The peñas help to create other ways to face the flamenco with its audience, and motivate the appreance of the Flamenco Culture Week, like the one of Paradas, or the ones dedicated to Diego del Gastor in 2008, in the centenary of his birth, by the peña of Morón and the 5th Cultural Week dedicated to Manolo Sanlucar by the peña of Marchena.
The appearance of the Bienal de Flamenco in Sevilla in 1980, which was conceived and prepared a year before in the peña Torres Macarena under the protection of National Congress of Flamenco, changed the outlook in the way of understanding the flamenco events. The model, which was not linear and kept adapting with years, was followed in Spain by others like: La Cumbre Flamenca in Madrid, which lasts shorter period, the magnificent Festival de Baile in Jerez, the Bienal de Málaga, which ended in its 2nd opportunity. Today, we see the advertisement of the 2nd Bienal de Flamenco of the Netherlands -Amsterdam, Rotterdam and Utrecht -, the Bienal in Buenos Aires is announcing for February 2009 coinciding the date with the traditional event of New York.
We have mentioned about the important figure "the flamenco businessmen". But it is not easy to assert about this issue, since it is not investigates as seriously and deeply as these people deserve. Also, they have acted in the shadow in quite a lot of occasions. The different periods, which flamenco has passed through, and which we have described superficially since the middle of the 19th century, have had its own business agents, like Andrés González, Silverio Franconetti, La Argentina, Luisillo, Vicente Escudero, Marius de Zayas, Campúa, Antonio Gades, Carlos Verdines, Alberto Monserratt, Carcellé, Antonio Soler, Borrau, Sol Urock, Pulpón, Teruo Kabaya, Miguel María, Yoko Komatsubara, Cristina Hoyos..., and all of them who currently associates with the different production companies which we pick up in the Directory.
More and more, we see how the flamenco is entering in the economic field and in the field of shows, without questioning or reflecting its real identity 1, since the geographic frame of the implantation and improvement exceed Andalucía and the sign of the identity does not represent any more one of the basic reflexions 2 of the different agents who integrate it.
1, If you call modern the ones which are well done, this Seguiriya and that Malagueña are modern. Modern one is what is made in our time, Diego el Marruro and Enrique el Mellizo are still modern ones. And the creation of dance of Israel Galván, and of Canales. Clemente, Luis. Flamenco!!! De evolución. Lapislázuli, 2002.
2, The Flamenco is a total art [...] highly exceeds the mere consideration of folklore [...] the division, which is still maintained today, between the private space of the ----- - refuge of the purity and the authenticity -, and the public space of the stages ( cafés cantantes, bull-fight rings, tablaos with large stage have been those), where, according to the topic, the flamenco purity, that restrain the ignorance and arbitrariness of modern audience and the demands of the industry, would run great risks. Consejería de Cultura Junta de Andalucía. Sevilla, 2003
