Women, feminism, gender equality: trending topics of 2018.
What about women in flamenco? Well, it is most certainly an intriguing story!
Traditionally, flamenco was rather masculine. There are female artists who were popular and became famous in the first half of the twentieth century, like Carmen Amaya and La Niña de los Peines, but the majority of flamencos – especially singers and guitarists – were men. In the countryside, particularly in villages, the flamenco scene was almost entirely male dominated. In every village, there were one or two family-friendly establishments where women could go with their husbands, and of course in any private home they were welcome, but in the bars visited by men – where flamenco was mostly played – in hours after dark, in an environment with drinks, smoke etc. a respectable woman did not want to be seen. Not the best environment for a woman, anyway, they used to say. The women living in these villages were the first ones to call any woman visiting these bars: a whore… Female presence in these bars was just as uncomfortable for men as for women. Donn Pohren experienced this himself when he arrived to Morón de la Frontera at the beginning of the 60’s, and started going out with the flamencos as part of his flamenco research. His book “A way of life” talks about this and much more, while he lived among the flamencos in the 50-60’s Andalusia.
The story of La Chana – a Catalan gipsy dancer from Barcelona – has recently become widely known outside of the flamenco world. This is also due to the documentary of the Croatian director, Lucija Stojevic, which won an audience award on Amsterdam’s International Documentary Festival. When Antonia was a young dancer, full of potential and a bright future ahead of her, her husband did not like her being on stage, and forced her into early retirement; only to come back to stage now, in her late sixties. She can only dance sitting down, but she has a footwork that any young dancer would envy, and so much emotion in her performance what makes people cry. I feel lucky to have seen her during the Flamenco Festival in London in February this year. She was helped on stage by two other dancers, sat down in a chair, and the rhythm of her ‘zapateado’, the footwork and the intensity of emotions, left the entire theatre speechless. It was quite moving. One can only hope that we now live in an era where men don’t take decisions about the lives of women anymore, and these stories won’t repeat.
There is still a long way for gender equality to become reality (if possible at all!), but things are changing and the flamenco world is no exception. It welcomes more and more female artists in singing, dancing and also in the guitar! I was happy to hear a few months ago that there is already one known female guitar player (from El Puerto de Santa María): Antonia Jiménez. This doesn’t mean there are no others, but up until recently, I have never heard of any!
As Holly Branson very well said on an international women’s day talk in March 2018 in London: “only sperm donors and surrogate mothers are gender restricted jobs, nothing else should be”. So let women become train drivers, IT specialists and flamenco guitarists, if they want to be. And vice-versa, let men become midwives and nurses, if they want to be. Freedom of choice. For all!
There is a radio program on the national radio in Spain, run by José María Velázquez-Gaztelu, a gentleman with incredible knowledge on flamenco (‘flamencólogo’), writer and poet from Cádiz. It’s called ‘Nuestro Flamenco’, Our Flamenco and it is on RNE Clásico every Monday and Wednesday at midnight CET). They now have a series dedicated to the women in the flamenco world, presenting artists of old times but also contemporary ones. It is called ‘La mujer cantaora’, the singer women. Highly recommended! Podcasts available online.
My women in flamenco are: