Guía sol y flamenco_en.qxp

Transcripción

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: [email protected]
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
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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.
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: [email protected]
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
Málaga, Sun and Flamenco
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TOURIST BOARD &
CONVENTION BUREAU
index
.
.
.
.
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
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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.
. Verdiales
. Cantes abandolaos
. Malagueñas
. Artists from Málaga
. Artists from other provinces
. Ronda Cantes
. Non Native Málaga Cantes
.
.
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
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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
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
.
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
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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.
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
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.
.
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."
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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
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
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
.
.
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.
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.
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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.
.
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
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
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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
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
.
.
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
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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
Index
Málaga´s Cantes
.
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
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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
Index
Málaga´s Cantes
21
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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.
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
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
23
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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
Málaga´s Cantes
.
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.
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
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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.
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
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.
27
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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!
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
Málaga´s Cantes
.
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
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PÆgina 30
TOURIST BOARD &
CONVENTION BUREAU
artists from Málaga.
. Cantaores or singers
. Bailaores or dancers
. Guitar players
Artists from Málaga
.
30
Index
31
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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
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
.
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.
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.
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.
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
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
.
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.
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.
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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.
.
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
.
36
BAILAORES OR DANCERS
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.
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his wife, also a singer, and his children a singer
and a guitar player. He is very good at cantes
de compás.
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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
.
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
.
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.
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.
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TOURIST BOARD &
.
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.
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
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TOURIST BOARD &
.
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
.
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.
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.
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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.
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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
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
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
.
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.
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
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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
Index
.
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.
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.
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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
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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).
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
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
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
.
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
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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.
.
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
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
.
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.
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TOURIST BOARD &
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
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
.
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.
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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!
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
Flamenco Routes
.
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).
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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.
.
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
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.
.
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.
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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.
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
.
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.
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TOURIST BOARD &
CONVENTION BUREAU
museum of flamenco arts.
.
Museum of
Flamenco Arts
62
Index
63
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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
.
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
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
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TOURIST BOARD &
CONVENTION BUREAU
flamenco peñas.
Flamenco Peñas
.
66
Index
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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.
.
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
.
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
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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
Índice
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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
Índice
73
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
..... Index
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TOURIST BOARD &
CONVENTION BUREAU
glossary.
Glossary
.
76
Index
77
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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
Index
Glossary
.
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)
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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
Index
Glossary
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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)
Index
Glossary
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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.
.
Index
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
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TOURIST BOARD &
CONVENTION BUREAU
festivals and competitions.
.
Festivals and
Competitions
.
86
Index
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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.
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.
ÁLORA
Guadalhorce Valley.
COÍN.
ANTEQUERA.
Antequera.
Santa María
Flamenco
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.
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.
Flamenco Festivals (more than one).
MIJAS.
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.
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.
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.
Index
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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
Index
.
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
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17:02
PÆgina 92
TOURIST BOARD &
CONVENTION BUREAU
flamenco anecdotes.
Flamenco anecdotes
.
92
Index
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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:
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
Flamenco Anecdotes
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96
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06/10/2008
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98

Guía sol y flamenco_en.qxp

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