Flamenco guitarists: few… but don’t cowardly

Of flamenco guitarists researches and writes the former professor of the University of Seville Eulalia Pablo in a book of 2009 called Mujeres guitarristas. In the review she makes of those flamenco tocaoras (and other styles) of the nineteenth and twentieth centuries, Adela Cubas stands out back in 1900 among the famous soloists. Also to cantaoras and bailaoras who self-accompanied by their guitar, such as Mercedes La Serneta.

According to this author, the Spanish Franco regime turned being a Flemish woman into a “capital sin” and the touch ceased to be a female option.

This is a reflection shared by other experts and researchers who have dealt with this issue of women in flamenco. For example, the flamencologist Norberto Torres in his book Historia de la guitarra flamenca. El sucro, el ritmo y el compás, stating that the female guitarist is more invisible now. Or the researcher Josemi Lorenzo, from the Complutense University of Madrid:”From the nineteenth century until the Civil War, there were more tocaoras than today.”

Dancing and singing have not been easy terrain for them either, but that of the guitar, where there is no body to show, even more. In addition, this instrument did not have a solo role that was protagonist in flamenco until, possibly, Paco de Lucía.

Women had other handicaps added: social because the feminine was to give classic; techniques since women would have some kind of body problem that prevents them from playing the flamenco strings, an issue defended by renowned artists; Training because if no school or conservatory integrates flamenco as an option, guitarists of this genre will hardly come out, neither men nor women.

From classical guitar to the Rafael Orozco Conservatory in Córdoba

The lack of specific training for flamenco touch is being solved, but very little by little. It affects both men and women. However, in the case of them, it joins that of “woman + guitar = classical”. Therefore, it is logical that many of today’s flamenco women started in conservatories of this type.

Davinia Ballesteros (Malaga, 1982) teaches at a very prestigious school in Cádiz. It is, according to Ballesteros, the first guitar school in the province of Cádiz that has qualified teachers in flamenco guitar and classical guitar, with the university degree of teaching with the specialty of music. Paco de Lucía, whom she was lucky enough to meet in person, is her inspiration since she decided that the bajañí would be her profession as a child. She is the first Malaga graduate in flamenco guitar. He has played and continues to play with and for great figures, such as Paco Cepero, Manolo Sanlúcar or La Susi. escuelaguitarrajerez.es

The Degree in Flamenco Guitar of Davinia is from the Rafael Orozco Superior Conservatory of Music of Córdoba. This center, the first to offer higher flamenco studies in Spain since 2004, is fundamental for the batch of women to the touch. And another of them is Pilar Alonso, the first flamenco guitar teacher in an official center, the Ángel Barrios Conservatory.

Pilar Alonso (Baza, Granada), was also trained in classical guitar and Paco de Lucía was also her flamenco inspiration. His thing has never been to dazzle as a soloist and education has, where, finally, he is playing a relevant role for equality within flamenco. She has been the founder of musical groups such as “Algedid”, “Brots nuevos”, “Trajitoma” or “Alhaire”; He has more than 200 works premiered in his career and three albums published.

Laura González (Granada, 1980) toca en contadas ocasiones en los últimos tiempos y se dedica fundamentalmente a la docencia. And by vocation, although he assured in an interview in El País: “I have ended up teaching, but I would have liked to bowl, play accompanying singing and dancing.” She is another flamenco guitarist by Rafael Orozco and has taught at the Professional Conservatory of Music of Córdoba and its counterpart in Jaén. It has been common to see her in duet with another tocaor, José Rojo, or in recordings of the peña El Mirabrás. It stands out for its sensitivity, feeling and beauty in its interpretations.

It has a live recording with own compositions of the year 2007. Because, like almost all women guitarists dedicated to jondo, she is more than trained to compose… and whatever it takes.

Of a more recent generation is Alba Espert (1997, Jerez), but equally prepared. From schools such as José Luis Balao, with classes in Sanlúcar or learning from Pedro Serra today, he went through the Rafel Orozco for his higher degree. In addition to having obtained a scholarship from the Foundation Cristina Heeren, does not stop training: “My dream is to go as far as possible, although recording an album is also something that artists have very present”. And that being a tocaora does not know very well where it came from. When he asked his mother for a flamenco guitar at the age of 8, it was pure natural instinct.

Alba can be enjoyed in peñas and festivals, above all, accompanying, but she has also played solo. For example, in the Central Theater of Seville or in the flamenco cycle AIEnRuta. He acknowledges that some fans are surprised that a woman is at the touch, but they are the least. For her, as for many other women in her profession, there is a lack of female references, “although Antonio Jiménez could be that figure, as well as Inma Morales or Davinia Ballesteros”.

We encourage you to follow the career of this natural talent that is already giving much to talk about for good… En su web tenéis su agenda de conciertos: Alba Espert Ruiz

The path of “better together”

Mala Sangre was founded in 2005 to bring Andalusia and Catalan rumba to the stage. A fun group with the guitar of Marta Robles, today in Las Migas, a group that won the 2022 Grammy for best flamenco album. Martha is another example of being well prepared: producer, editor, composer, teacher, tocaora… He has the Master Solist Degree in flamenco guitar at the Sweelinck Conservatorium in Amsterdam and the higher degree in flamenco guitar from the Superior School of Music of Catalonia (ESMUC).

Marta also formed the Duo del Mar with Ekaterina Zaytseva, classical guitar. It is a successful duo, especially with the albumRitmos de Sabicas (2019). With him, the two have performed for the Rolling Stones!

The Grammy has changed things for this guitarist who combines the best of both worlds, classical and flamenco. When she told La Razón in 2019: “Because I am a woman I have preferred not to get one hundred percent into the world of flamenco,” she did not imagine the success of Las Migas.

His career is unstoppable with the group, but he continues to collaborate and be part of parallel projects.

Las chicas de Ripas was the flamenco trio for which the French of Spanish parents Elena San Román bet. His teacher was Arnaud Dumond and his referents Paco de Lucía y Camarón. Although she started with the classical, it was just Dumond who took her towards flamenco. She studied in Seville with a scholarship from the Cristina Heeren Foundation. Today, she is immersed in her own recitals, classes and concerts with Dumond and Miguel Ángel Cortés.

Mercedes Luján (Murcia, 1987) is, among the current flamenco guitarists, not only a great virtuoso, but a fighter for equality. In addition to solo, she plays a duett with Kamal Musallam, collaborates with the all-female “Firdaus Orchestra”, and is the composer and founder for an all-female group.

He comes from an artistic family, singer Rosa Maria Luján and radio host Luis Terry. He began his training with his paternal grandfather, the Jerez guitarist “Maestro Palmita”. Despite his youth, Luján has accompanied many of the most outstanding flamenco singers, such as Rocío Márquez, Sorderita, Pedro El Granaíno, Perlita de Huelva or Juan Valderrama.

He has performed in the best venues in Spain and abroad, such as the Romea Theater, the Guerra Theater, the Lodz Theater in Poland, and in prestigious festivals such as the International Guitar Festival of Granada.

His touch is defined by ann extreme delicacy in his technique and a very classic style, with echoes of Morón, Melchor, and Jerez.

Pioneers of yesterday, references of today

For her career, Celia Morales (Malaga, 1972) is among the pioneers of current feminine touch. She is a member of the Chair of Flamencology of Cádiz since 2006 and a qualified professor at the Conservatorio Superior de Música de Málaga. She has in common with other guitarists already mentioned in this article her initial classical training, that Paco de Lucía is one of her inspirations and that today she is dedicated to teaching, in addition to her career as a tocaora.

He has composed, has accompanied great dancers and singing, has directed his own school in Ronda and is still active as the first day, carrying the essence and purity of flamenco.

Antonia Jiménez (Cádiz, 1972) is the most prestigious flamenco guitarist of the moment. It is that female reference that many artists say has been missing in the field of tocaoras. For many reasons.

He began his career directly in flamenco without any family support: “Neither from my father, nor from my mother. Everyone around me said I was crazy.” He accompanied Antonio Villar for the
tablaos and peñas andaluzas, earning their first pesetas with 14 years. When he came of age, he became independent and moved to Madrid. She was the only girl studying flamenco guitar and would be the only one playing in the tablaos and halls of the capital.

He has accompanied Olga Pericet or Manuel Liñán. Inthe case of cante, a Carmen Linares and Rocío Márquez. It has also been part of companies such as Arrieritos and Nuevo Ballet Español. He continued his training and mentions with special affection Manuel Vargas, his great teacher.

His career as a solo guitar soloist began in 2009. He performs his own songs, with several awards for it. Go to the Festival de Jerez, Suma Flamenca Madrid, International Guitar Festival Sundsvall, CUNY Segal Theater New York, Guitar Summit London Guitar Festival 2018, Festival de Nimes 2020… and a long etcetera.

With Marta Robles she participates in Dos Tocaoras, her own flamenco production, with a clear message of protest about the female role in this field. Her path has been hard because she is a woman, and there was a moment when she almost threw in the towel. A job in Japan with Marco Flores avoided a decision that would have left us without an essential guitarist.

“I think the reason why there are not many tocaoras is the consequence of 40 years of dictatorship in Spain (…) I see that there is a generation of young girls who are playing the guitar very well and who come very strong, “he told Fortune magazine. “Like global society, people are beginning to become aware of the need for equal treatment for all. It’s going very slowly, but it’s moving forward.”