The way in which flamenco influences the plastic arts and sculpture is the basis on which the new book by the writer and doctor is based. Manuel Concha Ruiz. A work titled Flamenco in the plastic arts. Painting and sculpture with which he pays tribute to the painter Antonio Povedanodied in 2018.
The book, published by the university publishing house UCOPress, was presented at an event held at the Rectorate of the University of Córdoba (UCO). It has been chaired by Israel Muñoz Gallartevice-rector of Students and Culture of the UCO, and the historian participated Federico Castro Morales –prologue of the work– and the author himself. Furthermore, as it could not be otherwise, flamenco was the protagonist with the intervention of the guitarist Jose Tomas Jimenez and the singer Lidia Rodríguez.
Manuel Concha Ruiz, professor of cardiovascular surgery, was one of the promoters of the Chair of Flamencology at the University of Córdoba in 1996, and currently continues to serve on its advisory board. The doctor has always been linked to flamenco singing and a good example of this is his recurring participation in conferences and publications, with special mention of the relationship that Povedano maintained with flamenco.
Castro Morales wanted to highlight “the opportunity of its publication at a time when, despite recognition by UNESCO as Intangible Heritage of Humanity, the touristification and gentrification of the city of Córdoba may put it at risk.”
«Manuel Concha Ruiz has influenced the wonderful world that flamenco represents. “I think that many people and some flamenco fans have not had the opportunity to get closer to the visual arts. It is a new and attractive topic”»
For his part, Manuel Concha has projected images of the book to break down its content. Among its pages, the contribution of artists and writers linked to flamenco art stands out. He does not forget the generation of ’27 and avant-garde art, or what the National Cante Jondo Competition held in Granada in 1922 meant.
The author of the book has emphasized “the wonderful world that flamenco represents.” «I think that many people and some flamenco fans have not had the opportunity to get closer to the visual arts. “It is a novel and attractive topic,” said Concha Ruiz.
“Flamenco in the plastic arts has taken on an unusual interest in the 20th century for painters and sculptors and Povedano was one of the few capable of conveying how much flamenco is popular because he knew how to capture the development that carries the singer,” argued the writer.
In Flamenco in the plastic arts. Painting and sculpture The historical, conceptual and aesthetic development of flamenco in the second half of the 19th century and the first half of the 20th century is reviewed. “Between 1850 and 1930, cante jondo went through several aesthetic revolutions and its first contacts with the public were through the taverns in the suburbs until it reached the singing cafés,” explained Manuel Concha.
Flamenco sculpture also has a place within the pages of this work, with authors such as Antonio Campillo, Miguel Moreno, Venancio Blanco and Juan Antonio Corredor, among others. In addition, eight annexes are included with representatives who “enrich the flamenco scene with the voices of Agustín Gómez, José Manuel Caballero Bonald, Ángel Álvarez Caballero, Manuel Ríos Ruiz, Luis López Anglada, Manuel Cano and Antonio Gala».
