THE BEGINNING ...
At an early age, Camarón started singing in Flamenco clubs near San Fernando, especially in the Vargas Club – and at private parties.
By the age of 16 he started singing professionally with the flamenco groups Miguel de los Reyes and Dolores Vargas. After one season in the Flamenco club Torres Bermejas (Madrid), he recorded his first album accompanied by guitarist Paco de Lucía. As a revolutionary singer, far ahead of his time, Camarón was able to distil Flamenco to its purest essence and thereby reforming it from the inside.
Due to his innovative style he was soon hired to perform at the most important flamenco festivals in Andalusia as a lead singer.
... THE PERFECTION
Camarón de la Isla a was the most outstanding singer of the latest generations of flamenco. His duende (charm) is evident at every moment and even his lighter expressions have the incentive to arouse, always with a pinch of sensitivity and feeling for the song.
His very personal flamenco soul and subtlety emits magic, brings people together, and quickly connects all of his audience. Camarón has earned place in history for his merits.
Flamenco, declared in 2010 as a Unesco Intangible Cultural Heritage of Humanity, is an artistic expression fusing song (cante), dance (baile) and musicianship (toque).
According to UNESCO, Flamenco, which is rooted in Andalusia, Extremadura and Murcia, is the badge of identity of numerous communities and groups, in particular the Gitano (Roma) ethnic community, which has played an essential role in its development. There are many controversies about its origin, which date back to the eighteenth century, none of which are proven historically, mystery that enhances the legend and the enigma surrounding Flamenco.
El Cante is the vocal expression of flamenco, sung by men and women, preferably seated, with no backing singers. The gamut of feelings and states of mind – grief, joy, tragedy, rejoicing and fear – can be expressed through sincere, expressive lyrics characterized by brevity and simplicity.
EL BAILE y EL PALO (Dance and varieties)
Flamenco baile is a dance of passion, courtship, expressing a wide range of situations ranging from sadness to joy. The technique is complex, differing depending on whether the performer is male (heavier use of the feet) or female (gentler, more sensual movements). Its embodiment is similar to moderate exercise and has proven effects on physical and emotional health often called "flamencoterapia". Each of the traditional varieties of flamenco are called palo. Each palo has its own name and unique musical characteristics which are called "key" or "modes".
EL TOQUE (touch)
El toque or the art of guitar playing has long surpassed its original role as accompaniment. Other instruments, including castanets, hand-clapping and foot-stamping are also employed. Posture and technique of flamenco guitarists, differs from that used by the interpreters of the classical guitar. While the classic guitarist supports the guitar on your left leg inclined, flamenco guitarist often cross their legs, placing the mast on the higher leg almost horizontally to the ground.
EL DUENDE (Charm)
The duende Flamenco, a mysterious and ineffable charm, an idiom used by the scholars of the early twentieth century to describe a punchy Flamenco with temperament and character. The great Andalusian poet and play writer Federico Garcia Lorca defined the term in his lecture "Theory of Play and the Duende", quoting Goethe speaking of Paganini hi on a definition of duende as " the mysterious power that everyone feels and no philosopher can explain."