Although there are differing theories on the origins of the flamenco peteneras, even a Jewish Sephardic one, the connection to Mexico is undeniable. In the Veracruz and Huasteca region in particular, Mexico has developed its own genre of peteneras dating back to the early 1800’s, with heavy indigenous influences. Listening to the two videos above, you can hear the similarities in melody, stanza, and chord progression. By the 1820’s, Mexican peteneras “Nueva Petenera Americana” were being performed in theaters throughout Cádiz, and great interpreters included El Mochuelo, Niño Medina, Manuel Torres, Antonio Chacón, and La Niña de los Peines, to name a few.

In both Spain and Mexico, peteneras explore themes of women, love, heartbreak, death, and loneliness, and are often surrounded by myth and superstition. The Hausteca petenera – one of the most important in the traditional Mexican heritage – tells tales of “la sirena” (the siren or mermaid), appearing in numerous versions as a sorceress who steals the souls of sailors. In flamenco culture, some artists believe that peteneras bring bad luck with superstitions spreading after the death of the great Aragonese dancer Mari Paz. She suffered a chest infection and passed away during a theatrical run in 1946 that included a peteneras number. Despite superstitions, peteneras are still performed today by many of flamenco’s greatest artists, and flamencologists are now finding evidence that peteneras may have played a role in the creation of some styles of solea.

• Reyes Zúñiga, Lénica. “La petenera en México. Hacia un sistema de transformaciones. (Tesis de maestría)”
• Hernández Jaramillo, José Miguel. “La petenera preflamenca como forma musical. Naturaleza genérica y rasgos estilísticos.” (1825-1910) [Tesis de maestría, 2009]
• Castro Buendía, Guillermo. “De la petenera del Mochuelo, a la de Chacón y La Niña de los Peines”
• Seroussi, Edwin. “From Spain to the Eastern Mediterranean and Back.”
• Núñez, Faustino. “América en el Flamenco”. (Madrid: CIOFF, 2021, page 351)