The relation with Flamenco started previously and since childhood with my grandfather, as he played Jotas, but we all know how jota belongs to Arabic tones and roots so its not so surprising I linked that memories with an amazing attraction to either Flamenco or Oriental Arabic sounds including Sephardi and Andalusí.

Later on and vía de Francoist fascist regime, Flamenco will be part of our "folklore" and called "español" as part of a series of dances called as spanish folklore coros y danzas. We also had a sort of celebrity culture that will subsume many gitanos and no-gitanos of the times like Lola Flores who became like the mother flamenca by TV and Magazines imposing presences.

At the same times, we will also start to realise how our own, traditions ( be this playing guitar and singing or dancing between us in family meetings or in our little villages "fiestas", was also subsumed under the folklore terms and culturally more and more separated by a spectacle distant use of such habits. Leaving quite reduced the tradition for younger generations who by contrast would be fully immersed in UK and USA Pop icons, music, film industries and so on all of it once more via TV of national supervision/two channels.

With tourism, we also realised we where a sort of "exotic" land, and we where visited and observed by white half naked mostly obese people in shorts every summer time.
Bars and tourist amenities invaded our coast, our beach sea sides and many toys, postcards and all of souvenirs where part of a separation between our reality from inside and habits as traditions that felt natural to become more and more a sort of self conscious identity we could "imitate" or reproduce for the foreigners.

In many occasions to be able to eat and have a job.

Been this the cultural background, my own grand father and our family of immigrants form my mother's side, became assimilated as an inner exotic element of our identity.

It was around 1977 that a series of sounds started to be more present in my life. I was familiar with a series of musicians and producers at the time from the Zeleste scene (a music bar of big proportions that hosted the progressive, jazz and fusion bands of the times) would play and perform with some of the flamenco figures as Camarón de la Isla.

They called their collaborations a "fusión",and this would produce a few new ways of performing and interpreting flamenco.

This friends and this sounds will influence my interest and inspiration in relation to Flamenco.

Noting that since the 70's that I know Flamenco puro is jealously guarded by Spanish Gitanos based here for centuries and its quite a polemic situation, also its very complex to approach this sounds and music feeling it belongs to us as well.

But the message of the origins of Flamenco which have been proved is that in fact it came out from a shared experience of persecution and this would include Gitanos but also Jews and Arab of Hispanic lands.

Those various tones, and musical structures should explain then why we do share roots and have tones or modes in common.

In the 70's I was a dancer and with intentions of expanding my practice to production and choreography, and ironically wile living and studying contemporary dance in London between 1979/83, I meet this flamenco guitarist Pepe de la Linea (from Cadiz) on a great small hidden bar where actors and dancers like me where going, just off Tottenham Court Road.

With Pepe and his mates I had many nights of witnessing first hand how spectacle, show, and real life will melt and mix.

I became aware how easy was to fake and pretend to be a flamenco as in Federico García Lorca's essay about El Duende, but this is another story that I am including on my ongoing research about Flamenco.

It was around 1985/6 when I started to produce water colours, drawings.. those where in a way, attempts at include my self as part of a context that was not only of my experiences with and of flamenco's performers and friends, but other quotidian scenes like cooking or just lying under a tree watching the stars.

In 1988 a journalist friend, who had made a great documentary on the Jóvenes Flamencos, invited me to Seville, where as a consequence of the folks I meet then, I would stay for three years, from 1988/91.

It was then when I was introduced to many essential figures from the flamenco scene in Seville.

I meet in La Carbonería, Paco Lira and his son Pisco, and cousin, the infamous Juan el Camas and Paco Lira, who had been one of the directors of Theatre Company La Cuadra de Sevilla and a very active figure on cultural and flamenco related resistance during our Francoist dictatorship, invited me to live in the "buardilla" of la Carbonería and to be part with a painting show, of the next Bienal de la Guitarra on its site.
We also went to Jerez de la Frontera, where I was introduced to the barrio de Santiago and some of the vecinos... like Jero, el Niño Jero and others.

Meeting too, Mario Pacheco (Nuevos Medios) who died recently, and who was a producer of much of "fusión" style flamenco music. He became my photographer for a project/ fashion catalogue of artistic orientation that I did featuring Antonio Carmona then the percussionist of Ketama's Nuevos Flamencos and Mario's productions.

My life and the experiences that followed in south Spain where part of a pesquisa about my own real cultural or even racial roots. The fact the we all where in any case just coming from under the same fascist thumb, should give us a clue on how the cooperative and horizontal relations of those times at least between artist, where if not perfect at least very honest and straight forward respectful relations between folk of different racial and social backgrounds.

Here there is a link to a blog started at different point but that are research based and including more works. Fellah Mengu, started as a line of research that consolidates the series of works ideas and production since started in 1980's
http://ellahmengu.tumblr.com/

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 studio in Gracia bcn, 1988     
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 La Carbonería Sevilla 1989     
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 drawing life ( sardine fest )     
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 dance essais     
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 my grand-dad playing flamenco 60's     
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 my grand-dad (brick-layers) homage     
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 catalogue bienal flamenco 89 Sevile     
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 Grandad in catalogue dedicated 89     
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 Fandango de Juan el Camas Seville89     
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 Pinturas pa la Bienal deGuitarra 89     
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 La siesta andalusí Seville89     
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 siesta andalusí Begur/ 89/ Seville     
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 danza Tartesa Seville 89     
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 La Sopa de Tomate Seville89     
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 en la cocina (my grandad) 89     
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 Espiando al Habichuela y el Piri 89     
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 Cocinas y niñas (grandad memories)     
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 sketch kitchen life 89 Seville     
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 Still life Bodegón Guitar 89     
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 Interview for newspaper Sevilla 89     
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 Me ySabrina Las 3.000 viviendas SE     
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 Eleni y Sabrina tresmil, Sevilla     
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 Elena y El Churri tresmil Seville     
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 Elena y el Churri tresmil      
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 Elena y familia! Sevilla     
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 Elena con banda gig Seville     
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 Elena +banda rock flamenco      
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 Elena backstage !     
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 Collage pics of Antonio Carmona      
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 Dibujo de Antonio Carmona Tanger      
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 Mario Pacheco y Antonio Carmona     
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 Antonio Carmona Hotel Minzah Tanger     
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 Tanger: Mario y Antonio.... 1990     
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 Antonio balcón del Minzah Tanger     
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 Antonio mirando ....Tanger     
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 Con Antonio Carmona Minzah Tanger     
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 negativo de Mario Pacheco Antonio C     
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 Negativos de Antonio: Mario Pacheco     
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 Esther by Mario Pacheco Tanger     
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 Pic Mario Pacheco Tanger      
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 Fotomatón Barsa con niño Vargas!     
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 Biencasao y Angelita      
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 Biencasao y Angelita     
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 Flamencos pensión en Bagur1989     
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 Siesta Begur Festival Flamenco 87     
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 Dibujos colección María Aguero     
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 Entrevista/ Text Pedro Burruezo 94     
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 Entrevista/ Text Pedro Burruezo 94     
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 Starry night Huebro Almería 91