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Concurso de Cante Jondo
El Concurso del Cante Jondo (Contest of the Deep Song) was a well-known celebration of the art of flamenco, its music, song, and dance, held in Granada, Andalusia on Corpus Christi, the 13th and 14 June 1922.〔Manuel de Falla, "La Proposición del ''Cante Jondo''" in ''El Defensor de Granada'' (March 21, 1922); included as Appendix III in Molina Fajardo, ''Manuel de Falla y El "Cante Jondo"'' (Universidad de Granada 1962; 2d edition 1988) at 169-175. It was the custom in Granada to hold such events during the fiesta of ''Corpus Christi''. ''Ibid.'' at 169.〕
==Falla's purpose==
The Spanish classical composer Manuel de Falla (1876–1946), an Andalusian, was the principal organizer of the ''Concurso''.〔The idea for the ''Concurso'' crystallized one afternoon late in 1921, during a walk by Falla and Miguel Cerón through the gardens of the Generalife in Granada. As they continued with their many conversations about the fallen condition of the flamenco arts, Cerón said, "Do you dare put on a concurso?" Falla stopped, looked at Ceron and said, "¡Hombre, Si!" (yes!" ). Eduardo Molina Fajardo, ''Manuel de Falla y El "Cante Jondo"'' (Universidad de Granada 1962; 2d ed. 1998) at 49.〕 He sought to encourage and enhance the performance of flamenco, which had fallen into a period of decadence.〔Ángel Álvarez Caballero, ''El cante flamenco'' (Madrid: Alianza Editorial 1994) at 211.〕 The gaditano Falla recognized in flamenco a musical art form of great value. It was music Falla had spent years studying, having grown up with it, hearing it directly from Gitano friends, cantaores and tocaores.〔Manuel de Falla, ''El "cante jondo" (canto primitivo andaluz)'', a folleto published in Granada by Urania in 1922 to promote the ''Concurso''; it appears as Appendix V in Molina Fajardo, ''Manuel de Falla y El "Cante Jondo"'' (1962, 1998) at 209–226, with a facsimile of its cover at 96.〕〔Eduardo Molina Fajardo, ''Manuel de Falla y El "Cante Jondo"'' (Universidad de Granada 1962; 2d ed. 1998) at 49-51. For example, during 1904-1905 while composing his ''La vida breve'' Falla would listen while her mother sang and Pastora Imperio danced, the "soleares y siguiriyas, polos y martinetes". ''Ibid.'' at 15-16.〕〔Anselmo González Climent, ''Flamencología. Toros, Cante y Baile'' (Madrid: Editorial Escelicer 1955, 1964) at 273–275.〕 Enlisting the cooperation of Spanish intellectuals was considered crucial, to counteract the ''antiflamenquismo'' of the generación del '98; these reformers had condemned the flamenco arts as frivolous and regressive in their sweeping effort to modernize and transform Spain.〔Paco Sevilla, "Introductory History of Flamenco, Part II" in ''Jaleo'' VIII/2, originally published in ''Guitar and Lute'' (March 1983), at ¶7 and ¶14. ''Part I'' is in ''Jaleo'' VIII/1, coming from ''Guitar and Lute'' at v.25 (Nov. 1982).〕〔E.g., expressing disapproval of flamenco in varying degrees were Miguel de Unamuno, José Ortega y Gasset, Pío Baroja, and Rubén Darío. Félix Grande, ''Memoria del Flamenco'' (Madrid: Espasa-Calpe 1979) at II: 425-465, 443.〕 Thus Falla aimed for an audience encompassing not only flamenco circles, but also to influence the musical world and its culture.
In order to find colleagues to help sponsor and promote the ''Concurso'', Falla gathered together an impressive group of musicians and artists. Included among them was the young poet Federico García Lorca. At twenty-three, the granadino Lorca became an activist in popularizing the ''Concurso'', second only to Falla. Lorca worked to publicize the event by giving oral presentations and publishing essays about the Flamenco arts.〔The young poet Federico García Lorca (1898-1936), after Falla the most active in the ''Concurso'', spoke and wrote on its behalf. His "Importancia histórica y artística del primitivo canto andaluz llamado ''Cante Jondo''" was read before a "Conferencia" of the ''Centro Artístico'' of Granada on February 19, 1922, and published that month in ''Noticiero Granadino''. It is reprinted now in Molina Fajardo, ''Manuel de Falla y El "Cante Jondo"'' (1962, 1998) as Apéndice IV, at 177-208. Lorca's often lyrical address began at 10 p.m. and was illustrated with guitar music by Manuel Jofré. Molina Fajardo (1962, 1998) at 64-68, 65.〕〔Another version of Lorca's February 19, 1922 address has been printed in Frederico García Lorca, ''Prosa'' (Madrid: Aliana Editorial 1969, 1972) at 7-34, entitled "El cante jondo (primitivo canto andaluz)". Also therein, another two of his essays on flamenco: "Arquitectura del ''Cante Jondo''" (1931) at 35-45, and "Teoría y juego del duende" (read in Habana, c. 1930) at 169-189. Included at 47-90, is a record of Lorca reading from his 1928 long poem ''Romancero gitano'', including his comments and intros.〕〔Evidently Lorca wrote his well-known work ''Poema del cante jondo'' for the most part in November of 1921, before organizing efforts for the ''Concurso'' began in ernest. Yet ''Poema del cante jondo'' was not published until 1931. José Luis Cano, "Prólogo" at 7-32, 13-15, to Frederico García Lorca, ''Romancero gitano. Poema del cante jondo'' (Madrid: Espasa-Calpe 1988), the ''Poema'' at 101-197.〕〔The next year Falla and Lorca would collaborate in producing a performance of a "Fiesta para los Niños" (for the Children ). Jose Luis Cano, ''García Lorca'' (Barcelona: Salvat 1985) at 56-58.〕 A third important figure was the Basque painter Ignácio Zuloaga.〔D. E. Pohren, ''Lives and Legends of Flamenco'' (Madrid: Society of Spanish Studies 1964, revised 1988) at 73.〕
Among the broad array of music figures enlisted were classical composers Joaquín Turina, Federico Mompou, Conrado del Campo, and Óscar Esplá, pianist and composer María Rodrigo, composer and conductor Kurt Schindler of New York, various orchestra directors, classical guitarist Andrés Segovia, Polish singer Aga Lahowska, and popular guitarist Manuel Jofré. Andalusian poet Juan Ramón Jiménez (1956 Nobel Prize) joined the ''Concurso''. Writers such as Ramón Pérez de Ayala and Tomás Borrás, surrealist painter Manuel Ángeles Ortiz, and an association assisting the ''Concurso'' effort, the ''Centro Artístico'' of Granada, contributed. Added support came from two influential professors: philosopher Francisco Giner de los Ríos and Catalan musicologist and composer Felipe Pedrell (Falla's early music teacher).〔Betty Keim, "Manuel de Falla: the Guitar and his Music" in ''Guitar Review'' (Winter 1976) at 41: 22-23 (Prof. Pedrell).〕 Later came French writer Maurice Legendre, music critics including Adolfo Salazar of Madrid's ''El Sol'', producers, and publicists, with nods from Maurice Ravel and Igor Stravinsky.〔Eduardo Molina Fajardo, ''Manuel de Falla y El "Cante Jondo"'' (Universidad de Granada 1962; 2d editión 1998, with new preface at ix-cviii by Andrés Soria), at lxi, lxx, and 54-57.〕〔Ángel Álvarez Caballero, ''El cante flamenco'' (Madrid: Alianza Editorial 1994) at 212.〕〔Félix Grande, ''Memoria del Flamenco'' (Madrid: Espasa-Calpe 1979) at II: 481.〕〔Manuel Orozco Diaz, ''Falla'' (Barcelona: Salvat 1985) at 123-124.〕〔Barbara Thiel-Cramér, ''Flamenco. The Art of Flamenco, Its History and Development until our Days'' (Lindingö, Sweden: Remark 1990 (), 1991 (German, English )) at 51–52.〕
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