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Watch 9 rising artists from across the U.S. showcase their work for an opportunity to win cash and scholarships to study with our prize sponsors in Spain. Finalists will be evaluated on their performance by a panel of professional artists and awards will be presented at the end of the evening!
*Can’t make the live event? Watch virtually from Oct 19–Nov 4 with a Virtual Viewing Pass!
*Free with NYC Flamenco Pass.
This FREE online event is the first in a series of 4 online book presentations of The Body Questions: Celebrating Flamenco’s Tangled Roots (Cambridge Scholars Publishing, 2022), edited by K. Meira Goldberg and Antoni Pizà. This conversation will feature authors Noel Allende-Goitía, Miguel Ángel Vargas, and Antonio Cortijo Ocaña, and editor K. Meira Goldberg.
Famed portrait painter John Singer Sargent’s works inspired by his travels to Spain are now exhibiting at the National Gallery of Art in D.C. This article details how Sargent’s penchance for the music and dance of Spain, particularly flamenco, manifested in his pieces, i.e. “El Jaleo” pictured above.
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.