Antonio Mairena
Antonio Cruz García, known as Antonio Mairena ( born September 7, 1909 in Mairena del Alcor, Seville, Spain, † September 5, 1983, Seville, Spain ) was a famous flamenco singer. It resulted in the rediscovery of traditional flamenco in the fifties of the 20th century and the following decades.
Life
He was born in a Gypsy family of blacksmiths and learned the song in the family environment. As a major figure in flamenco, he led a movement of flamenco artists and intellectuals who tried to rescue a type of flamenco, which they saw as a pure or authentic. He discovered and renewed a large number of songs that were nearly lost, and published various books and articles, to spread his view of the flamenco and flamenco past. He saw himself as the heir of Manuel Torre, the classic flamenco singer from Jerez de la Frontera, but also recognized the influence of other rounder as Tomás Pavón or Joaquín el de la Paula on.
He won various prizes and as the main Llave de Oro del Cante (Golden Key of Flamenco singing ) on the third Concurso de Córdoba ( Córdoba contest ). It is generally believed that this competition has been specially Organized, to honor him with the price, although some flamenco historians this competition justified on the grounds that Antonio Mairena has the price earned for his services to the Flamenco ( Álvarez Caballero 1995).
Work
He worked with the serious flamenco styles, known as cante jondo as Tonás, Martinetes, Soleares, and Siguiriyas. He took on many of the traditional songs and variations. The value of his legacy is controversial. On the one hand he is seen by critics as an example, as an embodiment of traditional flamenco and innovator of the traditional forms. On the other hand, it is used by other critics as orthodox exaggerated, academically and cold and seen his take on flamenco as paralyzing and inhibition for the future development of the flamenco art. As he bowed to the strong emphasis on the quality of the original Gypsy Flamenco styles, while aversion from everything else, he was an ethnic prejudice often assumed.
It has often been suggested that some of the songs he has rescued from oblivion, were written in truth from him. He has such assertions always rejected because he believed that there is no room for new creations in flamenco and that young singers are to limit their work to the traditional songs. Many of the songs he has revived today are a normal part of the repertoire of a flamenco artist.