110 години от рождението на Кармен Амая - Carmen Amaya, Los Tarantos (1963) buleria. Кармен Амая Амая е испанска ромска фламенко танцьорка и певица, родена в квартал Соморостро в Барселона, Каталония, Испания. Тя е наричана "най-великата фламенко танцьорка някога" и "най-необикновената личност на всички времена във фламенко танца". Carmen Amaya Amaya (2 November 1913/1915 – 19 November 1963) was a Spanish Romani flamenco dancer and singer, born in the Somorrostro district of Barcelona, Catalonia, Spain.
She has been called "the greatest Flamenco dancer ever"and "the most extraordinary personality of all time in flamenco dance." She was the first female flamenco dancer to master footwork previously reserved for the best male dancers, due to its speed and intensity. She sometimes danced in high-waisted trousers as a symbol of her strong character.
Biography
She was born to a Spanish Romani family, to José Amaya Amaya (aka "El Chino", "The Chinaman"), a guitar player, and Micaela Amaya Moreno. Carmen was the second of eleven children, although only six (three sisters and two brothers) survived to adulthood.
Her date of birth is disputed. Montse Madridejos and David Pérez Merinero name 1918 as her year of birth. They cite Barcelona's inhabitants list of 1930, in which a family Amalla[3] with a 12-year-old daughter Carmen is mentioned. They claim that no birth document is available and the document of baptism was lost due to a church fire.[4] Furthermore, a 1920 oil painting by Julio Moisés named Maternidad shows a mother with a 2-3 year old girl, supposed to be Carmen with her mother Micaela.[5] According to them, photographs showing Carmen Amaya as a teenager also support 1918 as the year of birth.[6] According to Montse Madridejos, professor of Music History at the University of Barcelona and a flamenco history researcher, who specializes in Carmen Amaya, her ethnicity could have also been a factor in the birth date ambiguity: "At that time, a gypsy was neither baptized, nor registered".
However José Luis Navarro García, cátedra de flamencología as well as most other sources name 2 November 1913. This version is supported by the fact that in 1923 Carmen Amaya performed in a club in Madrid, which would be unlikely for a 5-year-old child, and a quote by Carmen Amaya herself in which she refers to her performance at the 1929 world exhibition:
«... en la Exposición de Barcelona de 1929, yo tenía dieciseis años ...»
"... at the Barcelona exhibition in 1929, when I was sixteen years old ... "
Her death certificate names 1 November 1915 as date of birth, however, perhaps splitting the difference as does the Library of Congress.
Amaya entered the flamenco world accompanied by her father, an impoverished Calé Romani guitarist who made a living by playing in pubs day and night. When Carmen was a child, she started going out with her father at night. He accompanied her on the guitar while she performed. Afterwards, they begged and picked the small change that the public threw on the floor.[15] Soon earned her first nickname, "La Capitana".[citation needed]
At the same time, she started to appear in some lesser known theaters. It was only after Josep Santpere, a bright variety show businessman, showed for the first time his interest in Carmen and introduced her to more prestigious venues, that she made her debut at the Spanish Theatre[15] in Barcelona. Soon after, she was performing at the Palace Theatre in Paris.
The first time her name appeared in print was during the International Fair of Barcelona in 1929 thanks to Sebastià Gasch, an art critic who saw her and wrote an article in the weekly newspaper Mirador .Sebastian Gash wrote:
Suddenly a jump! And the gypsy girl danced. Indescribable. Soul. Pure Soul. Feeling made flesh. The floorboards vibrated with unprecedented brutality and incredible precision. La Capitana was a gross product of Nature. Like all gypsies, She must have been born dancing. It was before school, before the academy. All that she knows, She must have known from birth. Promptly, the viewer feels subjugated, upset, dominated by the face of La Capitana, by her fierce hip movements, by the bravery of her pirouettes and the force of her broken turns, whose animal ardor ran parallel with the astonishing accuracy with which she executed them. The raging battery of her heels and the unsteady play of her arms now aroused, excited, then collapsing, surrendered, abandoned, dead, gently moved by the shoulders, are still recorded in our memories like indelible plaques. what caused us to look at her dance was her nerve, which twisted her in dramatic contortions, her blood, her violence, her wild impetuosity as a caste dancer.
At this point Vicente Escudero, a respected businessman, saw her dancing and concluded that Carmen would bring about a flamenco revolution thanks to her perfect synthesis of two important styles: that of the traditional dancers, and the looming style of dancers in the varieties.
In 1930, she was part of the Manuel Vallejo company, performing all over Spain. On her return to Barcelona she danced at the Teatro Español, recommended by José Cepero.
In 1929, she appeared in the tablao Villa Rosa poster in Madrid and in 1930, she performed at the International Exhibition.
That year she worked in the Zarzuela Theatre, also known as the Coliseum, in Madrid with Conchita Piquer, Miguel de Molina, and other famous artists, and at the Fontalba Theatre. That was the authentic success of Carmen nationwide. She played a small role in La hija de Juan Simón and Maria de la O, and worked for a musical magazine in Barcelona. From her first performance" in 1935 to her last one in "Los Tarantos", her dancing showcases the purest form of flamenco. The films she starred in are remarkable in that very few films have been created around one figure. They are also a model for all dancers who define their dance as being "of temperament". Very seldom in the history of New York have dance and flamenco been as successful as Carmen Amaya's performances.
Juan Carceller hired her for a tour. She travelled to several big cities, including San Sebastián. In 1935, Luisita Esteo presented her in Madrid, in a show at the Coliseum. On 18 July 1936, when the coup in Spain took place, Carmen and her team were in the Zorrilla Theatre in Valladolid, working for Carcellé's company. At that time, they were financially secure and she had bought her first car. They were due to go to Lisbon to sign the lease, but the car was requisitioned and they could not travel to Portugal until November.
In 1952, she married guitarist Juan Antonio Agüero, a member of her troupe, coming from a distinguished family from Santander, who was not a gypsy. They lived an authentic love story and celebrated an intimate wedding. In 1959, Carmen experienced one of the most exciting moments of her life, when the inauguration ceremony of a fountain bearing her name was held. The fountain was placed on the Paseo Marítimo de Barcelona, which crosses the neighbourhood of Somorrostro, the same places where she had walked by many years before as a child, barefoot and dragging her misery.[19]
In 1988, as an homage to Carmen Amaya, the Tablao de Carmen was founded in the Poble Espanyol, the very place where she danced for the King of Spain Alfonso XIII during the inauguration of the 1929 Barcelona International Exposition. Tablao de Carmen displays some of the photographic legacy of Carmen Amaya. The guitar of her husband Juan Antonio Agüero (by Santos Hernández 1930) is a part of the patrimony of the founder family of Tablao de Carmen and it is played in the Tablao on special occasions.
Beginning of international success: South America and Central America (1936–1940)
In 1936, when the Spanish Civil War had just begun, Carmen Amaya and her troupe were on tour in Valladolid with Luisita Esteso's show. They crossed the border from Spain to Portugal and, after a short time arrived in Lisbon. From there they sailed for Buenos Aires on the ship Monte Pascoal, which took fifteen days to cross the Atlantic and arrive at Brazil and Uruguay. She debuted in Buenos Aires, accompanied by Ramón Montoya and Sabicas at the Maravillas Theatre.
During this stage of her life, she added to her artistic group several members of her family. She made films in Buenos Aires with Miguel de Molina and won the admiration of musicians Arturo Toscanini and Leopold Stokowski, who publicly praised her.
The success of Carmen Amaya and her family exceeded all expectations. They planned to stay for only four weeks but ended up staying there for nine months, since every time Carmen performed, the theater was filled and tickets were sold out two months in advance. A good example of the enormous popularity that the artist achieved in this South American country is the construction of a theater that bears her name: el Teatro Amaya.
In addition, it seems that during most of those years in America the bailaora maintained a personal relationship with Sabicas, who declared shortly before his death that he and Carmen had been dating for nine years, and that they had split in Mexico.
Consolidation in the United States (1941–1947)
In the US, Carmen Amaya met many of the most influential people of her time. She went several times to Hollywood to film some movies and the most important personalities of cinema, music or culture wanted to see her dance. The musician Toscanini saw one of her performances once and declared that he had never seen an artist with more rhythm and more fire. She improvised continuously, as quickly as perfectly.[19]
She traveled to New York in 1941 and performed at Carnegie Hall with Sabicas and Antonio de Triana. Whilst in the United States, she also met Franklin Roosevelt, President of the United States.[19] It was reported that after seeing her, Roosevelt gave her a bowling
Дата на публикация: 2 ноември, 2023
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