The relation with Flamenco started previously and since childhood with my grandfather, 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 Andalusi. Around 1977 that sounds started to be more present in my interest as artist, my friends from the Zeleste scene, would play and perform with some of the flamenco figures of the times. And their so called "fusión", 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.
I was then 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, 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, 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.. not only of Flamenco dancers or other scenes, but also of my travels to Morocco.
After finishing my publication V.O. my unrealised project was of a series of journal books and editorials about travelling around Morocco where I was supposed to draw, write what I saw and lived.
I guess it was a away of counteracting the feeling of stupidity that was felt in my social and artistic context between Barcelona and specially the tiresome Movida Madrileña.
I never went to live to Morocco, but a few years later, a journalist friend of mine invited me to Seville, where as a consequence of the folks I meet, I would stay for two and a half years, from 1988/90.
I was introduced to many essential figures from the flamenco scene in Seville.
In La Carbonería, Paco Lira and his son Pisco, and cousin, the infamous Juan el Camas. Paco Lira 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.
My journalist friend, also travelled 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.
My life and the experiences that followed in south Spain where part of a pesquisa about my own possible roots and the reasons to escape from a life I found increasingly empty. At the same time, it was not so different from some of the adventures already written about by Cervantes in his Novelas Ejemplares, friends from Madrid, escaping the court and the spleen of it and go and live with gipsies and small delinquents in Seville, or Zahara de los Atunes.
I guess I could not stand the 80's spirit and less its subservience to the so called cultural superiority of the anglo american world. I was totally convinced that this was a very important step in my life and career. Tu turn my back in to a world that made of me an inferior player and a third class participant. As this was the lesson learned in London during my stay as a contemporary dance student.
Here the links to two blogs started at different points but that are research based and including more works produced by me.
The first is the latest project Fellah Mengu, started as a line of research that consolidates the series of works ideas and production since started in 1980's
An specific project from 2011 Flamenco Dance Mix Rock was initiated for the project commissioned by puerto rican artist Radames Juni and his project La Loseta