Comments on: 1954: The First Anthology of Flamenco http://miguelbengoa.com/2008/07/14/1954-the-first-anthology-of-flamenco/ Flamenco and flamenco guitar. Sun, 01 Aug 2010 09:37:34 +0000 hourly 1 By: miguel http://miguelbengoa.com/2008/07/14/1954-the-first-anthology-of-flamenco/comment-page-1/#comment-3406 miguel Mon, 14 Jul 2008 15:08:03 +0000 http://miguelbengoa.com/?p=172#comment-3406 1973 was a little before my time - I am 1966 vintage, but the Phoren information just did not ring true to me either as I do remember tablaos in Málaga and Sevilla in the early 1980s. I agree with you about the Paco/Camarón movement and the increased availability of recorded media. In the various rastros, gas stations and street markets it was possible to pick up copies of cassettes of all artists at an incredibly cheap price - thereby saving the price of visits to tablaos... I definitely agree with you about the business machine and politicisation of flamenco. There is a very interesting paper that tackles this idea of Patrimonio Cultural by Gerhard Steingress in which he examines the idea of official ownership of flamenco. While I do believe that the idea of promoting flamenco is an excellent idea, after all, here we are... But so many of my friends in Andalusia do regard this official promotion of flamenco as another part of the "Flamenco Mafia" which assists in their exclusion as artists. That does not mean to say that they are all particularly reliable types! Once again, thanks for your insightful contribution, Estela. 1973 was a little before my time
- I am 1966 vintage, but the Phoren information just did not ring true to me either as I do remember tablaos in Málaga and Sevilla in the early 1980s.

I agree with you about the Paco/Camarón movement and the increased availability of recorded media. In the various rastros, gas stations and street markets it was possible to pick up copies of cassettes of all artists at an incredibly cheap price – thereby saving the price of visits to tablaos…

I definitely agree with you about the business machine and politicisation of flamenco. There is a very interesting paper that tackles this idea of Patrimonio Cultural by Gerhard Steingress in which he examines the idea of official ownership of flamenco. While I do believe that the idea of promoting flamenco is an excellent idea, after all, here we are…

But so many of my friends in Andalusia do regard this official promotion of flamenco as another part of the “Flamenco Mafia” which assists in their exclusion as artists. That does not mean to say that they are all particularly reliable types!

Once again, thanks for your insightful contribution, Estela.

]]> By: Estela Zatania http://miguelbengoa.com/2008/07/14/1954-the-first-anthology-of-flamenco/comment-page-1/#comment-3404 Estela Zatania Mon, 14 Jul 2008 13:59:54 +0000 http://miguelbengoa.com/?p=172#comment-3404 > (La Zambra closed in 1973, due to > the death of its owner and was the > only flamenco tablao in the world at > that time). Actually, the year 1973 was smack in the heyday of the tablaos. In that year, in Madrid alone, there were over a dozen, and they were packed every night. Successful tablaos also existed in Málaga, Granada, Sevilla and Barcelona in the seventies. By the end of the decade tablaos were in decline, partly due to the Paco/Camarón movement that flourished in other venues, and also due to the application of labor laws that made it much more expensive to contract artists, so groups dwindled from 10 or 12 people, to 4 or 6 at the most. It was then the "big format" companies became popular and began receiving government subsidies....and this in turn changed the entire face of flamenco.......... Estela Zatania www.deflamenco.com/indexi.jsp > (La Zambra closed in 1973, due to
> the death of its owner and was the
> only flamenco tablao in the world at
> that time).

Actually, the year 1973 was smack in the heyday of the tablaos. In that year, in Madrid alone, there were over a dozen, and they were packed every night. Successful tablaos also existed in Málaga, Granada, Sevilla and Barcelona in the seventies. By the end of the decade tablaos were in decline, partly due to the Paco/Camarón movement that flourished in other venues, and also due to the application of labor laws that made it much more expensive to contract artists, so groups dwindled from 10 or 12 people, to 4 or 6 at the most. It was then the “big format” companies became popular and began receiving government subsidies….and this in turn changed the entire face of flamenco……….

Estela Zatania
http://www.deflamenco.com/indexi.jsp

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