Madrid made flamenco what it is today
Experts explain the role of the capital in the evolution of this art form
Flamencologist Francisco Paredes, moderator of the conference 'Flamenco in Madrid'
Foto: festivalcantedelasminas.org
This summer was held again in Murcia, in southern Spain, the LXII International Festival of the LXII International Festival of the Cante de las Minas 9 days around the cante and the baile flamenco.
In this edition, the capital was given a special place with the conference 'Flamenco in Madrid', in which four experts in the art of flamenco: the flamencologist Francisco Paredes, the journalist, writer and producer specialized in flamenco José Manuel Gamboa, the director of the portal deflamenco.com Rafael Manjavacas and the president of the Círculo Flamenco de Madrid and specialist in sound heritage Carlos Martín, talked about the fundamental role that Madrid played in the dissemination of flamenco.
Conference 'Flamenco in Madrid' during the LXII International Festival of Cante de las Minas in Murcia
Photo: festivalcantedelasminas.org
And the fact is that "if it were not for Madrid we would not have flamenco as we know it today", argued Francisco Paredes, who highlighted the importance of Madrid as an epicenter of artists that allowed the spread of this art.
The experts shared how already in the 20th century the first competitions with flamenco artists began to be held, who made the genre known and inspired generations of child singers. The posters of the time showed the "effervescence and the flamenco atmosphere in Madrid", recalled Carlos Martín, who affirmed that "in Madrid there was not only a demand for flamenco, but there was also a very important Andalusian atmosphere, which meant that the artists who came to work there found a similar environment". Rafael Manjavacas added that it was for this reason that "all the flamenco artists from Spain went to Madrid to stay and work".
The tablao Villa Rosa in the early days of the tablaos flamencos in Madrid
Later, around the 1950s, the tablaos tablaos They were created for the national public, so that they could listen to real songs, because in the flamenco opera they did not sing siguiriyas", explained José Manuel Gamboa. As Francisco Paredes pointed out, "all the artists who arrived with the music of their land triumphed in the tablaos of Madrid and enhanced it", which allowed the preservation of many cantes.
"Madrid would serve as a catalyst, as a free space in which flamenco has been able to develop, creating spaces of complicity to enjoy it", added Carlos Martín, who affirmed that Madrid served as a pole of attraction for the entire flamenco orb. To the flamenco shows flamenco galas and alternative spaces were added, which together made "Madrid flamenco has been essential for two centuries and the best showcase for the genre".
Madrid was for flamenco the fire of a fuse that was ready to be lit.