From Reading Room/8:


Flamenco: Its Shifts From the Franco Era to Spain Now
Marta Carrasco

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But because of its strong popular roots, flamenco, in the squelched society of Franco Spain, managed to overcome its use as a political tool and instead became an instrument of popular expression against oppression. In the early 1970s, when folksinger-songwriters were beginning to openly demand freedom for Spanish society, those on the flamenco scene also started to do the same. A good example of this was the debut in France of the Theater Festival of Nancy of Salvador Távora’s “Quejío,” an anti-Franco play where flamenco was introduced as a dramatic element for the first time.  Flamenco singers such as Pepe Suero and Manuel Gerena also appeared on the scene, becoming true political icons for the emerging opposition parties. In 1974 the Rome debut of Antonio Gades’ first flamenco performance took place.  Gades had chosen for this memorable event a flamenco rendering of García Lorca’s “Blood Wedding.”

 

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