• In memoriam On the death of José Manuel Caballero Bonald: Perpetual Knight

  • Obituary José Manuel Caballero Bonald, the last insurgent, dies

  • Caballero Bonald Interview: "I no longer believe in literature, less and less"

In the exploration of flamenco, José Manuel Caballero Bonald discovered something more than the wick of a passion. In singing, dancing, on guitar, he learned what life sometimes doesn't teach, but it exists, but it is there, but it sounds, and it even hurts. In the 60s he made a trip through Andalusia that had a lot of revelation and anthropology.

He went in search of those cantaoras and cantaores who were outside the record companies

and kept the old essences of flamenco. Unusual women and men who distributed their art in the patios, in the rooms of cabales, in modest tabancos, but of whom there was no record. That work of anthological intention was published by the Vergara record company in 1968.

And it was Caballero Bonald who recorded the unreleased artists one by one with a gramophone to maintain all the purity of those cantes he classified. Juan Talega, Tía Anica, La Piriñaca, El Negro del Puerto, Manolito de María, Luis Torres Joselero ...

«The character of our Archive»

, he wrote, «could not ignore this fundamental chapter of the location of non-professional interpreters, anonymous in many cases or only known in a limited sector of their respective places of birth.

That work became one of the sonorous cathedrals of flamenco. But in Caballero Bonald's work there was another essential adventure to discover the best old timbre cantes:

'Luces y sombra del flamenco'

(1975), a fundamental text -which completes essays by other poets such as Ricardo Molina, Fernando Quiñones and Félix Grande. - which appeared published with photographs of

Colita

. The book covered the legacy of essential artists: La Perrata, La Fernanda y la Bernarda, Juan Talega, El Borrico, El Chozas, Donday, Carmen Amaya ...

«Flamenco singing, as we know it today, barely has two centuries of life.

Its history, although intense and eventful, is relatively short.

But confusing.

The only thing we can afford is to try to deduce from the current motley world of flamenco some approximations related to

its imprecise birth and its gradual and changing development ».

In his writing -poetic and narrative-, José Manuel Caballero Bonald wanted to filter those other worlds that come from a very atavistic background but, at the same time, from an unusual spiritual and vital sophistication.

In that old cante and dance ceremony, the

flow of his poetry

, of his most vital insurrection,

also ignited

.

According to the criteria of The Trust Project

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