PEÑAS FLAMENCAS: VENERATING FLAMENCO

It is difficult to determine the exact moment in which flamenco came into existence, becoming the most representative artistic and expressive genre of Andalusian culture. However, it is much easier to trace the evolution of this art over the years.

In this way, if we focus on the most recent period of evolution, we will find that the prevailing economic and social systems of our time have directly affected this art form.

While it is true that flamenco was first created in situations in which the spontaneity of its logic responded to the use and enjoyment of the art, the formation of professional artists and the marketing of their talent has taken precedence over this initial perspective. This has brought on a parallel effect, in which an art of clearly popular origin-ridiculed by intellectuals-has, in a short time, become an elitist art in which money is not only important, but fundamental.

Since their appearance, flamenco peñas (clubs) have served as temples of veneration of flamenco, providing enthusiasts with an opportunity to enjoy and to speak about the gitano-andaluz art form. "Things were different then. Flamenco was accessible to anyone, and aficionados' opinions were highly respected," says Jerónimo Roldán, chairman of the "Peña Torres Macarena" of Seville. "Years ago, the peña was the artists' practice field. They learned there through singing, dancing, and playing for the public or at a gathering in which the artists felt supported and understood. At the same time, artists knew that they were up against greater expectations than in any other place. There was a real atmosphere of exchange," he adds.

It is logical that these great aficionados miss those days: Large-scale shows, like the Bienal of Seville, the "Festival de la Unión"-in Murcia-, or the "Festival de la Guitarra" in Córdoba pay artists more every year, making it difficult for the peñas to program their activities. Antonio Fernández Cabrero, chairman of the "Confederación Provincial de Peñas Flamencas" states, "Although it seems contradictory, these big events that are economically profitable are creating serious problems for the peñas, because the artists want to earn the same amount, and that's impossible. You go from one situation, where you earn money, to another, where it costs you money, because buying art in a peña costs a lot of money."

Peña Torres Macarena

In the beginning, the confederation was comprised of six peñas: Torres Macarena, La Fragua, El Chozas, El Pozo de las Penas, Fuentes de Andalucía, and Villanueva del Ariscal. Today there are 87. There are, however, three different types of peñas. First, there are the historical and economically powerful peñas, in which flamenco is studied and analyzed. These peñas normally have their own library, and organize all the events that their resources will allow. Second, there is an intermediate type of peña whose agenda depends more on the "Confederación Provincial" than on its own resources. The third type is more of a meeting place in a bar than an actual peña, and offers very little activity.

"In the past, any peña could negotiate with prestigious singers like Antonio Mairena or Fosforito, and, with members' fees, it was possible to contract them. But today that's impossible. You either have support like Torres Macarena and four other provincial peñas, or you've got serious problems in contracting artists. And you always end up having to ask them to do it as a favor, which is even sadder," comments Fernández Cabrero.

The system of organization of the peñas is another element that has become obsolete over the years. There are more young flamenco enthusiasts today than in the past, but the peñas have not reacted to this phenomenon. They have not appointed younger enthusiasts to management posts, a move which would reflect the preferences of this important sector of society. "The peñas must provide access to young people. A society that doesn't take care of its young and old is doomed to failure. In doing this, they are denying older artists the possibility to teach, and younger artists the possibility to learn," concludes Fernández Cabrero.

What is truly disappointing about this situation is the arrogance and contempt that the new entrepreneurs of flamenco express towards the peñas and their directors. These owners of artistic contracting agencies are the only ones responsible for these situations, because none of them are able to proportion the conditions to the circumstances, as did J. Antonio Pulpón. But the worst of all is the cultural amnesia they seem to suffer, considering that the peñas are the only channel available to serious enthusiasts between large-scale shows.

Por Fernando González-Caballos