(We will continue next week with the series on my trip to Peru.)
Over the past several months, I've slowly been reading Sinalo Calorró by Juan Manuel Suarez Japón, a biography of Manuel Morao which traces Manuel Morao's life in flamenco through the author's conversations with him. One fascinating thing is that, back in the 1960s when everyone else thought flamenco was flourishing, Manuel Morao felt it was in danger of disappearing. I think Manuel Morao was right.
Manuel Morao in front of the Plaza de Toros,
where the Jueves Flamencos were held
where the Jueves Flamencos were held
But who is Manuel Morao, why does his opinion carry any weight, and why did he think traditional flamenco was in trouble?
Click on LINK to hear Manuel Morao playing solo guitar. And since playing solo isn't usual, here he is accompanying the singing - cante - of Antonio Mairena. LINK
First, who is he: from the 1960s through the early 1990s, he was one of the pre-eminent flamenco guitarists, and toured throughout Europe and North America. He was also the favorite accompanist of Antonio Mairena and Terremoto the elder, to say nothing of la Paquiera, Chocolate, and many others. Furthermore, he greatly influenced his guitarist nephew, Moraito, plus his guitarist grand-nephew, Diego del Morao.
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| Manuel Morao with Antonio de la Malena |
He helped organize and record major anthologies with Antonio Mairena and others, in which he was also principal guitarist. He is one of the main guitarists in the famous video series, Rito y Geografía del Cante.
In the mid-1970s, he stepped back from much of his touring and most of his recording to return to his birthplace, Jerez de la Frontera, where he became a major promoter of flamenco. He organized - and played for - a weekly series of extremely popular events in Jerez called "Jueves Flamencos" (Flamenco Thursdays), which he ran for years and which launched the careers of many of the famous performers of today (including that of Antonio de la Malena).
That, however, was not enough. In the early 1990s, he started a company called Gitanos de Jerez (Gypsies of Jerez) which produced music albums, DVDs, and major shows. The most famous show was one in which he brought 22 flamenco artists to play on Broadway in something called "Gitanos: Esa Forma de Vivir" ("Gypsy Passion").
In the mid-1970s, he stepped back from much of his touring and most of his recording to return to his birthplace, Jerez de la Frontera, where he became a major promoter of flamenco. He organized - and played for - a weekly series of extremely popular events in Jerez called "Jueves Flamencos" (Flamenco Thursdays), which he ran for years and which launched the careers of many of the famous performers of today (including that of Antonio de la Malena).
That, however, was not enough. In the early 1990s, he started a company called Gitanos de Jerez (Gypsies of Jerez) which produced music albums, DVDs, and major shows. The most famous show was one in which he brought 22 flamenco artists to play on Broadway in something called "Gitanos: Esa Forma de Vivir" ("Gypsy Passion").
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| preparing to film interview with Manuel Morao |
Gitanos de Jerez continued in operation, very successfully, until the early 2000s. By this time, Manuel Morao had stopped playing the guitar, partly because he had developed a nerve problem in his hands.
But why did this man believe, even back in the 1960s, that flamenco was in danger of disappearing - something he spent his entire life and career trying to prevent? For Manuel Morao, "flamenco" was another word for "el cante de los gitanos," which literally means "the singing of the Gypsies [of Andalucía in southern Spain]" but practically, means traditional flamenco.
But why did this man believe, even back in the 1960s, that flamenco was in danger of disappearing - something he spent his entire life and career trying to prevent? For Manuel Morao, "flamenco" was another word for "el cante de los gitanos," which literally means "the singing of the Gypsies [of Andalucía in southern Spain]" but practically, means traditional flamenco.
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| preparing to film in another location; Manuel Morao is on the sofa |
His emphasis on gitanos - the Gypsies of Andalucía - does not mean he believes only gitanos can sing and perform flamenco; but he does fervently believe that the art comes from them, they are its purest proponents, and the art continues to be part of their heritage, an integral part of their community.
To learn the danger in which traditional flamenco finds itself, you will need to watch the documentary we are making, Flamenco: the Land Is Still Fertile (Flamenco: la tierra está viva). Go HERE to check out its web site.
To learn the danger in which traditional flamenco finds itself, you will need to watch the documentary we are making, Flamenco: the Land Is Still Fertile (Flamenco: la tierra está viva). Go HERE to check out its web site.
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Eve A. Ma, a former
university professor, lawyer, and director of a non-profit cultural
organization, is the producer-director of several documentaries about
world music and dance, including A Zest for Life: Afro-Peruvian Rhythms Of Beauty & Deities: Music & Dance of India, and Masters
of Rhythm with addendum. Sign up for
her newsletter to keep up with her work and get a special video: www.PalominoPro-signup.com
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