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Miguel Poveda pays a heartfelt tribute to the songs miners (03/06/2010)

Miguel Poveda, Mining Lamp in 1993 and one of the undisputed reference of flamenco today, has starred in the last of the activities of the second day of the First International Conference on Cantes Flamenco Miners Union.

The Catalan singer praised the likes of "Pencho Cros, Encarnación Fernández or Piñana, responsible, next to the festival itself, the preservation of mining songs."

Poveda has done a review of their participation in the contest of the Union "did not want to participate, was not ready, but Juan Ramón Caro convinced me. From him and learned the songs Mayte Martín miners."

Miguel Poveda, approachable, relaxed and visibly moved, continued to comment, in interaction with the audience, its relationship with the Union, "I was impressed by the silence that I heard people at that screening test in the Peña Flamenca de La Union. For the first time I listened outside Barcelona. "

Catalan has spent some touching words to Pencho Cros, "I learned a lot from him, he showed me all his legacy."

"I will always be attached to the Union and defend their songs wherever they go."

After the words of Miguel Poveda, was magic in the hall of the House of the pinion.

The great singer, accompanied on guitar by José Manuel Gamboa, has played two miners, the first one, with lyrics by Enrique Hernandez Luike unpublished.

The Red The Alpargatero

Piñana and Pencho Cros

The Red The Alpargatero

are cooking pot

in the house of God

with its sing mining

The audience stood and thanked his idolized artist, generosity and artistic waste passes through La Union.

PAPERS

The second day of the Congress began with the intervention of professor at the University of Murcia, José Martínez.

Martinez has reviewed the connecting links between the contests Granada, Cordoba and La Union.

"The three are united by their true and sincere passion for singing, and aims to keep the flamenco tradition."

"The context of enormous difficulty for the flamenco was also common in all three competitions," he continued.

Jose Martinez has highlighted "the importance of competition in the rise of Cordoba contest of the Union, possibly the Cordoba was the inspiration for the event mining."

Martinez ended his speech by paying tribute "to all those who, as genuine Quixote, windmills and giants fought to push through the Festival del Cante de las Minas."

The Dean of the College of Lawyers of Cartagena, Juan Francisco Pérez Avilés, star of the second paper of the day, has described the situation of miners singing in the period between 1900 and 1960.

Avilés stressed "the important role played by the singing cafés for the consolidation of the different styles."

Unionense Counsel has highlighted "the existing antiflamenquismo intellectuals in the fields of Spain in the late nineteenth and early twentieth centuries, a view that would end up changing the end of their lives. Examples of this were Azorín or Eugenio Noel."

Aviles has been identified as key "contest in Granada in 1922. Through this competition, the intellectual approach to flamenco for the first time."

The Cordoba Francisco Hidalgo has closed the conference scheduled for the morning of the second day of the conference, exploring the birth of dance taranto.

Hidalgo has referred to taranto dance as "the only dance style to mine today."

Francisco Hidalgo said that "the taranto dance is at its peak, more creative. Taranto is the emblem of the Festival del Cante de las Minas."

Following the presentation of Hidalgo, has projected the film "The caldera", issued by the TVE program "Open Window" in 1970.

The afternoon session began with a presentation by José Manuel Gamboa, who has glossed the figure of Miguel Borrull, "a gypsy Levantine to whom we owe the creation of Ronda as we know," said the flamenco in Madrid.

After Gamboa, took the floor Norberto Torres Cortés.

During his speech, has made a review of the first attempts to mine the songs that appeared in 1874 in the songbook Eduardo Ocon, through the touch of granaínas or Murcia.

"It would be after 1930 when consolidating the highlights soloists with Ramon Montoya, who spoke tarantas touches, hints of mineral and hints of Ronda. Until then only talking about touch and above means," he told Torres, who concluded by citing as an example of "new flamenco", understood as "the application of sound from the east found on the album 'From my heart to air' by Vicente Amigo where the principle of joy combined with lift in perfect rhythm."

The day ended with the participation of Miguel Poveda and Jiménez Gema brilliant performance, singer with nineteen, became the youngest artist to get mining lamp.

The First International Conference on Cantes Miners Flamenco, which ends tomorrow, is co-organized by the Foundation Cante de las Minas and the International University of the Sea

Source: Ayuntamiento de La Unión

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