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On one forearm he has the signature of Federico García Lorca tattooed . In the other, a bird escaping from an open cage. There is more than aesthetics in these drawings. Miguel Poveda thus demarcates part of his emotional jurisdiction. Lorca and freedom. During the months of the pandemic, he reviewed the work done in 30 years of fervor for cante. A round trip on its own flamenco path.

Poveda, a payo and Catalan from Badalona, ​​fifth in 1973, was educated by listening to Bambino , Manzanita, Chiquetete and Rocío Jurado. Listening to what came out of the tapes that her mother listened to at home. A boy marinated with singing crosses that led him to search his roots for a way of being flamenco. At 15 she gave her first concerts in neighborhood clubs. At 20, he won the Mining Lamp at the La Unión Festival (Murcia) and began to cross cante and life.

It is one of the most versatile flamingos . Able to fill a sports stadium and to return to the intimacy of small auditoriums sitting in a cattail chair. It moves with authority in very different spaces, in open repertoire: cartagenera, malagueña, peteneras, soleá, copla, Chavela Vargas, María Dolores Pradera, María Jiménez ... This Wednesday the Festival Flamenco On Fire 2020 opens, which starts in Tudela before to go to Pamplona with Vicente Amigo, Farruquito and Chano Domínguez among others.

Difficult time this ... A lot. Very disturbing. But you have to be there, promoting the few things we can do. I'm going to Tudela with great enthusiasm, wanting to sing and people. In fact, I will do a recital of traditional cante, although without losing what I like so much: diversity. Let's see. We're going towards a new intimacy in concerts. All this that is happening is a sadness. We will see how we do in the following months. It looks too much like a science fiction movie. And we will not get out of it easily unless we soon assume that we all have a responsibility. circumstances force us to protect ourselves, to be more stopped. Otherwise, I don't know. What about intimacy? I am moved by the passion that also exists in intimacy. And that's what I feel like now. Voice and guitar. It is a good option at a time when emotions are running high. That return was already noted in one of the two albums of her last double work, 'El tiempo pasa volar', published in 2018. A part of that album is a tribute to my origins, to the memory of my childhood. At those beginnings with guitar in small stages. What I have been doing afterwards are explorations from which I have learned and I hope to continue learning. for other music, in other formats, for other audiences ... But I am my voice. And a guitar (now that of Jesús Guerrero). And from there, any madness. What does flamenco learn? A lot. And every day. Listening to the teachers, learning, discovering. Flamenco is a school of tolerance where races, forms, perspectives coexist. That is a great life lesson, but also, as in so many art spaces, the disagreements between creators are strong. There is a certain intransigence between savvy and 'seekers', it's that everything has become so disproportionate ... You just have to see the atmosphere that appears on social networks. Most of the controversies that happen there are worthless. They are fleeting, but they harm whoever is at the center of the insults. I do not enter them to preserve my sanity. The times that I have done it, I have always left with the bad feeling of attending children's fights, exaggerated, harmful. How do you get along with criticism? I gave importance to all that about social networks until the moment I detected that it was not it was healthy. At least not for me. Serious criticism, which is not easy to find in those spaces, matters to me. I'm interested in. What I refuse is to be part of the outbursts of people who do not know how to debate, who do not want to build. I no longer pass through that place. I got tired of hatred and rage. I'd rather not miss what's out there for beauty. And I know it's a lot. Far from social networks, a lot. What has been left undone by the pandemic? I had a very beautiful project, a documentary album (music and audiovisual) that would take me several months of work in Latin America. I was going to 'go through' some cantes back and forth to explore that fabulous exchange that flamenco has had with the music from there. I was going to travel to Mexico, Colombia, Argentina, Cuba ... There where flamenco met the guajira, the tangos, the Colombian, the milonga. But at the moment it is not possible, so I return to the most intimate terrain, to the most classical flamenco. To the origin, which never grows old.

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