trails, and La Torrecilla is a true challenge to hiking specialists. On sunny days, the northern slopes of the Atlas Mountains, in Morocco, can be seen from La Torrecilla summit. All the districts in Sierra de las Nieves are either part of Guadalhorce Valley, Western Costa del Sol, or Serranía de Ronda; specifically they are Alozaina, Casarabonela, El Burgo, Guaro, Istán, Monda, Ojén, Tolox and Yunquera. This region is much more than a group of mountains. It is, as a famed poet from Ronda used to say, a plain in the city, a shelter for villages in the Genal, a natural corridor in the Guadiaro and a door to flat Málaga through the Turón and Guadalteba valleys. In the plain and the northern valleys, Ronda is oak groves and meadows, open field and mountain range; and in the southern valleys it has chestnut trees, cork trees, pine forests, and gall oaks that come together with olive trees on the hillocks and fruit trees on the riverbanks. It embraces villages and climbs rocks, and towards the centre, it hosts hundred-year-old Spanish firs and gall oaks, it looks from Sierra de las Nieves at the Guadalhorce and the shore, and commands the lands of Málaga and the Serranía de Cádiz mountains. now belong to Guadalteba (Cuevas del Becerro) and Sierra de las Nieves (El Burgo). The remaining twenty-one villages are Algatocín, Alpandeire, Arriate, Atajate, Benadalid, Benalauría, Benaoján, Benarrabá, Cartajima, Cortes de la Frontera, Faraján, Gaucín, Genalguacil, Igualeja, Jimera de Líbar, Jubrique, Júzcar, Montejaque, Parauta, Pujerra, and Ronda. CONVENTION BUREAU Diego Rodríguez Paz "Talete de Ardales" (Ardales, 1939), José Maldonado Luque "Pepe de Campillos" (Campillos, 1949), Carmen Gil Montilla "Niña de Cañete" (Cañete la Real, 1943), and José Serrano Ramírez "Pepe de Cañete" (Cañete la Real, 1951). 57 Gu a sol y flamenco_en.qxp 21/08/2007 16:50 PÆgina 58 TOURIST BOARD & Anilla la de Ronda was a gypsy woman who used to sing and play the guitar unusually well. García Lorca mentioned her at a lecture on cante jondo delivered in Granada, in 1922. She had already turned 75 when the Universal Exposition took place in Barcelona and she was the artist who was singled out for great praise during the Andalusian Week, held in Pueblo Español, in the Catalan city. Also José Carlos de Luna dedicated a poem to her, published in La taberna de los reyes, in which the author tells something about the eventful life of the gypsy from Ronda. . Málaga, Sun and Flamenco Although in many villages of the Serranía de Ronda they are keen on cante, only Gaucín and Ronda hold festivals called Corcho Flamenco Festival and Noche Flamenca (Flamenco Night), respectively. The latter precedes the Pedro Romero festival, in September Excellent amateur singers like Capote de los Claveles were born in Alhaurín el Grande. He has released a record as a singer was awarded prizes on countless occasions. He sings saetas divinely. There are two flamenco peñas in the village, El Argahijo and Unión Flamenca Alhaurina. Both play host to the Noche Flamenca Festival (Flamenco Night) on the last Saturday of July. The festival draws remarkable singers, dancers and guitar players every year. GUADALHORCE VALLEY The River Guadalhorce grows larger as it collects water in the region of Antequera and runs across the Gaitanes Defile. Then the Guadalhorce Valley emerges and turns into the most important valley in the province of Málaga. The valley, sprinkled with orchards and farmhouses, features highways, roads, canals, different tributaries of the River Guadalhorce, and the railway that links the capital of the province with the rest of Spain. Sometimes, the orchards climb to plots on hillocks that are part of the main valley. The region once included Alhaurín el Grande, Álora, Alozaina, Carratraca, Cártama, Casarabonela, Coín, Guaro, Monda, Pizarra, Tolox and Yunquera, but has ceded Alozaina, Casarabonela, Guaro, Monda, Tolox and Yunquera to Sierra de las Nieves, and Carratraca to Guadalteba, and has added Valle de Abdalajís, which formerly was part of Antequera. Therefore, the region of the Guadalhorce Valley is made up of Alhaurín de la Torre, Almogía, Alhaurín el Grande, Álora, Cártama, Coín, Pizarra and Valle de Abdalajís. As far as flamenco is concerned, Álora is the town of the Guadalhorce Valley and the entire province which has offered the largest number of artists. Some of them are El Canario, who created a magnificent cante por malagueña; Juan Trujillo el Perote, who also made a malagueña; Sebastián el Pena, who knew all the cantes very well; Joaquín Tabaco, who made his own malagueña; Tomás Morilla, excellent amateur; El Cachorro de Álora, Paco el Manco, Niño de Álora, Diego el Perote, Fernando el Rerre, El Divino, Ángel de Álora, Pepe Vergara, El Pibri, Benito Moreno, and so on. In Álora is a flamenco peña with a lot of character and the town is home to a flamenco festival in the summer, and other flamenco events as well. Coín comes behind Álora as regards number of artists. The following flamenco artists were born in Coín: Francisco Loriguillo, friend and protégé of Pollo Romero and author of a malagueña; Frasquito Jiménez, stoneworker, who sang malagueñas and serranas and was Chacón and Sebastián el Pena's friend; Juan Frías, who used to sing cantes abandolaos and malagueñas; La Jimena de Coín, who Index www.visitcostadelsol.com In Cártama they used organise a flamenco festival in Estación de Cártama and a competition in the village, but unfortunately they are no longer held. The cantaor Cipriano Pitana was born in Cártama and taught José González Marín how to sing. Cipriano Pitana wrote this quite popular malagueña: Flamenco Routes Para más martirio darme mientes a quien más quería, para más martirio darme. Yo te juro por mi vía, que has de venir a buscarme a "toas" las horas del día. Intended to torture me badly, You lie to those I love best, Intended to torture me badly. I swear on my chest That you'll come and beg me sadly Every hour and every day. Málaga, Sun and Flamenco . 58 performed in a style that was halfway from heterodox verdial and fandango abandolao; Pepe de la Isla, one of the best amateur singers born in the province. Flamenco Routes Flamenco Routes Perhaps one of the most famous Ronda-born artists was Diego el del Gastor, an extraordinary guitarist who moved to El Gastor with his family and then to Morón de la Frontera, where he finally died. Diego played a major role as a guitarist -he founded a guitar school that will live long in the minds of guitar lovers. CONVENTION BUREAU Ronda. One day, María took a fancy to a fifteenyear-old altar boy who, by the way, loved flamenco. Tragabuches started to regard the boy with suspicion, so one night he left home saying he wouldn't be back until the following day but he did come back late at night and saw them together. The story goes that the beautiful dancer encountered a tragic end -Tragabuches killed her and her young lover, ran away and took refuge in the mountains, where he joined the party of Siete Niños de Écija. 59 Gu a sol y flamenco_en.qxp 21/08/2007 16:51 PÆgina 60 TOURIST BOARD & Also in Pizarra a flamenco festival was held in the premises of the municipal swimming pool years ago. A singer called El Caena, who wrote a malagueña, was born in Pizarra. NORORMA The region of Northwestern Málaga or Nororma is situated in a privileged geographical location, between the provinces of Granada and Córdoba, and it has access by road to the province of Seville. This land, which Manuel Machado considered as "tierra cantaora" or singing land, has been the birthplace of innumerable flamenco artists -singers, dancers and guitarists- who have took flamenco to stages around the world. www.visitcostadelsol.com Index In the district of La Caleta, in Málaga, there were roadside bars that offered flamenco shows such as La Trini, owned by the Málaga-born singer bearing the same name; Joselito, which belonged to Joselito, La Juanaca's son; Mendaña; Guijarro, owned by a close friend of Bergamín's, lawyer, politician and godfather of Anita Guijarro, singer and daughter of the site's owner; Quitapenas; Esteban; Isabel la Sorda; Victoria la Cancana; Paca Corpas; Sandoval; La Concha; Domingo, visited by Alfonso XII; and El Arca de Noé, to name but a few. Currently, the flamenco entities existing in the region are Peña Torre del Cante, in Alhaurín de la Torre; Peña Torre Zambra, in Casabermeja; and Peña Juan Breva, Peña Fosforito and Peña El Taconazo, in Málaga City. In all of them, visitors can enjoy their time listening to local flamenco singers and guitar players and watching excellent flamenco dancers. Flamenco Routes Málaga, Sun and Flamenco . Málaga, Sun and Flamenco To the north of the vast hollow called La Hoya there is a land commanded by rolling hills that Flamenco Routes Flamenco Routes Bounded by the regions of Antequera, Axarquía, Guadalhorce Valley, Eastern Costa del Sol, and the Mediterranean Sea, the region of Málaga sits at the mouth of the River Guadalhorce, where the valley merges with La Hoya showing orange and lemon trees, sugar-cane plantations and vegetable gardens. Years ago, Archidona organised a flamenco festival in the Plaza Ochavada. El Niño de Archidona, who was accompanied by Pepe el Calderero on many occasions, has been the most outstanding flamenco star born there. In Villanueva de Algaidas, they organise a fairly crowded flamenco festival in August, when the Nororma is a land of contrasts, with olive groves and farms, holm oak woods and cereal fields. It features lakes in Archidona, archaeological sites in Cortijo de San Vicente, Cave of La Graja, Cave of Arcos and Los Alcaldes Necropolis, among other attractions. . MÁLAGA runs from the Guadalhorce to La Axarquía. The area features brooks and river beds, greens and vines, almond trees, olive orchards and some holm oaks. Apparently, the area is rather monotonous; instead, it's shady in Casabermeja, sunny in Almogía, it's a kind of barrier in SantiPetri and El León, a corridor in Guadalmedina, and in the western part, in Alhaurín de la Torre and in the plain of Málaga itself, it's a semitropical orchard. In the second half of the nineteenth century and in early twentieth century, Málaga housed a series of café-concerts that used to draw major flamenco celebrities. Some of them were Café Sin Techo, in old Siete Revueltas Street, which was later known as Café del Sevillano or Del Señor Bernardo; Café de La Loba, in Plaza de la Constitución, where the Banesto building sits at present, and in the adjoining drugstore, the Café La Lobilla; Café España, which was situated in the same square, on the site of the younger café La Costa Azul; Café El Turco, on the wider stretch of Santa Lucía Street, opposite Convalecientes; Café Suizo, in Compañía Street, on the site that was then home to Almacenes Paymesa; Café de Las Pitas, on Moreno Monroy Street, and so on. These café-concerts attracted the cream of the flamenco community: Chacón, Manuel Torre, Fernando el de Triana, Juan Breva, la Niña de los Peines, Pastora Imperio, La Macarrona, Ramón Montoya, Paco el de Lucena, Cojo de Málaga, El Mochuelo, el Niño Gloria, La Trini, Sebastián el Pena, Paca Aguilera, El Canario, and the list goes on… It was born after the latest regional restructuring. Its villages, which belonged to the former region of Antequera before, are Archidona, Cuevas Bajas, Cuevas de San Marcos, Villanueva de Algaidas, Villanueva del Rosario, Villanueva de Tapia and Villanueva del Trabuco. 60 local fiesta is held. There's a peña named Juan Casillas, a local singer whose death arrived too early in his career. Also in Villanueva del Trabuco and Villanueva del Rosario they organise flamenco performances quite often. CONVENTION BUREAU Cártama was the birthplace of the singers Niño de Cártama, who sang with Juan Breva in Madrid; Pepe el de Cártama, who performed in Málaga; Ramoliche, Carbonero de Cártama, and Carretero de Cártama. 61 Gu a sol y flamenco_en.qxp 21/08/2007 16:52 PÆgina 62 TOURIST BOARD & CONVENTION BUREAU museum of flamenco arts. . Museum of Flamenco Arts 62 Index www.visitcostadelsol.com Málaga, Sun and Flamenco 63 Gu a sol y flamenco_en.qxp 21/08/2007 16:52 PÆgina 64 TOURIST BOARD & Flamenco Arts C/ Ramón Franquelo, 4. CP. 29008 Telephone: (+34) 952 221 380 The museum contains a collection of 2,500 slate disc records recorded between 1900 and 1950 by Cayetano Muriel "Niño de Cabra", Juan Breva, Paca Aguilera, El Mochuelo, Niña de los Peines, La Antequerana, Manuel Torre, Cojo de Málaga, Sebastián el Pena, Antonio Chacón, Tomás Pabón, Manuel Vallejo, or Niño de Vélez, among others. It also has about five thousand vinyl records and hundreds of CDs. As to sound reproduction devices, the museum owns an Edison phonograph manufactured by Bettini in New York, in 1898, gramophones with or without loudspeakers, and contemporary record players, The new Juan Breva Museum of Flamenco Arts, in 4 Ramón Franquelo Street, Málaga, is one of the few museums dedicated to flamenco in Spain. Museum of Flamenco Arts . Málaga, Sun and Flamenco The Museum's goal is to avoid the typical, static exhibition space and become a dynamic entity, which is the reason why different activities are offered: lectures, recitals, concerts, courses, seminars, among others. There's a department that collects and records audiovisual material, and it publishes books, magazines and releases CDs. Finally, the Museum has a learning department in charge of guided tours, especially tours for schoolchildren. At the museum, they believe that sharing knowledge of flamenco is extremely important, principally with children, who are and will be the repository for this particular area of Andalusian culture. Moreover, museum goers will be able to see paintings, drawings and sculptures from the nineteenth and twentieth centuries, artworks by Cappa, Del Nido, Corcelles, Paco Hernández, Torres Mata, Chicano, Pérez Almeda, and Pineda Index www.visitcostadelsol.com Museum of Flamenco Arts . 64 The museum has a collection of guitars, beautiful instruments from Antonio de Lorca, Domingo Esteso, Soto y Solares, or Juan Galán, all built in the nineteenth and twentieth centuries. There are two gems in the collection: one guitar that belonged to El Piyayo and the other to García Lorca. The Juan Breva Museum of Flamenco Arts occupies the first and second floors of a new building erected by the Municipal Housing Institute and ceded to Peña Juan Breva on 15 June 2006. Museum of Flamenco Arts The former museum opened its doors in June 1974 in Del Picador Lane, on the former location of Peña Juan Breva, which is the entity that runs the museum. Its members are concerned with recovering, storing and exhibiting items associated with flamenco, such as old phonograph cylinders, powdered slate disc records; phonographs and gramophones; flamenco artists' personal belongings like shawls, ornamental hair combs and shoes; guitars, especially those made by the best guitar maufacturers from Málaga; plus paintings, photos, prints… There are objects and personal belongings too, like an ornamental comb that belonged to Juana la Macarrona, a walking stick used by Antonio Chacón, a pair of boots worn by Antonio, a shirt of Roque Montoya "Jarrito", a tie that belonged to Rafael Romero "El Gallina", a shawl worn by Matilde Coral, another one by La Paula… Barroso, among others. There are clay figures moulded in Granada and Málaga depicting flamenco artists. CONVENTION BUREAU Museum of Málaga, Sun and Flamenco 65 Gu a sol y flamenco_en.qxp 21/08/2007 16:53 PÆgina 66 TOURIST BOARD & CONVENTION BUREAU flamenco peñas. Flamenco Peñas . 66 Index Málaga, Sun and Flamenco 67 Gu a sol y flamenco_en.qxp 21/08/2007 16:54 PÆgina 68 TOURIST BOARD & C/ Viñas, 11. 29130 Alhaurín de la Torre. President: Antonio Jiménez Marín. PEÑA FLAMENCA EL ARGAHIJO. Plaza Chica, 5. 29120 Alhaurín el Grande. President: Antonio García Torres. PEÑA FLAMENCA UNIÓN FLAMENCA ALHAURINA Avda. de la Constitución, 4. 29120 Alhaurín el Grande. President: Diego Pérez Castillo. PEÑA FLAMENCA LA SOLEÁ. C/ Real, 17. 29320 Campillos. President: Isidro Carbonero Bermuda. PEÑA FLAMENCA PACO DE ANTEQUERA. Edificio Usos Múltiples. 29250 Cartaojal. President: Francisco José Pozo Cabello. CONVENTION BUREAU PEÑA FLAMENCA TORRE DEL CANTE. PEÑA FLAMENCA TORRE ZAMBRA. C/ San Antonio, 18. Casabermeja. President: José Durán PEÑA FLAMENCA NIÑO DE LA ROSA FINA. C/ La Fuenta, 94. 29690 Casares. President: Antonio Jerez PEÑA FLAMENCA CAPITA-PEPE DE LA ISLA. C/ San Miguel, 1. 29100 Coín. President: José Antonio Mancheño Rodríguez. Flamenco Peñas in the Province of Málaga PEÑA FLAMENCA EL CANARIO C/ Virgen de las Candelaria, s/n. 29170 Colmenar. President: Antonio Silva Arjona. PEÑA CULTURAL FLAMENCA JUAN CASILLAS. Avda Juan XXIII, 2. 29210 Cuevas de San Marcos. President: Rafael Mercado Hatero. Málaga, Sun and Flamenco . Flamenco peñas enjoyed a boom in the 1960s, and the articles of association of Peña Juan Breva were the first ever to be approved by the Home Office, back in 1958. At present, the following peñas are operating in the province of Málaga: PEÑA FLAMENCA EL CASTILLO. Avenida de Málaga, 3. 29550 Ardales. President: Fernando Mena Mateo. PEÑA FLAMENCA DE CAMPILLOS. Carretera de la Estación, s/n. Campillos. President: Juan Segura Gallardo. Índice Flamenco Peñas in the Province of Málaga www.visitcostadelsol.com . 68 Peñas are associations which bring flamenco enthusiasts together. Their articles of association are similar to those in any cultural or leisure association. They state regulations on proceedings, member admittance, funding, directors' appointment, and dissolution, and establish their main goal: spreading knowledge of flamenco guitar, singing and dancing. Pasaje de Martos, s/n. 29500 Álora. President: José Vergara Moreno. Flamenco Peñas Flamenco Peñas PEÑA FLAMENCA DE ÁLORA Málaga, Sun and Flamenco 69 Gu a sol y flamenco_en.qxp 21/08/2007 16:55 PÆgina 70 TOURIST BOARD & C/ Rey Baltasar, 13. Campanillas. President: Alfonso Muñoz Mancera. PEÑA SERSALLA-RINCÓN FLAMENCO ENRIQUE CASTILLO. C/ Alcalde Joaquín Alonso, 1-3. President: Diego Vega Fernández. 29003 Málaga. CONVENTION BUREAU PEÑA FLAMENCA RINCÓN DEL CANTE. PEÑA FLAMENCA LA SERRANA. C/ Nocentro, s/n. 29420 El Burgo. President: Agustín García Chicón. PEÑA FLAMENCA DE ESTEPONA. Plaza de las Fuerzas Armadas, s/n. 29680 Estepona. President: José González Moreno. PEÑA FLAMENCA EL ALMENDRO. C/ Granada, 4. 29108 Guaro. President: Pedro García Jurado. PEÑA CASA DE ÁLORA-GIBRALFARO. C/ Cor. José Viciana, 5. 29009 Málaga. Presidenta: Mª Ángeles Martín-Prieto Guerrero. CENTRO CULTURAL FLAMENCO LA MALAGUEÑA. C/ Sondalezas, 15. 29010 Málaga. President: Antonio Téllez Burgos. PEÑA FLAMENCA FOSFORITO. C/ Arenisca, 12. 29006 Málaga. President: Antonio Trujillo Camuña. PEÑA FLAMENCA JUAN BREVA. C/ Ramón Franquelo, 4. 29080 Málaga. President: José Luque Navajas. PEÑA FLAMENCA SIERRA BLANCA. C/ San Bernabé, 18. 29600 Marbella. President: Juan Recio Polo. PEÑA FLAMENCA DEL SUR C/ Ronda, 12. 29649 Cala de Mijas. President: José Antonio Sedeño Flamenco Peñas Flamenco Peñas . . 70 Málaga, Sun and Flamenco Índice Flamenco Peñas in the Province of Málaga www.visitcostadelsol.com Málaga, Sun and Flamenco 71 Gu a sol y flamenco_en.qxp 21/08/2007 16:57 PÆgina 72 TOURIST BOARD & CONVENTION BUREAU PEÑA FLAMENCA ALCAZARÑIN. PEÑA FLAMENCA EL GALLO. Paseo de la Villa, s/n. 29110 Monda. President: Miguel González Montes. PEÑA FLAMENCA LA CHURRUCA. Edificio Arenal. 29610 Ojén. President: Francisco Manuel Vázquez Suárez. PEÑA CULTURAL FLAMENCA DE RONDA Y SU SERRANÍA FERNANDA Y BERNARDA C/ Río Guadiaro, 13. 29649 Mijas Costa. President: Jesús Boeta Torres. C/ Artesanos, s/n. 29400 Ronda. President: Francisco Pereña González PEÑA FLAMENCA UNIÓN DEL CANTE C/ San Fermín, 4. 29649 Mijas Costa. President: José Pérez López. PEÑA FLAMENCA TOBALO DE RONDA. C/ Artesanos, s/n. 29400 Ronda. President: Francisco Caballero Caballero. PEÑA FLAMENCA EL PIYAYO. Urbanización Las Pedrizas, local 2. 29730 Rincón de la Victoria. President: José Reina Amores. PEÑA FLAMENCA LA SOLEÁ. C/ Antonio Millón, bajo. 29780 Nerja. President: Manuel Calderón García. Flamenco Peñas Flamenco Peñas . . 72 Málaga, Sun and Flamenco Índice Flamenco Peñas in the Province of Málaga www.visitcostadelsol.com Málaga, Sun and Flamenco 73 Gu a sol y flamenco_en.qxp 21/08/2007 PEÑA FLAMENCA SAN PEDRO DE ALCÁNTARA. 16:57 PÆgina 74 PEÑA FLAMENCA LA BAMBERA. C/ Caravaca, s/n. 29670 San Pedro de Alcántara. President: Francisco Álvarez Ravira. C/ Del pozo, s/n. 29327 Teba. President: Francisco Escalante Valdivia. PEÑA FLAMENCA SAN ROQUE. C/ Chopo, 14. 29109 Tolox. President: Miguel Vera Muñoz. PEÑA FLAMENCA LOS AMIGOS DEL ARTE C/ Los Romeros, 7. 29680 Torremolinos. President: Antonio Rubio López. PEÑA FLAMENCA NIÑO DE VÉLEZ. C/ Tejeda, 10 A. 29700 Vélez Málaga. President: Inocente López Martín. PEÑA FLAMENCA LA GAÑANA. . Flamenco Peñas Plaza de Andalucía, 2. 29328 Sierra de Yeguas. President: Francisco Arenas Nieto. 74 Málaga, Sun and Flamenco Flamenco Peñas in the Province of Málaga ..... Index 75 Gu a sol y flamenco_en.qxp 21/08/2007 16:58 PÆgina 76 TOURIST BOARD & CONVENTION BUREAU glossary. Glossary . 76 Index Málaga, Sun and Flamenco 77 Gu a sol y flamenco_en.qxp 21/08/2007 16:58 PÆgina 78 TOURIST BOARD & Alegrías.- Song from Cádiz belonging to the cantiñas group. Alegrías are dynamic and joyful. Ángel.- They say that an artist has angel when he or she are naturally graceful. It does not mean the same as duende. Antiflamenquismo.-Attitude against flamenco adopted in the nineteenth and early twentieth centuries. A palo seco.- Song played without the accompaniment of the guitar. Aro.- A piece of wood with the shape of an eight that closes the guitar's sound belly, as it keeps the front and the back of the instrument together. Arpegio.-The sounding of the tones of a chord in rapid succession rather than simultaneously. 78 Málaga, Sun and Flamenco Index www.visitcostadelsol.com Glossary Málaga, Sun and Flamenco . Cabal.- A singular variant of siguiriya, sang mainly as a change in style or to round off a siguiriya.. Cabales.- Group of aficionados who are experts in flamenco and usually gather to listen to the music. Cabeza.- Upper part of a guitar, at the top of the neck, which contains the tuning screws. Café cantante.- An establishment where people would drink while listening to flamenco music and watching flamenco dancers. In Málaga there were many cafés cantantes in the past like the famous Sin Techo, La Loba, el España, El Suizo, El Chinitas, El Turco… Caída.- The last part of a cante. The last line of a song Campanilleros.-Cantes aflamencados deriving from popular songs played in Rosario de la Aurora. Cantaor, ra.- Person who sings flamenco songs. Cante.- A generic name that covers different songs that are part of the Andalusian musical heritage. Cantiña.- Cante from Cádiz, with a rhythm typical of toque por alegrías. It is also the generic name referring to a group of lively cantes, like caracoles, mirabrás, romeras and alegrías. Caña.- A long, serious cante resembling liturgical chants and generally ending in a soleá. Caracoles.- A type of cantiña born in the middle of the nineteenth century and made of lines varying in length. Carcelera.- Cante a palo seco belonging to the group which tonás also belong to. Similar to martinete. Cartagenera.- Song that belongs to the group of cantes from Levante. It acquired its flamenco character in the last decades of the nineteenth century. . Acompañamiento.- Accompaniment. A vocal or instrumental part that supports another, often solo, part, song or dance. Aficionado,da.- An enthusiastic admirer of flamenco, even if they do not sing, dance or play the guitar. Afillá.- A type of hoarse, earthy flamenco voice; it alludes to El Fillo's voice. Aflamencar.- To perform any song with flamenco tones or rhythms. Agachonar.- sing songs without the typical gypsy diction. A gusto.- Used to describe a moment when an artist feels comfortable or at ease while on stage before a good audience. Alboreá.- Song played on a "bulería" rhythm by "soleá," typical of gypsy wedding parties. Babeo.- Labial vibrato that uses the phoneme "b" and the precedent vocal sound of the word. Bailaor, ra.-Flamenco dancer Baile flamenco.- lamenco dance. It is performed accompanied by a guitar. It is a living, constantly changing art. It is difficult to describe it briefly, since it has been living for two centuries now. It keeps original features and has incorporated contemporary ones. Bajini.- Cante performed in a low voice, almost whispering. Balanceo.- A type of movement made by a female dancer when performing rumbas or guajiras. Ballet flamenco.- A kind of theatrical dance consolidated in the early decades of the twentieth century. It is somewhat different from traditional flamenco and big European ballets have taken it in. Bambera.- Cante that comes from Andalusian folklore. A clear example of aflamencamiento of songs. The name derives from bamba, or swing. Bandolá.- A variant of fandango born in the region of Vélez-Málaga. Bata.- A dress to wear in flamenco fiestas. It can be flounced, short or with a long train. Bulerías.- A joyful, fast cante that comes from a popular song that was incorporated to the Andalusian dance repertoire in the nineteenth century. Glossary Glossary (A) (C) CONVENTION BUREAU Glossary (B) 79 Gu a sol y flamenco_en.qxp 21/08/2007 16:59 PÆgina 80 TOURIST BOARD & (F) (G) Debla.- Cante belonging to the group of the tonás. It is difficult to play, and singers must be of considerable skill. Decir.- This verb means "say" in Spanish. Songs must be also "said," as required by its intimate, confidential nature. Desplante.- Hard taps made with the foot on the floor while the guitarist strums at the end of the melody. Diapasón.- Fingerboard. A strip of wood on the neck of a stringed musical instrument against which the strings are pressed in playing. Doler.- Verb meaning "hurt" used to refer to the deep feelings experienced by the people who listen to flamenco music. Sometimes the verbs "lastimar" or the phrase "tirar pellizcos" are used. Duende.- Expressive and enchanting character of flamenco songs. Falseta.- Melodic phrase or floreo that guitar players perform during preludes or interludes, that is to say, when the singer is not singing. Falsete.- Extremely high-pitched voice achieved by vibrations of the vocal cords in the larynx. Fandango.- Andalusian cante whose name is the same as that of an old dance accompanied by a song. It was born in the eighteenth century and later on, theatrical plays called tonadillas contributed to spread fandangos all over Spain. Fandango acquired flamenco features and became fandango flamenco, which adopted different characteristics depending on the different locations. Faralá.- Flounce used to decorate skirts or dresses. Farfulleo.- Lyrics interspersed with fast repetitions lacking any meaning like lerelerele, trajilitrajilitraji. Farruca.- Rhythmic cante from Galicia that has been influenced by flamenco and forms from Cádiz. It is melancholy and gloomy Festivales flamencos.- Song, dance and instrumental flamenco music shows generally performed outdoors in the summer. Fiesta.- Performers and audience's reunion filled with real respect for artists. Flamenco,ca.- Adj. Used to refer to a peculiar way of singing, dancing and playing the guitar, and to singers, dancers and guitar players. Fondo.- Back of the guitar sound board. Garrotín.- Non-Andalusian dance that is associated with the rich world of gypsies, specifically the gypsies from Valls and Lérida. Apparently, it originated in Asturias and then moved to Catalonia. General.- A performer that is good at many flamenco styles. Gitano, na.- Gypsy. An ethnic group coming from Sind, India, who arrived in Spain in 1425, as reads an old document signed by Alfonso the Magnanimous, King of the Catalan March. Glosolalia.- Vocal element of nonmeaningful speech that the singer adds when singing a song. Golpeador.- Plastic piece on the guitar to protect the wood it is made of. Granaína.- Cante deriving from old fandango, and depending to some extent to the school of cantes of Málaga. Guajira.- Flamenco song influenced by Cuban rhythms. It was born in the first half of the twentieth century. Guitarra.- Musical instrument of the lute family, having a flat, waisted body with a round sound hole and a fretted neck along which run six strings. It is the principal instrument in flamenco music. (E) Eco.- Series of sounds typical of flamenco featured by a certain voice.. Encontradas.- When sound is made clapping in time, "encontradas" is synonym with "redobladas." Entonar.- To sing in tune. Entrada.- The set of first steps or movements by dancers on stage. Escobilla.- Specific name of the part of a dance in which the audience look particularly at the rhythmic sound made by the feet. Esparrabarse.-To sing, dance or play the guitar out of time Estar a gusto.- Singers are "a gusto" when the audience is made up of connoisseurs. Estilista.- Singer who is an expert in certain style. Estilo.- A style of singing or dancing. (H) Hacer son.- Accompany a song or dance by clapping hands or clicking fingers. Hembra.- Castanet played with the right hand. Hondo, da.- A deep, inner feeling. Glossary Glossary (D) . . 80 CONVENTION BUREAU Castañuelas.-Castanets. A percussion instrument consisting of a pair of slightly concave shells of ivory or hardwood, held in the palm of the hand by a connecting cord over the thumb and clapped together with the fingers. Cejilla.- Capo. A small movable bar placed across the fingerboard of a guitar or similar instrument so as to raise the pitch of all the strings uniformly. Also called cejuela. Chufla.- Satirical popular song. Clavija.- Tuning peg. Long and narrow piece made of wood, metal or ivory that allow guitar players to change tension of the strings. Clavijero.- Tuning head. The part of a stringed instrument adjoined to the end of the neck, where the strings are wound. Colmao.- Drink and food establishment. In some of them, fantastic flamenco parties were held in private rooms Colocación.- Used when the singer follows the melody adequately. Colombiana.- Flamenco style influenced by Latin American rhythms. Contratiempo.- Duration of a note extending to two beats and taking in part of the first one. Corrida, do.- Romance. Corto.- Singer who does not master a large number of styles. Cuadrar.- Verb used to refer to a balanced, harmonious way of singing a song Málaga, Sun and Flamenco Index www.visitcostadelsol.com Glossary Málaga, Sun and Flamenco 81 Gu a sol y flamenco_en.qxp 21/08/2007 16:59 PÆgina 82 TOURIST BOARD & (M) (N) Jabera.- Song that belongs to the group of fandangos from Málaga. It requires remarkable performing skill on the part of the singers.. Jalear.- Pronounce words and interjections to encourage and praise performers. Jaleo.- A dance from the flamenco classic period and an old song from Cádiz. Juerga.- Party or reunion of enthusiasts and artists to listen the latter play. Juguetillo.-Folk song with flamenco overtones whose lines differ in length; for example, the seguidilla castellana. Macho.- Short song added to some cantes as a finale. Also the castanet used by the left hand. Malagueña.- Cante that derives from old fandangos from Málaga. It became a genuine flamenco entity in the first half of the nineteenth century. Mariana.- A melodious folk song with flamenco features. Apparently, it is linked to the Andalusian song anthology. It was adopted by nomadic gypsies. Martinete.- A variant of the toná. No guitar is played, as in the carcelera. Media granaína.- A type of song, more joyful than granaína, created by Antonio Chacón. Melisma.- Group of musical notes successively sung on the same syllable as a way of vocal embellishment. Milonga.- Song with flamenco features that has come from Argentina, specifically from the Río de la Plata region. Minera.- Song with flamenco feature that derives from fandango. It belongs to the group of miners' songs -cantes mineros- or from Levante. Mirabrás.- Cante from Cádiz. It belongs to the group of alegrías, romeras, caracoles and, especially, cantiñas. Mudanza.- Each of the movements dancers make to the rhythm of the music Murciana.- Miners' song which in the world of flamenco belongs to the taranta style. Músico.- Musician. In the field of flamenco, the term "músico" (musician) is used to refer to a singer who according to experts is creative and talented. Nana.- The present-day nana played in Andalusia was born in Castile. It is a traditional lullaby that has been influenced by flamenco.. Natural.- Adj. Characteristic of a voice having expressiveness and showing deep emotion. (L) Largo, ga.- A singer that excels in different types of cantes. Lastimar.- To move or affect the audience. Levantar.- You say that a singer levanta his cante when he performs a macho or a change to end the song. Levantica.- Name given to certain tarantas by some singers or experts.. Liviana.- A song that is closely linked with siguiriya, as can be seen in its time. Its melody and lyrics are similar to serranas. (LL) Ópera flamenca.- Flamenco shows including singers, dancers and guitar players. Óperas flamencas were very popular from 1920 to 1936 across Spain Oreja.- Part of the tuning peg on which fingers move to fasten the guitar strings. (P) Palmas.- To clap in time to accompany flamenco song and dance. The fingers of one hand may strike on the palm of the other hand or both palms may be used. Palmero, ra.- A member of a flamenco group who claps while others are performing a song or dance. Palo.- Type of song, style. Palo seco (A).-Song performed only by a human voice. Guitars do not take part. Paseo.- First steps in a dance. Strumming made between falsetas or between a falseta and a song text. Pelear.- To fight. You say that the singer pelea, or that he's fighting, when he makes every effort to sing in a moving way, as required. Pellizco.-Deep emotion felt by the audience when listening to a song or watching a dance. Flamenco Peñas.- Associations in which the different forms of flamenco -singing, dancing, guitar playing- are studied and made known to the public. (Q) Quejío.- An expression of grief represented by a repetition of the interjection ay! At the beginning, in the midst of or at the end of a stanza. Glossary Glossary Llamada.- Name given to the first steps or movements the dancer performs at the beginning of desplante. (O) Petenera.-Cante whose name possibly derives from a beautiful singer born in Paterna de Rivera. There are different varieties, so petenera should be taken as an umbrella name. Pito.- Finger snapping. Sound produced pressing the index or middle finger and thumb together and sliding them in opposite directions. Playera.- Name that was used in the past to name the siguiriya. Polo.- Song coming from an Andalusian song from the middle of the eighteenth century and acquiring flamenco features in early nineteenth century. With respect to music, it is similar to the caña. Tobalo composed a polo known as "Polo Tobalo." Por abajo.- Musical tone played by the guitarist and equivalent to A major, as alegrías, soleares, siguiriyas or bulerías are played. Por arriba.- Musical tone played by the guitarist and equivalent to the note E. Por derecho.- To perform a flamenco style according to tradition. Por en medio.- It means the same as por abajo. Prima.- The first and thinnest string on a guitar, the one that makes the highest note. Puntear.- To play falsetas with the guitar. . . 82 CONVENTION BUREAU (J) Málaga, Sun and Flamenco Index www.visitcostadelsol.com Glossary Málaga, Sun and Flamenco 83 Gu a sol y flamenco_en.qxp 21/08/2007 16:59 PÆgina 84 TOURIST BOARD & (T) (V) Rajá.- Rough or grating in sound. Having or characterized by a husky, grating voice.. Rajo.- Means used by a singer to endow his or her songs with intense emotion. Rasgueo.- Strumming. Technique that consists in playing the guitar by stroking the strings with all the right-hand fingers from the little one to the thumb and then to the top strings with the thumb non stop. Redoblar.- To repeat part of a line in a song in a higher musical tone. Redoblás.- Hand clapping using the counterpoint technique. Also called encontrá. Redonda.- A sweet but masculine voice. Redonda voices are the most frequent male voices. Ritmo.- Rhythm. The pattern of musical movement through time, in singing, dancing or guitar playing. Romance.- A song called corrido or corrida that emerged from popular Andalusian romances that were played without instrumental accompaniment. Romera.- Cante from Cádiz belonging to the cantiñas, ideal to dance. It was born in the middle of the nineteenth century and did great credit to the cafés cantantes it was performed. Rondeña.- According to José Luque, is a type of bandolá. It is a very old fandango born in the capital city. It reached its maturity in the nineteenth century. Rumba.- Latin American folk music that took flamenco characteristics and became popular in theatre shows. Flamenco artists added a joyful air to it like tango or bulería. Saeta.- Cante whose origins lie in the old religious chants people sang while Holy Week processions passed by. Salía.- Intonation coinciding with the first line or fragment of a song right after the temple. Sentir.- To listen to a song paying attention to its value. Serrana.- Cante whose name derives from sierra or mountain range. It might have emerged from a country song which got flamenco character in the middle of the nineteenth century. You can find elements of the caña, siguiriya, and above all, liviana. Siguiriya.- Cante from late eighteenth century that became popular in the following century. It is a dramatic, strong and desolate song. The lyrics are sad, moving and tragic. Soleá.- Cante that was born at the dawn of the nineteenth century as an accompaniment to dance. Little by little, it has become an independent cante. Sonanta.- Guitar, particularly flamenco guitar. Tablaos.- Establishments that have offered flamenco shows since the 1950s. They are similar to former cafés cantantes. Taconeo.- Heel clicking step of flamenco dance. Tango.- Flamenco basic song. There are different types of tango, from Cádiz, Málaga, and Seville. It is one of the oldest flamenco dances. Tanguillo.- A kind of song from Cádiz, which is why it is also known as tanguillo de Cádiz. Its lyrics are joyful, ironic and satirical, but always cheerful and light. Tapa.- The front wooden part of the guitar's soundbox. It has the same shape as the bottom and both are kept together by the aro or side. Taranta.- A kind of miners' song like cartageneras, mineras, murcianas… Taranto.- Taranta whose instrumental music follows the beat of zambras. The dance, performed along with a song, was probably created by Carmen Amaya Templar.- To tune the guitar. To put the instrument into proper pitch. Temple.- Quejaos, jipíos and farfulleos, all sounds sung by the cantaor before starting the song proper. Temporera.- Andalusian folk song with flamenco characteristics which is no longer performed. Tercio.- Each of the lines that make up a stanza. Tiento.- A type of song from Cádiz, where it was called tango-tiento, or slow tango. It is a dance as well. Tocaor, ra.- Person who plays the flamenco guitar. Toque.- Instrumental music; in the world of flamenco, the music played by a guitarist. The word “toque” also refers to the particular way each tocaor or guitarist plays his or her instrument. Traste.- One of several metal or bone ridges set across the fingerboard of a stringed instrument, such as a guitar. Valiente.- Song that demands excellent skills on the part of the singer. Variación.- This word is not very frequently used in flamenco. Instead, falseta is used. Verdiales.- A kind of song typical of Málaga's country fandango. The singer is accompanied by a guitar, violin, tambourine and cymbals. In the Comares style a lute takes part. Vibrato.- A tremulous or pulsating effect produced in vocal tone by minute and rapid variations in pitch to charge a song with strenght and character.. Vidalita.- Cante with flamenco features whose origins can be traced in the Argentinean folk music. This is a love song which is sad and slow. Voz.- One of the three elements of cante together with the text and music. . Málaga, Sun and Flamenco Index www.visitcostadelsol.com Zambra.- Fiesta (old fashioned). Nowadays, the only one in existence is the zambra granadina, in Sacromonte caves. It is comprised by three mimic dances: alboreá, cachucha and mosca, representing three moments of a gypsy wedding. . 84 (Z) Glossary Glossary (S) CONVENTION BUREAU (R) Glossary Málaga, Sun and Flamenco 85 Gu a sol y flamenco_en.qxp 21/08/2007 17:00 PÆgina 86 TOURIST BOARD & CONVENTION BUREAU festivals and competitions. . Festivals and Competitions . 86 Index Málaga, Sun and Flamenco 87 Gu a sol y flamenco_en.qxp 21/08/2007 17:01 PÆgina 88 TOURIST BOARD & RINCÓN DE LA VICTORIA. GAUCÍN. RIOGORDO. Western Costa del Sol. Flamenco Festival . October. Festivals and Competitions Flamenco festivals have been held since the 1960s in the province of Málaga. These festivals are organised in different towns (in alphabetical order): BENALMÁDENA. GUARO. ALCAUCÍN. BENAMARGOSA. La Axarquía. Flamenco Festival . July. MÁLAGA. La Axarquía. Flamenco Festival . July. Guadalteba. Flamenco Festival. August. La Axarquía. Flamenco Festival de Algarrobo. June. CANILLAS DE ACEITUNO. La Axarquía. Flamenco Festival . August. ALHAURÍN DE LA TORRE. Guadalhorce Valley. Cante Festival. June. CASABERMEJA. Antequera. Flamenco Festival. June. ALHAURÍN EL GRANDE. Guadalhorce Valley. Flamenco Night. July. CASARABONELA. Sierra de las Nieves. Flamenco Festival . July. ÁLORA Guadalhorce Valley. Flamenco Festival . July. COÍN. ANTEQUERA. Antequera. Santa María Flamenco Western Costa del Sol. Flamenco Festival . July. CAMPILLOS. ALGARROBO. Night. ARDALES. Guadalteba. Flamenco Festival . Agosto. August. Guadalhorce Valley. Flamenco Festival -Memorial Pepe de la Isla. July. CÓMPETA. La Axarquía. Flamenco Festival - Wine Night. August. Sierra de las Nieves. El Almendro Flamenco Festival. June. Málaga. Málaga Fair Festival. August. Málaga in Flamenco Biennial,. Miraflores de los Ángeles Festival. May. MANILVA. Western Costa del Sol. Flamenco Festival. August. MARBELLA. Western Costa del Sol. Flamenco Festivals (more than one). MIJAS. Western Costa del Sol. Flamenco Festival. July. MONDA. Sierra de las Nieves. Flamenco Festivals. Flamenco Festival de Monda. July. La Axarquía. Flamenco Night. July. RONDA. Serranía de Ronda. Flamenco Night Festival. September. TORREMOLINOS. Western Costa del Sol. Flamenco Festival . August. VILLANUEVA DE ALGAIDAS. Nororma. August. VIÑUELA. La Axarquía Flamenco Festival. August. Flamenco cante competitions are organized by flamenco peñas or clubs almost every year. In the province of Málaga, competitions take place in Alhaurín de la Torre, Álora, Antequera, Ardales, Campillos, Colmenar, Estepona, Mijas, Nerja, Ronda, Torremolinos, Torrox, and Vélez-Málaga, among other locations. In Málaga City several competitions are organised by recreation peñas. OJÉN. Sierra de las Nieves. Flamenco Festival. July. Festivals and Competitions PERIANA. La Axarquía. Flamenco Festival. May. . . Festivals and Competitions Serranía de Ronda. Flamenco Festival del Corcho. July. La Axarquía. Flamenco Festival July. 88 CONVENTION BUREAU FUENGIROLA. Málaga, Sun and Flamenco Index www.visitcostadelsol.com Festivals and Competitions Málaga, Sun and Flamenco 89 Gu a sol y flamenco_en.qxp 21/08/2007 17:01 PÆgina 90 TOURIST BOARD & CONVENTION BUREAU Málaga in Flamenco Biennial In 2005, the Provincial Government of Málaga launched a programme of activities intended to give a boost to vernacular flamenco styles in the province and elsewhere, publicising a great many Málaba-born flamenco artists -singers, dancers and musicians. Many of these performers were barely known at that time. Now, two years later, some have become big flamenco stars. Málaga in flamenco . The flamenco biennial will be ruled by cabalistic number 7: there'll be seven concerts, seven new The new edition of "Málaga en Flamenco" kicks off at the Menga Dolmen in Antequera on July 7th (7/7/2007) at midnight. The first event will be "Seven Art Sequences till Dawn." 90 Málaga, Sun and Flamenco Index www.visitcostadelsol.com Festivals and Competitions Málaga, Sun and Flamenco . The positive outcome of the 2005 edition paved the way for a new programme in 2007, which will again be the springboard for new artists and a showcase for those who are "hungry" for glory. releases, and seven recitals. Moreover, the venues for all these events will be the seven Málaga wonders: the St Mary the Great Collegiate Church and El Torcal in Antequera, the Plaza Ochavada (Chamfered Square) in Archidona, Nerja's Cave, the Sohail Castle in Fuengirola, the Guadalhorce Reservoir in Ardales, and the Bullring in Ronda. These places' history and surroundings will match the shows that will take place in them. Málaga in flamenco Flamenco shows in clubs or theatres, lectures, recitals, big concerts, album releases, and book publications were some of the activities included in the first edition of this biennial programme, starting with the ceremony to give the 5th "Llave de Oro del Cante" (Golden Key to Flamenco Singer) to Antonio Fernández Díaz, a.k.a. Fosforito, at the Miguel de Cervantes Theatre. The section called "Nos vemos en tu peña" (See You At Your Flamenco Club) will feature some flamenco singers, dancers and guitarists who did not participate in the previous edition, as well as a tribute to guitar player Paco de Lucía, who performed at La Malagueta bullring in the context of the biennial's previous edition. There will also be flamenco singing lessons with Fosforito and lectures on Salvador Rueda or the situation of flamenco today in sections such as "Andalusian Chronicles," "Flamenco and Poetry," "Music Retold," and others. 91 Gu a sol y flamenco_en.qxp 21/08/2007 17:02 PÆgina 92 TOURIST BOARD & CONVENTION BUREAU flamenco anecdotes. Flamenco anecdotes . 92 Index Málaga, Sun and Flamenco 93 Gu a sol y flamenco_en.qxp 21/08/2007 17:02 PÆgina 94 TOURIST BOARD & Once upon a time, El Beni and El Cojo Peroche, from Cádiz, where having a walk, when they came across the house where Spanish writer and journalist José María Pemán had been born. The house had a nameplate which read: "This is the house were Don José María Pemán, illustrious scholar, was born." After a while, El Beni asked Peroche: - Hey, Antonio, what do you think my own nameplate will read when I die? In his usual cheeky wit, Peroche didn't hesitate and answered: . -The road you should take is the one on the right. I know because I was here last year. El Pinto, who could hardly bear El Gallina's pretence to know about everything, added: Málaga, Sun and Flamenco As he was sure, everybody else agreed, and the driver took the road on the right. After having ridden for quite long, the bus stopped again, as it came to a river blocking traffic. This showed El Gallina was wrong: the left road was the right one. When Pepe Pinto tried to complain, El Gallina, stubborn as he was, was quick to say: -I've made no mistake, don't get me wrong. This river was not here last year! ...................... Ignacio Ezpeleta was very, very lazy. When he was fired from the slaughterhouse, he was recommended to work in the park. The park's manager explained what he had to do: -María, give me a blanket, I'm very cold. With tears in her eyes, she answered: -Pepe, don't you remember? I pawned it this morning. With that special humour he'd never lose, not even in his deathbed, Pepe retorted: -OK, then, cover me with the pawn ticket. ...................... In one of his Japanese tours, Chano Lobato was travelling with forty artists, many of them local. When one of his dancers fell ill, a Japanese girl had to take her place. Trying to make her feel confident, Chano told her: -Look, Ignacio, you'll be the park keeper. There's not much you've got to do. You just have to sit on a bench and prevent cats from breaking into the gardens. -You should feel proud, now you're a first-line dancer, in your bata de cola (typical dress worn by women when they dance flamenco). But Ignacio was so lazy that he got a whip twenty metres long and used it to wallop the cats… with no need to leave his bench. ...................... However, the girl replied: -I always get it wrong when you said 'calamares.' -What do you mean 'calamares'? It's 'caracoles'! -No, no, what I mean is when you say 'I do love you, I do love you, más calamare que me parió .' [more than I love my mother.] ...................... Miguel de los Reyes and his company were performing in Zaragoza, and Pepito Vargas, one of the company's artists, introduced Miguel as the son of a flamenco singer who had sung at Café de Chinitas. (There's no harm in flattering artists.) During Pepito's introduction, Miguel, who was coming down the stairs, slipped and fell to the ground. The sister of a famous popular singer was watching. She had the longest teeth one could imagine. Lying on the ground, Miguel, who could see the foolish woman burst with laughter, shouted at her: -What are you laughing at, you woman, with those ribs coming out of your mouth? ...................... -No, mastel, I'm vely sad. . 94 Antonio Fernández, a.k.a. Romerito, who was born in La Línea de la Concepción, in Cádiz, but lived all his life in Málaga, liked to tell this story: Once, in one of their tours of Extramadura, Pepe Pinto and Los Gaditanos came to a crossroads. The bus driver stopped because he didn't know which road to take. When he saw what'd happened, El Gallina, a bootblack from Seville who had come as an assistant to El Pinto, said: -I swear, Pepe, it's the right road. Not only do I swear, I guarantee that's the road. Pepe was ill. He was cold, so he asked his wife, who was crying by the bed: -Why sad, girl? Flamenco anecdotes Flamenco anecdotes -For sale. ...................... -Gallina, please be careful, think, we still have many kilometres to go. If humour could be measured, Málaga-born flamenco singer José Blanco Fernández, a.k.a. Pepe el de la Berza, would have been a millionaire in terms of pounds or inches. He made a lot of money with his art but, just like many other artists, he died a pauper. He sang with other artists, like El Trinitario, El Capuchinero, and Manolillo El Herraor. It was Manolillo who liked to tell this story: CONVENTION BUREAU Flamenco Anecdotes Index www.visitcostadelsol.com Flamenco Anecdotes Málaga, Sun and Flamenco 95 Gu a sol y flamenco_en.qxp 21/08/2007 17:03 PÆgina 96 www.visitcostadelsol.com 96 97 Gu a sol y flamenco_en.qxp 06/10/2008 15:56 PÆgina 98 www.visitcostadelsol.com 98