THE AGES OF FLAMENCO

The Ages of Flamenco brings together several generations of “cantaores” (singers), guitarists and “bailaores” (dancers) from different regions of Spain and from some of the most important families of this traditional art that is in fact often handed down within the family circle. It is often said that age doesn’t matter in flamenco, and you can see that that is so just by looking at the different generations that form part and parcel of it.

Manuel de La Tomasa (Seville, 2000) has barely come of age but his wild, primal singing style has already attracted the interest of fans everywhere. From the same generation, the “cantaora” María Terremoto (Jerez de la Frontera, 1999) has inherited the art of her father, Fernando Terremoto, and that of her grandfather, Terremoto de Jerez. Now at the height of his career, Paco del Pozo (Madrid, 1975), is a shining example for younger artists of a more classical form of flamenco. Jaime El Parrón (Granada, 1955), grandson of a “cantaor”, nephew of Juanillo Gitano and father of Marina Heredia, epitomises the depths of the Granada style of singing. Nono Jero (Jerez, 1980), a guitarist from the Jerez school and a member of the Jero family, is known for his refined technique. The guitar playing of Paco Vidal (Sanlúcar de Barrameda, 1980) exudes personality and vitality. Pepe Habichuela (Granada, 1944), master of the guitar and a classical and innovative member of the Habichuela saga, is a living legend. The origins of Alba Heredia (Granada, 1995), a member of the Maya family, born in the neighbourhood of Sacromonte, no less, and related to leading “bailaores”, are apparent in her energetic and ethnic dancing style. And, nearing his 80th birthday, the most veteran of all the artists, Carrete de Málaga (Antequera, 1941), is a veritable institution, one of the most unique “bailaores” in the flamenco world.

A project curated by Arts Factory