Background


ZAMBRA TABLAO FLAMENCO

BIOGRAPHICAL SKETCHES OF THE ARTISTS THAT MAKE UP ZAMBRA

ROSA DURAN The biography of Rosa Duran, first ballerina of Zambra, contains in essence all that is needed for a treatise on flamenco. Rosa Duran was born in Jerez de la Frontera, Cadiz, in the gypsy neighborhood of San Miguel. Rosa Duran has gypsy and “paya” blood: half-and-half. This is going to be transcendentally important in her art as a dancer because, thanks to this blood mixture, she will have the temperament, the fury, the intuition, and the gypsy personality proud of an Andalusian tradition which have made Rosa Duran one of the best dancers of flamenco Spain has ever had. Rosa Duran is the niece of the famous gypsy singer “El Marruro”, the giant of the “siguiriyero” and the “tientos”. Rosa, from birth, lives in an atmosphere of pure “baile y cante jondo”, and her childhood days are spent amidst songs and dances organized by the “little gypsies” of the Santiago section. At the age of five, with other “gitanillos” of the neighborhood, she sings and dances at weddings and christenings. There, the “Nina de Isabelita” (this is what they called her when she was a child, after her mother,
  the celebrated flamenco singer Isabelita de Jerez), was the one to carry the palms and the money. At the age of ten, she comes to Madrid with her mother. “Isabelita de Jerez” has much success here, and her daughter begins to dance during big fiestas sponsored by the aristocracy. The first academy she enters is that of the known dance teacher Angel Pericet, where she receives formal dance instruction. But she continues to dance in the street what she likes most: Bulerias, soleares, and alegrias. At the age of fifteen, she is the favorite student of the famous flamenco dancer “El Estampio”, also from Jerez. It can be said that “El Estampio” was her greatest teacher, because at the age of sixteen she dances among other great dancers in the history of flamenco. Rosa Duran travels frequently to foreign countries until 1954, when she entered Zambra’s opening night as first ballerina.In the years of the existence of Zambra, the change in Rosa Duran to dancer of the “grande” and the “jondo” has been astonishing. This is due primarily to the fact that Rosa Duran as a flamenco dancer, is the most perfect. She is the complete master of the dance in all its important points: the arms, body movements, and footwork. Before, great dancers had been known for one or another of these specialties, but, as we said earlier, she is known for all three.The movements and gestures with her arms and hands are the personification of the ritual and of the mysterious of flamenco. Undishevelled, without a single strand of hair falling on her face, never losing the gracefulness of her posture, she dances with the regality of a queen. Rosa Duran is a dancer with one aspiration only: that of a “tablao” flamenco, for she never desired the “ballet” or going on tour. Nothing else but dancing at Zambra. Rosa Duran, always with the father and son team “Perico de Lunar” as guitarists and just as great professionals of equal caliber and aspirations, has transformed and elevated the flamenco dance to a class of pure art never before attained. Her dances, the “siguiriyas”, the “Canas”, the “tarantas”, the “peteneras”, the “soleares”, the “serranas” and “Polos” have intricacies and the greatness of the primitive “cante jondo”.
In 1962, Rosa Duran wins at the Theater of Nations, the award “La Meilleure danseuse de la saison”, a title never before given to a non-classic dancer. She holds, also, the Premio Nacional de Espana de Baile, an award she won in 1962. PERICO DEL LUNAR Pedro del Valle. First guitarist of Zambra..... Perico del Lunar is presently one of the most brilliant personalities in the art of flamenco. We can count on the fingers of one hand today’s artists that control as he does, that mysterious, difficult world that comprises the old songs and rhythms of the flamenco. The forgotten songs, the lost styles receive through the guitar of Perico del Lunar an authentic resurrection. He is, in many cases, the only artist to know them. There is no fragment of song of guitar passage that he does not know; consequently, he is well acquainted with the way in which Breva, Silverio, Chacon, or Trini composed, and the fantastic improvisations on the guitar of Paco Lucena and Patino. Perico del Lunar has been the guitarist of the best singers of the time; among them, Manuel Torres, Tomas Pavon, Nina de los Peines, and above all, Antonio Chacon for
 

whom he played steadily for twelve years and of whom he treasures the best and most traditional style. With much modesty, Perico del Lunar affirms that he has no students. But the truth is that, in his guitar artistry, there is a wealth of flamenco teaching and that many singers owe to his pedagogical generosity the apprenticeship of inherited flamenco songs otherwise not learned. He is called “del lunar” because he used to have a big mole between his eyebrows, a mole that has long since been removed. Perico del Lunar was born in Jerez de la Frontera, province of Cadiz.

PERICO DEL LUNAR (SON)

Pedro del Valle Castro. Perico del Lunar, son, was born in Madrid in 1940. Even though born in Madrid, he has lived in an atmosphere both Andalusian and flamenco: that of the city of Jerez (mother and father are


 

natives of Jerez). As a child, he has already the guitar in his hands, and soon after, begins to play flamenco tunes under the tutelage of his father. At Zambra, he started as player at the side of his father, the great Perico del Lunar. For seven years, day after day, the style and quality of the guitar playing of his father have remained crystallized and enhanced in the guitar of the son. Today, Perico del Lunar, the son, has the rich repertory and the know-how of his father, revealed by the string of his guitar. When father and son play together the “cante y baile Grande” at Zambra, one hears the sounds of two guitars united on one precise beat and style.

PERICON DE CADIZ (JUAN MARTINEZ VILCHES)

Born in Cadiz, he received his stage name since his youth when his friends started calling him “Capitan Pericon”. His first contact with singing came also as a young boy making substantial earnings selling candies. He has won many contests; among his awards, one for “soleares” in Madrid in 1936, another for “siguiriyas” also in Madrid in 1948, and one for “alegrias” in Cadiz in 1952. He has been a member of the “Cante y Baile Grande” of Zambra for nine years. Pericon de Cadiz is one of the most ideal singers that we have in flamenco.

JUAN VAREA

This singer was born on the east coast of Spain and he is a unique personality within the “cante jondo”. Juan Varea is one of the few singers today that can be classified as “general”’ but it is the “cante jondo” that his strength lies. His history of tone quality, style, feeling, and expression of his singing is most closely related to that of Antonio Chacon. The strength of his “cante jondo” has a personality and a purity that are truly unique and extraordinary. The name of Juan Varea is among “those few left”. Juan Varea has been singing at Zambra since its inauguration.

MANUEL VARGAS

Manuel Vargas was born in Cadiz. As a child, he had a passion for flamenco. He began to sing it only as an amateur, choosing fish exporting as his business. In 1952, he takes part in the National Contest of “alegrias” in Cadiz and wins first prize. What followed was a succession of more prizes and successes like the great honors bestowed upon him at the Instituto de Cultura Hispanica for his “soleares” and malaguena”. His songs of “tientos”, “alegrias”, and “bulerias” have a resonance and style of pure flamenco. He has been with Zambra eight years.

RAFAEL ROMERO

Born in Adujar Jaen, he is of gypsy ancestry. Despite parental opposition, he started singing n his youth, soon after making flamenco singing his profession. Perico del Lunar has been his advisor in old songs and in the “jondo”, and Rafael Romero has combined this with his own interpretations which are of a rare and motivated nature. He has always been a principal singer, specially in songs without guitar accompaniment. He has been with Zambra for eight years.

PEPE EL CULATA

Pepe el Culata was born in the Triana neighborhood of Seville. His mother was a renown “bunolera” maker during big festivals in Andalucia, festivals that featured the best singers of the time. It was during these festivals that young Pepe beings to nurture a passion for flamenco singing. In an amateur contest held in Triana in 1925, he was such a hit that he was carried on shoulders. From this date on, there were no big fiestas without this young singer. In 1935, at the song festivals of Madrid, Pepe el Culata walks off with the first prize and is recognized as a great singer of the “cante grande” at the Monumental of that city. His “seguiriyas” and “soleares” are known to be the best interpretations of our times. Pepe el Culata has been with Zambra for the past seven years.

FERNAN A. CASARES, DIRECTOR OF ZAMBRA

Fernan A. Casares was born in Villarramiel (Province of Palencia) and is full-blooded Castilian. Both parents were cantilians by lineage: from Paredes de Nava, the same birthplace of the famous sculptor “Alonso de Berruguete”, the master of Castilian imagery. In 1923, Fernan A. Casares enters the University of Madrid where he studies and meets Federico Garcia Lorca, Dali, and the many other spiritual guides of the Spanish “pensamiento”. In the classes of D. Jose Ortega y Gasset begins to shape his aspirations: and in the gatherings of Ramon Gomez de la Serna, in Pombo, grows his literary anxieties. Through D. Jose Ortega y Gasset, his first journalistic contacts begin with his writing of the “University Column” for the newspaper “El Sol”. This was followed by a period of writing as a theater critic, and finally, as a movie director, where he received many prizes. It was his friendship with maestro Turina and the Andalusian poet, Manuel Machado that introduced him to the mystery of flamenco song and dance. Fernan is a man of tumultuous, overflowing, imagination, but quiet for its Castilian quality. His artistic foundation is solid and deep, and reflects the thoughts of the best teachers of the “generation of “98”. His work with movies, as with his writings, bear an unmistakable personality similar to that of Castile. His artistic productions are the very essence of art, an art that is decisive, clear, concrete, without afterthoughts. Fernan is, by nature, unsophisticated, indifferent to both vanity and praise. He wants to be only what he is: a man planted in the gray-brown soil of Castile and happy to look at its sky.

ALEGRIAS DE CADIZ

The ways of dancing and singing “alegrias” are varied. Like the “mirabras”, it originated from ancient traditions of the “cantinas” of Cadiz. It is an essential part of the repertory because it allows the dancer, male or female, to demonstrate the ability to dance flamenco.

FARRUCA

The “farruca” is not sung. It is only accompanied by the guitar and it is one of the few flamenco dances that have less flamenco or Andalusian influence. Its origin has more contact with northern dances, in particular the folklore of the provinces of Galicia and Aragon. Nevertheless, it has been restyled by flamenco dancers to give it a flamenco flavor and elegance.

FANDANGOS

The “fandango” is one of the most popular songs and dances from Andalucia. The classic “fandango” is a direct descendant of the “cante grande”. The “fandango” is a favorite song to dance during fiestas.

VERDIALES

The fundamental structure of “verdiales” goes back to the “fandangos”. In its original form it is nothing more than a danceable fandango. In style, its characteristics come from the mountainous region of Malaga. The “verdiales” song and dance is full of grace and gaiety.

FANDANGO GITANO (ZAMBRA)

This form is of undisputed Arabic origin, having been typical not only of Arab dances but also a favorite of Christianized Moors who continued to dance it in Granada. The “zambra” danced today by gypsies in Granada has little relation with old Arabic dances. The christianized Moors went as far as dancing it during the Easter procession in Granada. The “zambra” is danced freely as well as in the classic style with many steps and routines. We prefer it danced freely, accompanied by its original song. Rarely, if at all, has it been danced in this fashion in public.

SEVILLANAS

The “sevillanas”, as everyone knows, are genuine song and dance numbers of Seville. The origins are found in the rhythm of the vernacular poetic songs of the Mancha, dating as far back as the XVI century. The “sevillanas” have many and different styles. We prefer the Biblical Sevillanas incorporating biblical symbols; a dance which is very difficult to imitate due to its quick stops and precise techniques that give it grace. They are little known. The ones known by the people are the so-called “sevillanas corraleras” having originated in the ranches around Seville.

THE “GRANDE” SONG AND DANCE

SERRANAS
The “cana” of the shepherds and smugglers of other regions becomes the “serrana” in Andalucia. It is a “cante grande” and a song of lonely retreat and tragedy without the usual love for woman. From the countryside, the “serrana” passed to the city where accompaniment of the guitar added to it.

MALAGUENA

“Malaguenas”, of course, are from Malaga. The “Malaguena” has the arresting qualities of the “cana”, the mood of the “siguiriya”, and the overtones of “soleares”, but resembles none of the others mentioned. The “malaguena” of today is the same original one that has reached every heart with emotion.

PETENERA

The “petenera” has an individualist quality much detached from the Andalusian folklore. Some experts trace its origin to Hebrew religious music because of its similarity to chants of the old Jewish synagogues in Spain. Opposing this theory is another which believes the “petenera” originated in Paterna de la Ribera, Cadiz, and that the name is the result of a phonetic change of the word “paterna”. Nevertheless, the “petenera” has its own legend and its own spell: the tragic account of a singer who allegedly created this song. For many years this story associated with “petenera” prevented it from being sung. The dance of the “petenera”, on the other hand, is relatively new. Ballerina Rosa Duran and guitarist Perico el del Lunar, have re-created this dance giving it greatness and an esthetic value never before present.

TIENTOS

The ethnic origins of “tientos” are full of contradictions. While many are certain that it is all gypsy, others make it unquestionably Arabic. The “tientos” is a song normally accompanied by the dance of the same name.

ALBOREAS

The “alborea” is part of those songs and dances that make the repertory selected for gypsy wedding celebrations. The “alborea” declares the purity of the bride.

TARANTAS

A song of the mines, is very sad. It is an old song once known as the “song of the mines”. It originally comes from the Eastern seacoast, and is the model for another song, the “carthaginian”. The “taranta” is quite new, and extremely difficult. Rosa Duran, accompanied by Perico el del Lunar, has made of it a true classic flamenco creation.

SIGUIRIYA GITANA

On the origin of the “siguiriyas” (unfortunately all remains not quite clear for lack of proper research) there are serious discrepancies. Some make it of genuine gypsy creation, others that it is the derivation of an old Andalusian tune called “planera” (Unquestionably from the word “planidera”). The truth remains that, be it gypsy in origin or not, those who have kept it and given to it the deep quality of a “cante jondo’ have been gypsy singers with the exception of Silverio and Chacon. The “siguiriyas” have always been dramatic: a song full of feeling and lament that both throat and heart express. For this reason, it is the “cante jondo” of the “cante jondo”. The “siguiriyas” as danced by Rosa Duran have just that greatness we have talked about.

SIGUIRIYAS

Within the greatness of the “siguiriya” there is a style that is not gypsy, and just as beautiful. It was achieved by Silverio, who brought out a unique charm without too much detachment. Later, Don Antonio Chacon humanized it even more by leaving out many expressions or cries of grief. The “siguiriya”, as in the case of “cana”, came to us without the dance, something which was added to it, step by step, and ending with an irregular posture. The dance for “siguiriya” is, therefore, relatively modern.

SOLEA

This song is better known as “soleares” in its plural form, because, leaving the guitar to its own variations, it may change modulations. It is a “cante jondo” par excellence. It is recognized by experts as the primitive mold of flamenco songs. At first, the “solea”, even though it is primarily a song only, had the dance as its main objective.

CANA

The “cana” is one of flamenco’s oldest songs. In its earlier state, it was somewhat monotonous, but the later introduction of an energizing virility elevated it to greatness. The “cana”, as was the case of the siguiriya”, came to us without the dance; its steady beat, however, made possible the introduction of basic dance steps. Again, Rosa Duran and guitarist; Perico el del Lunar, have achieved in giving the “cana” a magnificence completely flamenco an aspect that does not devalue the unique and original characteristics of “cana”.

“CANTE JONDO” WITHOUT GUITAR

MARTINETES

The rhythmic beat of hammer in old Andalusian smithshops has given the name to this song: it is old in tradition, but of a poor melodic quality. The song accompanied the rhythm of certain crafts that somehow required musical assistance. When the “martinete” became true song, none disputed its gypsy essence. Thanks to gypsy singers it holds today unique greatness within the “cante jondo” family. The “martinete” is sung without guitar. The best known “martinete” is the “natural”, characterized by various singers who alternate in the song. There is also the “martinete redoblando”, longer and more colorful than the “natural”.

DEBLA

“Debla” is a “supermartinete” in that it is a refinement of the “cante jondo”. The excellence of this song is exclusively due to gypsies who named is “debla”, meaning “goddess” in Castilian. It is sung without the guitar.

TONA

According to some experts, the “tona” is a well-known song form of the flamenco. At one time, there existed many “tonas”. Today there remain only the “tona grade” and the “tona chica”.

SAETAS

The “saetas” come from old recitatives and chants that lamented sufferings in all the regions of Spain. The Holy Week ceremonies were the media through which these chants became popular songs. This song is one which expresses the anguish and the tragedy of Christ on Mount Calvary. For this reason, it is sung during the procession of Holy Thursday and Good Friday. There are two main styles of “saetas”: “Saetas” for “siguiriya” and “Saetas” for “martinetes”, the latter being more popular.

THE DANCE ONLY WITH GUITAR

ZAPATEADO

The three basic elements of flamenco dance are: “replante”

(1) “desplante” (2) and “escobilleo” (3) Now the “escobilleo” in a flamenco dance is what the guitar suggests to the feet of the dancer. It is a dance to the rhythm of the guitar and it is not sung. During this dance, the “bailaor” has to demonstrate his creative power and the agility of his footwork. Within the realm of the flamenco dance there have been few dancers of the true “zapateado”. (It is absurd to think of a “zapateado” without a guitar.) Recently, and among the greatest dancers of the “zapateado” was outstanding for his unique style, el Estampio. The “alegrias” and zapateados” of Estampio have been sensational. Rosa Duran, a one-time student of Estampio, has inherited and expanded the dance numbers of her teacher (who died in 1955) with such original creations that her “zapateado” is a pure personification of the flamenco dance.

(1) The slow or sudden resumption of the dance.
(2) The quick halting during the dance with a suggestively statuesque pose.
(3) The syncopated foot drumming