The topic of flamenco competitions is of utmost importance. Without true-life experiences or a natural environment for singing, the new generation benefits from the stimulation and contact with enthusiasts which is provided by competitions. The traditional settings where flamenco was once nurtured – communal courtyards, farm laborers’ quarters, blacksmith shops, or other work environments – have disappeared or are on the verge of extinction. Nowadays, festive forms are among the few that can be considered living songs transmitted orally because they are practiced at celebrations and informal gatherings throughout Andalusia, representing the last remnants of flamenco as an essential element of life. Thanks to competitions, singers of the new generation cultivate songs with little commercial value which would likely be forgotten if not for these events.

When I’ve spoken with young singers to encourage them to participate in competitions, it turns out that there is a prevailing belief that the judges will disqualify you for a single misplaced note – lingering false mairenismo that never truly existed. Flamenco enthusiasts without real knowledge of the artform, who don’t fully understand the songs, only know how to reproduce the exact notes of a specific version. This stifles spontaneity and is one reason to encourage competition organizers to exercise good judgment in the selection of the judging panel.

Favoritism is the bane of competitions. Some may recall the unfortunate incident in which a jury member was assaulted for backing an individual who had studied under him. Common sense dictates that when a person you have taught for a long time or are connected to in any way becomes a finalist in a competition, you are morally obligated to abstain from voting.

It is important to distinguish between local or provincial competitions, such as the typical contests organized by a cultural club or association, large-scale competitions that may last several days and include awards for singing, guitar, and dance, like those in Córdoba or La Unión, and medium-sized contests, like the Yunque of Santa Coloma, among others. There are also specialized competitions focusing on specific styles like serranas, alegrías, peteneras, bulerías, fandangos de Huelva, tarantas, villancicos, saeta, etc. Some are limitd to young interpreters, and it wouldn’t be a bad idea to have contests for seniors as well (perhaps such a contest already exists).

It is essential that the judges have flamenco knowledge beyond the basics. I remember a few years ago, after an important competition, when someone who hadn’t convinced me too much won, I asked a jury member the next morning if they really impressed by the winning singer. The person replied, I really liked the martinete because it was performed without musical accompaniment. Surprised, I pointed out that the martinete is a style performed a cappella, without accompaniment, but the person insisted, Well, it doesn’t matter; I think it’s quite impressive to sing something like that without guitar.  What knowledge could this person have had, not just of the martinete but of flamenco in general? How many performances, recitals, gatherings, concerts, or parties could they have attended, or records could they have listened to? Probably very few. It’s not only about having artists or scholars involved; rather, the participation of both groups is necessary to properly evaluate the contestants.

Many enthusiasts cannot distinguish between free forms and those with a rhythmic structure, nor can they tell the difference between abandolao and the compás de Huelva, or recognize when the rhythm is crossed or deficient. In general, rhythm is a major mystery for most people. You cannot properly assess a singing, dance, or guitar performance based on rhythm without having knowledge of it. I’ve heard a jury member say, I don’t know how to keep rhythm, but I know when it’s off. This, quite simply, is not possible.

Regarding dance competitions, it should not be possible to win a national flamenco dance award with a performance based on a free style, as I’ve seen happen at the highest level. Dancing to free singing, meaning without rhythm, can mask a lack of mastery of compás and is not suitable for a flamenco dance competition.

To evaluate a guitarist, it is essential to be able to distinguish when the interpreter has made a mistake, whether it’s the singer’s fault, or if the guitar is out of tune.

Competitions that feature the word “national” should be subject to general regulations administered by the Confederation of Peñas, the Andalusian Institute of Flamenco, or another competent authority. The term “national” should not be used loosely.

There was the unfortunate incident of a competition that never awarded the cash prizes because there was no money. Scandalous. But on what legal grounds can a contestant file a complaint? Or the typical “prize not awarded” declared by the organization due to insufficient funds.

Top image: Gema Jiménez. Lámpara minera of La Unión 2005. Photo: Estela Zatania 

Daniel Navarro. Premio Desplante de La Unión 2005. Foto: Estela Zatania