28 august | 12:00 h | Balcony of the city Council
Juana la del Pipa et Manuel Parrilla
She clings to the railings and turns her voice into a flurry of sparks. Juana la del Pipa, who dyes everything black when she opens her jaws, is the type of artist in danger of extinction. Her cante, short, sherezano, mortecino, does not seek to please, but to hurt, and along the way she has won a good number of followers.
The daughter of a historic bailaora, she has toured the world with her characteristically defiant look. Her brow furrowed and her eyes turned inwards, as if she were concentrating on a kind of sententious ritual. The album ‘Mujerez’, together with La Macanita and Dolores Agujetas, was a revelation for many. Proof that in flamenco, sometimes less is more. If flamenco is an exercise in expression, she, so full of fatigue, was born with the ability to synthesise the complex in the space occupied by an ‘Ay’. Manuel Parrilla, heir to one of the most important guitar dynasties, accompanies her in her profligacy.