Farewell to the singer Márquez El Zapatero, temple of rhythm and flamenco wisdom

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The world of flamenco is mourning the passing of Manuel Marquez Barrera, known artistically as Marquez the Shoemaker, which occurred on Sunday, March 9 in his hometown of Villanueva del Ariscal, Seville, at the age of 94. Márquez was considered the last custodian of the cantes trianeros.

Born on August 4, 1930 in Villanueva del Ariscal, Márquez el Zapatero discovered his passion for flamenco thanks to a neighbor who owned a jukebox with records from the Girl from the Combs, Manuel Vallejo and Tomas Pavon, among others. This early influence led him to participate in local festivals and baptisms, where he began to forge his unique style.

During his military service in Tablada, Seville, he was assigned as a shoemaker in the barracks warehouse. This experience allowed him to later establish a shoe store on Pureza de Triana street, a neighborhood that would be fundamental in his artistic development. There he made friends with figures such as The Second Child, Manuel Oliver and especially The Sordillo of Triana, who became his main source of inspiration.

«Although he never dedicated himself professionally to cante, was part of the album 'La Triana del Zurraque' (1982) together with El Arenero and El Teta, a tribute to the cantes from the Triana suburbs. In 2001 he fulfilled his dream of leaving a recording legacy with 'De Villanueva es', with the guitar of José Luis Postigo»

Although he never dedicated himself professionally to cante, his deep knowledge and respect for tradition led him to participate in important events. In 1982 he was part of the album The Triana of Zurraque with The Sandpit y The Tit, a work that pays tribute to the cantes from the Triana suburb. In 2001 he fulfilled his dream of leaving a recording legacy with From Villanueva is, accompanied on guitar by Jose Luis Postigo.

His commitment to local culture was recognized on multiple occasions. In 2019, the Villanueva del Ariscal Town Hall He was included in the Gallery of Illustrious Men, in honour of his contribution to the town's intangible heritage. Two years earlier he had been named the city's favourite son.

Marquez the Shoemaker leaves a fond memory in the history of flamenco, not only for his mastery in the interpretation of the soleá and others palos, but also for their dedication to preserving and transmitting the essence of the cantes de Triana. His legacy will endure in future generations who find in his figure an example of authenticity and passion for art. flamenco.

Maestro, is it true what they say that to sing well you have to go through hardships?

Nothing of the sort. To sing well you only need three things. First, you have to be very interested. If you are not a good fan and you like the cante really, a bad thing. The second, having good faculties for the cante. And the third, get into the flamenco full on. If you don't get involved, you won't know, years from now, how far you could have gone, whether I did well or did badly. I have recorded a series of canteYes, those that I have been fond of. But I have never recorded serranas, or alegrías, or guajiras. Lullabies, yes. Malagueñas, I told myself, I have to learn to sing malagueñas, why, because I like them, out of love.

[Interview with Márquez El Zapatero. Expoflamenco, January 2018]