{"id":9036,"date":"2020-09-18T12:24:26","date_gmt":"2020-09-18T10:24:26","guid":{"rendered":"https:\/\/gastropass360.com\/bienal-de-flamenco\/xxi-bienal-de-flamenco-sevilla\/"},"modified":"2025-01-28T07:57:30","modified_gmt":"2025-01-28T06:57:30","slug":"xxi-bienal-de-flamenco-sevilla","status":"publish","type":"page","link":"https:\/\/gastropass360.com\/en\/bienal-de-flamenco\/xxi-bienal-de-flamenco-sevilla\/","title":{"rendered":"XXI Bienal de Flamenco Sevilla"},"content":{"rendered":"\t\t
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GASTROPASS SPECIAL EDITION 40TH ANNIVERSARY OF THE SEVILLE FLAMENCO BIENNIAL<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Despite the difficult times for many sectors such as tourism, the Seville Flamenco Biennial, a world reference for this cultural heritage, decided to continue with its programming in 2020. This brave gesture was a factor of inspiration and motivation to bring forward the printed Gastropass 360 guide, in a new special edition on the occasion of the Biennial’s 40th anniversary. The Gastropass Sevilla 2020 guide was presented at the Gourmet Experience Space of El Corte Ingl\u00e9s el Duque at an official event of the La Bienal Enciende Sevilla calendar of activities. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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The event included a few flamenco touches in the form of voice and guitar courtesy of the Tablao \u201cLa Cantaora\u201d. The performance of Antonio Nu\u00f1ez \u201cEl Pulga\u201d accompanied by the guitar of Eugenio Iglesias, managed to transport the audience to the purest era of flamenco. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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2020 has not been an easy year for the world of culture either. Despite this, the Seville Flamenco Biennial has maintained its commitment to artists and Flamenco fans by organizing 49 shows in which more than 360 artists have participated.<\/strong> <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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As a result of the courageous decision to not have a cultural blackout in Seville, the Biennial opted for an in-person development that has achieved full capacity within the limitations of the current health circumstances.<\/p>\n

This edition, promoted by the Seville City Council through the Delegation of Urban Habitat, Tourism and Culture, has become one of the most important cultural references on the international scene and has shown that culture can be consumed and that stage shows can be opened safely, combining top-level programming with the priority and commitment to preserve the health of spectators and the more than 360 participating artists.<\/b><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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SUMMARY OF THE 21ST EDITION OF THE SEVILLE FLAMENCO BIENNIAL<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In its 59 days of flamenco events, the Biennial has brought together the most important flamenco artists. The Centro Cer\u00e1mica Triana<\/b> hosted the presentation of the balance sheet of the XXI Flamenco Biennial<\/b>, where the most interesting data that emerge from the analysis of this edition were presented, and which can be seen in this summary:<\/p>\n

heterodox and experimental in its first proposals for the month of August at the Monastery of San Jer\u00f3nimo, which was inaugurated as a new stage space for the Biennial: the flamenco \u2018De barro\u2019 by Rycardo Moreno<\/b>, the \u2018Zona acordonada\u2019 by Ra\u00fal Cantizano<\/b>, the \u2018Electroflamenco\u2019 by Artom\u00e1tico<\/b>, Los Voluble<\/b> proclaiming their \u2018Flamenco is not a crime\u2019, the \u2018Flamenco a voces\u2019 by M. de Puchero<\/b>, Califato \u00be<\/b> opening \u2018L\u00e2 tre\u00e7e puert\u00e2\u2019, and the \u2018Duende El\u00e9ctrico\u2019 by the essential Gualberto<\/b>.<\/p>\n

The start of the programme in September brought the Biennial to the venues of the Lope de Vega<\/b> Theatre, the Central Theatre<\/b>, the Church of San Luis de los Franceses<\/b>, the Monastery of La Cartuja,<\/b> with the Real Alc\u00e1zar of Seville<\/b> being the setting for its already famous flashmob<\/b>, led by Antonio Canales and Mar\u00eda Moreno<\/b> in dance, and Rafael Riqueni<\/b> on guitar. The event, once a massive gathering, was held, in this exceptional year, behind closed doors and was broadcast via streaming, throughout the world, reaching cities such as Istanbul (Turkey), Shanghai (China), Hong Kong, Almaty (Kazakhstan) or Monterrey (Mexico), thus marking the first of the online broadcasts that would connect the Biennial with the world. <\/p>\n

A speech by the former director of the Biennial, Manuel Herrera<\/b> (director of the Biennial in 1998, 2000 and 2002), who unfortunately passed away a few days after the end of the 2020 edition, celebrated the 40th anniversary of the creation of the event, and opened the September programme with a catalogue of stage proposals that has confirmed it, once again, as the international benchmark exhibition. An extract from this speech can be read in the printed guide Gastropass 360 Edition. Special 40th anniversary of the Biennial. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The Biennial has included in its programme great bastions of dance such as the Ballet Flamenco de Andaluc\u00eda<\/b> in a show celebrating its 25th anniversary; Roc\u00edo Molina<\/b> in her special tribute to the guitar in two shows concentrated in the same day; Fernando Romero<\/b> and his \u2018Di\u00e1logos con el tiempo\u2019; Farruquito<\/b> showing his truth in \u2018Desde mi ventana\u2019; Antonio Canales<\/b> celebrating his reunion with his hometown with his great milestone \u2018Torero\u2019 and his new show \u2018Sevilla a Comp\u00e1s\u2019; M\u00aa del Mar Moreno<\/b> exhibiting her \u2018Memoria viva\u2019; La Lupi <\/b>in the inner journey of \u2018Lenguaje oculto\u2019; Olga Pericet<\/b> and her eternal scenic research in \u2018Un Cuerpo Infinito\u2019<\/b>; Israel Galv\u00e1n<\/b> with Le Cirque Roman\u00e8s in \u2018Gatomaquia\u2019 or Andr\u00e9s Mar\u00edn<\/b> in \u201cLa Vigilia perfecta\u201d dancing for an entire day in different locations of the Monasterio de la Cartuja. <\/p>\n

Alongside them, there have been young, already established talents who have made a strong entrance onto the stage, such as Patricia Guerrero<\/b>, who choreographed the reconstructed \u2018Para\u00edso Perdido\u2019 alongside Fahmi Alqhai\u2019s<\/b> viola da gamba; Anabel Veloso<\/b> with her homage to Portuguese culture in \u2018Oro sobre azul\u2019; Mar\u00eda Moreno<\/b> with the boldness of her \u2018More (No) More\u2019, La Pi\u00f1ona<\/b> paying her personal tribute to Juan Manuel Flores in \u2018Abril\u2019; Asunci\u00f3n P\u00e9rez Choni<\/b> with her flamenco cabaret \u2018Cuero\/Cuerpo\u2019; David Coria<\/b> alongside the singer David Lagos<\/b> in an avant-garde approach to \u2018\u00a1Fandango!\u2019; Mercedes de C\u00f3rdoba<\/b> with the scenic sincerity of \u2018Ser: Ni conmigo ni sin m\u00ed\u2019; Leonor Leal<\/b> with her choreographic evolution based on the texts of the intellectual and poet from Granada \u2018Loxa\u2019; or Ana Morales<\/b> maintaining a vital balance in \u2018En la Cuerda Floja\u2019<\/b>. <\/p>\n

On the other hand, the Biennial has brought together great masters of flamenco guitar such as Rafael Riqueni<\/b>, who provided exceptional accompaniment to Roc\u00edo Molina\u2019s dancing or Estrella Morente\u2019s singing; Daniel Casares<\/b> with his show \u2018Guitarr\u00edsimo\u2019, Joselito Acedo<\/b> and the sounds of his \u2018Triana D.F. (Distrito Flamenco)\u2019, Antonio Rey<\/b> showing off his \u2018Flamenco sin fronteras\u2019, Javier Patino<\/b> sharing his \u2018Deja que te lleva\u2019 or Dani de Mor\u00f3n<\/b> soloing with his \u2018Creer para Ver\u2019. New hands are consolidating themselves in flamenco guitars that are passing through the Biennial such as Manuel de la Luz<\/b> who has presented \u2018Mi Clave\u2019 or Jos\u00e9 del Tomate<\/b>, son of the legendary Tomatito, who shared his debut project \u2018Plaza Vieja\u2019. <\/p>\n

The sounds of the 2020 Biennial have been enriched with mythical voices such as Jos\u00e9 Valencia<\/b> singing to B\u00e9cquer in \u2018La Alta Torre\u2019, El Pele<\/b> and his \u2018A Sangre\u2019, Tom\u00e1s de Perrate<\/b> performing \u2018Tres Golpes\u2019, Pedro El Grana\u00edno<\/b> paying tribute to his \u2018Maestros\u2019, Rafael de Utrera<\/b> and his \u2018Traves\u00edas\u2019 with the Tr\u00edo Arb\u00f3s<\/b>; or In\u00e9s Bac\u00e1n <\/b>presenting her \u2018Memoria de una Superviviente\u2019<\/b>. The new flamenco generations burst onto the scene with force in the figures of Mar\u00eda Terremoto<\/b> who presented her \u2018Poes\u00eda Eres T\u00fa\u2019, Rancapino Chico<\/b> proposing \u2018Una mirada al pasado\u2019, La Tremendita<\/b> in her show \u2018Tremenda\u2019 or Estrella Morente<\/b> who closed the Biennial accompanied by the guitarist Rafael Riqueni. <\/p>\n

For his part, flamenco pianist Dorantes<\/b>, ambassador of Andalusian culture, presented his new work \u2018Identidad\u2019<\/b>, paving the way for young creators of the jondo sound such as P. Ricardo Mi\u00f1o<\/b> with his \u2018Universo Jondo’, Diego Villegas and La Electro-Acoustic Band<\/b> with \u2018Cinco’, Andr\u00e9s Barrios<\/b> with his flamenco piano drawing the \u2018Universo Lorca’ or Ana Crism\u00e1n<\/b>, the first and only person in the world to perform and compose flamenco with a harp as a solo instrument.<\/p>\n

The Biennial has also made visible the relationship between flamenco and other Mediterranean music with the help of the Fundaci\u00f3n Tres Culturas<\/b> with the participation of the artists Berk G\u00fcrman<\/b>, Alaa Zouiten<\/b> and Boutcheback<\/b> in the Hassan II Pavilion, and materializing the cultural exchange of artists between the Biennial and other Mediterranean festivals with the presence of the Jerez-born dancer Mar\u00eda del Mar Moreno at the Festival of the Atlantic Andalusias in Essaouira.<\/p>\n

The Biennial has not only provided a space for leading figures of flamenco, but has also served as a platform for a new generation of artists and creators who have consolidated their work in this context. Beyond works, projects or creations, the Biennial has been the recipient of new ideas, new artistic concepts, new pairings of flamenco with other arts, expanding the catalogue of styles or instruments capable of transmitting the flamenco feeling and acting as a vehicle for the language of contemporaneity on the scene. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The health security context in which the XXI Flamenco Biennial has been held has led the organization to undertake responsible and far-reaching actions to bring its content closer to the public who, due to capacity or travel limitations, could not enjoy it in person. Thus, the face-to-face offer has been completed with a free online proposal, which has broadcast seven of the scheduled shows via streaming to bridge the gap<\/b>, opening a window of the Biennial to the world and spreading flamenco culture beyond our borders. <\/p>\n

Streaming, as a means of transmission over distance, was already considered at the 2016 Biennial. On that occasion, Roc\u00edo Molina (who has also inaugurated these transmissions in this edition) carried out a pioneering experience at the Biennial. It was specifically in the show held on October 1st, at the Teatro Central and in which, throughout more than four hours of improvised performance, many Internet users were able to enjoy her artistic creation from anywhere in the world. <\/p>\n

On that occasion, \u201cAn improvisation of\u2026\u201d proposed the participation of the audience, who were able to connect their mobile devices to the theatre\u2019s sound system, illuminate the scene with flashlights or lend clothes with which Roc\u00edo could play.<\/p>\n

This year, two proposals by Roc\u00edo Molina with \u2018Trilogy on the guitar\u2019, \u2018Inicio (one)\u2019 and \u2018Al fondo Riela\u2019 (with 8,732 views) were the ones that inaugurated the streaming broadcasts; \u2018Para\u00edso Perdido\u2019 by Fahmi Alqhai and Patricia Guerrero (4,463); \u2018Tremenda\u2019, by La Tremendita (3,840); \u2018Triana DF\u2019 by Joselito Acedo (2,215); \u2018Universo Lorca\u2019 by Andr\u00e9s Barrios (2,891); \u2018Identidad\u2019 by Dorantes (4,154) and \u2018La Vigilia Perfecta\u2019 by Andr\u00e9s Mar\u00edn (7,365), added up to 33,660 views<\/b> between their live and delayed broadcasts. The countries that concentrated the greatest number of views, in addition to Spain<\/b>, were the United States<\/b>, Japan<\/b>, Argentina<\/b>, France<\/b>, Germany<\/b>, Russia<\/b>, Italy<\/b>, Brazil<\/b> and the Netherlands<\/b>, so a broad international community has been consolidated around the Biennial thanks to this initiative. <\/p>\n

This exemplary concern for safe culture, this versatility in finding solutions, and this determined attitude to develop a first-class event by establishing processes that disseminate content without putting health at risk, has positioned the Biennial as a major reference show and an organizational example, making headlines in international media<\/b> (The New Yorker, The Dancing Times, Dance Tabs or Euronews), and national ones<\/b> such as Cadena Ser<\/b> with Angels Barcel\u00f3 and Carles Francino, on TVE<\/b> with Espa\u00f1a Directo, in the newspaper El Pa\u00eds<\/b> emphasizing the Biennial as a safe culture event, on Canal Sur Televisi\u00f3n<\/b> in all its news and cultural programs or Telecinco<\/b> closing national news programs. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In addition to streaming shows, as an event of great importance, the Bienal de Flamenco has further strengthened, if possible, its dialogue with its followers, national and international, through its social media profiles and its website.<\/p>\n

In this edition, social media has become<\/b> one of the Biennial’s main channels of communication with its various audiences – fans, media, artists and professionals. All the publications made from the official profiles were concentrated under the hashtag #laBienal2020<\/b>, which has condensed 3 million<\/b> impressions. On Twitter,<\/b> where in September alone more than 2,500 followers were added and more than 539,000 impressions<\/b> were obtained, with an impact on more than 6.6 million users<\/b>. On Facebook, with followers coming mainly from Spain, Italy, France, Argentina, Mexico, the United States and Brazil. The publications made between August and October obtained a reach of more than 6.7 million<\/b> impressions, with a number of interactions that have exceeded 1.2 million<\/b>. <\/p>\n

Instagram<\/b> has gained 9,509 followers<\/b> between August and October. There have been around fifty posts that have had more than six thousand interactions, with a reach and impact of more than 637 thousand users<\/b>, not counting live videos and Instagram Stories<\/b>. Lastly, there is the Biennial’s YouTube channel<\/b>, where the videos of the initial flashmob were hosted, which were viewed by more than seven thousand people<\/b> and have accumulated around 1.1 million<\/b> total views. <\/p>\n

The website<\/b>, which has condensed general information about the event, has registered 286,648 visits<\/b> between August and October, in a total of 207,229 sessions by 45,167 users. 30% of the visitors have been from outside Spain, the main foreign countries that access the website being, in this order, the United States, France, Japan, Mexico, Germany, Italy, China, Argentina, the United Kingdom, the Netherlands and Brazil. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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THE BIENNIAL IN THE MEDIA<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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This edition has been marked by COVID-19, so both on-site coverage (capacity limitations in venues) and the travel of international professionals from other countries<\/b> has been impossible in many cases, even though we have had professionals from countries such as Japan or Brazil<\/b>. Likewise, the international media, both specialized in flamenco and generalist, that have covered this flamenco event have been Paseo Flamenco (Japan), The New Yorker (New York – USA), The Dancing Times (UK), Dance Tabs (UK), Radio France (France), Flamencoweb (France), Flamenco Brasil (Brazil), Danstidningen (Scandinavian magazine), EuroNews Agency, Agence France Press (France)<\/b>. <\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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For more information visit
www.labienal.com<\/strong><\/span><\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

GASTROPASS SPECIAL EDITION 40TH ANNIVERSARY OF THE SEVILLE FLAMENCO BIENNIAL Despite the difficult times for many sectors such as tourism, the Seville Flamenco Biennial, a world reference for this cultural heritage, decided to continue with its programming in 2020. This brave gesture was a factor of inspiration and motivation to bring forward the printed Gastropass […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":3920,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9036","page","type-page","status-publish","hentry"],"yoast_head":"\nXXI Bienal de Flamenco Sevilla - Gastropass 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/gastropass360.com\/en\/bienal-de-flamenco\/xxi-bienal-de-flamenco-sevilla\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"XXI Bienal de Flamenco Sevilla - Gastropass 360\" \/>\n<meta property=\"og:description\" content=\"GASTROPASS SPECIAL EDITION 40TH ANNIVERSARY OF THE SEVILLE FLAMENCO BIENNIAL Despite the difficult times for many sectors such as tourism, the Seville Flamenco Biennial, a world reference for this cultural heritage, decided to continue with its programming in 2020. 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