Showing posts with label Almería. Show all posts
Showing posts with label Almería. Show all posts

24 September 2013

The most populous municipalities of Andalusia

Here's a list of Andalusia's cities and towns put in order based on population (2011). Unsurprisingly, the most populated municipalities of Andalusia are in the Guadalquivir valley (due to its agricultural importance) and on the Costa del Sol (due to tourism).

Municipalicy
Population
7. Huelva
10. Cádiz
12. Jaén
18. Mijas
703,021
568,030
328,659
240,099
210,861
190,349
148,918
138,662
127,375
124,892
117,810
116,781
96,894
89,851
88,917
83,774
79,839
79,262
77,004
74,054

Andalusia's most populated municipalities. Image taken from Classora's website

8 July 2013

Flag of Andalusia

As you may know, Spain is a decentralised unitary state that has devolved power to autonomies, the 17 autonomous communities and 2 autonomous cities, each proud of their paraphernalia, including anthems, flags, dialects, communal celebrations and customs, gastronomic delights, etc. In that respect, the Andalusian anthem and flag are, without a doubt, the pride of Andalusia. People tend to decorate their balconies with the green and white flag in case of any event held that day in town. 

Flags of autonomous communities of Spain. Image taken from 20minutes.es

The flag of Andalusia is traditional and easy to understand. It consists of three horizontal stripes - green, white and green - of equal width. The flag features the coat of arms of Andalusia reproduced on the middle field of the flag on both sides of it. The coat of arms shows young Hercules between the two columns that legend places in the Strait of Gibraltar with an inscription at his feet. The columns are linked together by an arch that also has an inscription on it. The design is clean and simple, although I wouldn't say that the texts are proportionate and balance the background composition, but all in all, the flag is visually easy on eye. As this is not an exactly proportional font for readability that has been used, the following is aimed to save your time and help you in reading the lettering. The arch inscription in yellow capital letters reads: "Dominator Hercules Fundator" (Sovereign Hercules, the Founder) and the bottom one: “Andalucía por sí, para España y la Humanidad” (Andalusia for itself, Spain and Humanity).

Flag of Andalusia. Image taken from Wikipedia

Blas Infante is known as the designer of the flag. He chose the green as corresponding to the rule of the Umayyads (the Arab dynasty that incorporated Al-Andalus into the Muslim world and governed it in the form of an Emirate and a Caliphate from 756 until 1031), and the white to the Almohads (the Moroccan Berber-Muslim dynasty that governed Al-Andalus in the form of a Caliphate from mid 12th century until 1212) for considering these two the periods when the political power centered in the current territory of Andalusia reached its highest glory. It doesn't mean that Blas Infante praised being under a foreing reign influence. It was a broader picture he had in mind, the greater good for the region. After all, metaphorically speaking, the life in Andalusia is still striped, it just may be today a bit more colourful.

Provinces of Andalusia, depicted in "Umayyad" green, assimilating people from different backgrounds

Besides, together with this historical meaning would co-exist a symbolical meaning, identifying the green with hope and the white with peace (both forever relevant), as expressed by the regional anthem. Beautiful symbolism, isn't it? Let alone, it's not a homogenous society, but a region where contrasts enrich the whole picture of social intercourse. It's the melting of cultural identity of the former Arab-Muslim population during the integration into Andalusia that had given step to the identification between the Arabian or Moorish culture and the Andalusian culture.

6 July 2013

Andalusia, a constant source of inspiration. Manuel Machado

This time it's about Manuel Machado, a Sevillian-born poet of the Generation of '98, who I have paid too little attention to until now. I have only casually mentioned here on my blog that he was brother of Antonio Machado. The two of them so similar and yet so different. It's widely known, as Juan C. Toledano, Associate Professor of Hispanic Studies of Lewis & Clark College of Arts and Sciences, claims (see the references), that Manuel Machado didn't share the Christian socialist stance of his younger brother, Antonio Machado. It only shows us that they were independent thinkers. They both had their own truth that made them work for the greater good of the people they cared for, their people. They may not have had the same exact concerns, but what they surely had in common was love and caring for Andalusia, and that is way more significant than it looks. 

Manuel Machado y Ruiz (1874-1947). Image taken from a blog

In the play written together, La Lola se va a los puertos (already described on several occasions earlier), the Machado brothers do not display an Andalusia that is something mystical and far from what its people lived in the streets in the 1920s, it's the Andalusians' Andalusia they expose. Naturally, this is also where they differ from the other members of the Generation of '98 who were no flamenco enthusiasts. The Machado brothers disregard the non-Andalusian way of life without almost profane passion for music, and through the characterisation of La Lola they show how they view folk art as essential and constitutive:

Una relación flamenca
de hombre y de mujer, que no es
un matrimonio cualquiera
entre cristiano y cristiana
sino algo más.
A relationship of a man and a woman
in flamenco is not like
any marriage
between Christians,
it's more than that.







In their play, it's flamenco that dominates them all being the essence of the region, because flamenco "no es música, sino lengua del corazón" (is not music but the language of heart)Flamenco is its art and its heritage. And out of them two, it's especially Manuel's thing. Edward F. Stanton, an overseas Cante Jondo expert, insists in his article (see the references) that Manuel wrote texts for Gypsy songs, while Antonio was “smarter” for not wasting his creative energy on folklore; nevertheless, quite a few of Antonio's poems have also ended up in the repertoire of flamenco singers. At the same time, according to Francisco Gutiérrez Carbajo's study on Soleares (see the references), Manuel gave a new life to a handful of old folk songs.

 
Handwriting sample of Manuel Machado. Images taken from here

Manuel Machado not only tried to incorporate this familiar and dear world to him into poetry, but also published a book on Gypsy song in 1912 that he titled “Cante Hondo”, which was the apparent precursor to the García Lorca's book.

Interpretation of Manuel Machado's Cante Hondo by Javier Coble, video by Poetas Andaluces:
 

Among other things, Manuel wrote a poem in honour of the provincial capitals of Andalusia, but Seville, he thought, spoke for itself. 

CANTO A ANDALUCÍA
SONG TO ANDALUSIA
Cádiz, salada claridad. Granada,
agua oculta que llora.
Romana y mora, Córdoba callada.
Málaga cantaora.
Almería, dorada.
Plateado, Jaén. Huelva, la orilla
de las tres carabelas.
Y Sevilla.
Cádiz, salt-laden brilliance,
Granada, hidden waters that weep.
Roman and Moorish, silent Córdoba,
Málaga, flamenco singer,
Almería, golden.
Jaén, silvery.
Huelva, shore of the three caravels.
and Sevilla.

Translation taken from Elizabeth Nash's book (see the references)


To him the essence of Seville - his birthplace - was beyond words. This is just what James A. Michener, a Pulitzer-winning American author, says in his book "Iberia" (see the references): 

“I was familiar with the rest of Spain before I saw Seville, but nothing I had learned elsewhere taught me so much about Spanish behaviour. Others have reported a similar experience for Seville does not have ambiente, Seville is ambiente, and nowhere has this been better expressed than in a lyric written by Manuel Machado, written in this century, which is quoted constantly throughout Spain. It is a litany of Andalusian names, each described with its most typical appositives, except one, for which no nouns or adjectives suffice.”

Here, listen to the interpretation of Manuel Machado's Canto a Andalucía by El Lebrijano. It's extraordinary!

3 July 2013

La Bandera Blanca y Verde - Official anthem of Andalusia

In her film, La Lola se va a los puertos (1993), the director Josefina Molina crafts the story of a beloved flamenco singer (cantaora) by airing the nationalistic vibes of the era and letting the main character, acted by Rocío Jurado, sing La Bandera Blanca y Verde (The White and Green Flag), the official anthem of Andalusia, despite the fact the Machado brothers' play on which the film is based was published four years before the andalucistas came up with the idea that there were a song to sing of loyalty to the region.
Lyrics of the regional anthem of Andalusia. Image by I.E.S. Valdelagrana

The fervently nationalistic lyrics (Stand up! Demand land and freedom!) of the anthem were written by Blas Infante and the music for it was composed by José del Castillo Díaz (Maestro Castillo) in 1933. The melody, though Castillo's original, was inspired by the Santo Dios, a religious chant widely spread in rural Andalusia, usually sung by peasants and day laborers while harvesting or finishing up their daily cutting. 
Blas Infante, founder of modern Andalusian nationalism, in his rebel youth. Image taken from a blog

The composition was adapted by Manuel Castillo in the 1980s. Since then, many cover versions have been performed by a large number and broad range of artists - by the people from Almería (almerienses), Cádiz (caditanos), Huelva (onubenses), Jaén (jienenses), Jerez de la Frontera (jerezanos), Málaga (malagueños) and by Cordovans (cordobeses) and Sevillians (sevillanos) - all proud of Andalusia. Below you have a selection of the versions of anthem, sung and played by the singers and musicians from all over the region.

Film version of the Himno de Andalucía performed by Rocío Jurado:


First-ever recording of the Himno de Andalucía adapted by Carlos Cano and performed by his musicians together with some members of the Juan Calabuig's choir (Coral Heliópolis) in 1977, at the time the anthem was practically unknown:


Piano version of the Himno de Andalucía:


Fipple flute version of the Himno de Andalucía:


Pop version of the Himno de Andalucía performed by Vanesa Martín, David DeMaría and Pastora Soler:

Rock version of the Himno de Andalucía performed by Arábiga at the Hijos del Agobio Festival in 2009:


Unfortunately, there are no punk, rap or reggae versions of the anthem available. Not just yet, though. But there is a considerable range of flamenco versions that differ one from another depending on the musical features of the palo (style), of which Bulerías and Tangos (de Granada) are, according to Walter Starkie (see the references), Gypsy songs; and Tarantas, Alegrías, Fandangos and Verdiales, Andalusian folk songs; as well as Rumbas, as stated on an expert blog.

Himno de Andalucía por Bulerías performed by El Capullo de Jerez (cantaor), Fernando de la Morena (cantaor) and Paco de Lucía (tocaor):


Himno de Andalucía por Tangos de Granada performed by Marina Heredia (cantaora):


Himno de Andalucía por Tarantas performed by Mari Ángeles (cantaora) and Tomatito (tocaor): see it here.

Himno de Andalucía por Alegrías performed by Chano Lobato (cantaor), Diego del Morao (tocaor) and Julio Pardo's choir:


Himno de Andalucía por Fandangos performed by (probably, for I don't know for sure) Arcángel (cantaor) and Niño Miguel (tocaor) (see the videoclip made up of photos of Andalusian views), and alternatively by Álvaro Díaz:


Himno de Andalucía por Verdiales performed in the street by malagueños and filmed by Mano Verde movement:


Himno de Andalucía por Rumbas performed on TV by the people from Beas (Huelva) on their trip to Venezuela at 40 degrees Celsius in the shadow and at incredible tropical humidity levels:

30 June 2013

The Guadalquivir - Great River

The Guadalquivir is the fifth longest river in the Iberian peninsula and the only great navigable river in Spain. It begins at Cañada de las Fuentes in the Cazorla mountain range in the province of Jaén, passes through Córdoba and Seville and ends at Bonanza, a fishing village in Sanlúcar de Barrameda, flowing there into the Atlantic Ocean.

Reservoir of La Puebla de Cazalla. Image taken from here

Its name comes from the Arabic, meaning “The Great River”. In fact, the Quadalquivir was initially named by Phoenicians the Baits, then later (from pre-Roman times to the Al-Andalus period) it was called the Betis, and the Arabs changed the name to “al-Wadi al-Kabir” (giving the present-day pronunciation).
The Torre del Oro on the Guadalquivir River in Seville. Image taken from here

The Guadalquivir has never served as a defensive barrier in the event of hostilities or against any invasion from the south, but more as means of transport and communication, a route for trade. The Guadalquivir is currently navigable to Seville, but in Roman times it was navigable to Córdoba. Today, the Port of Seville, located 83 km from the Atlantic Ocean, is the only river port of Spain.


The Port of Seville, c. 1590. Image from wwwl.allposters.com

The life-giving springs of the Guadalquivir is an area of outstanding beauty situated at Cañada de las Fuentes near the village of Quesada in the foothills of Cazorla Mountains (Sierra de Cazorla).

Cañada de las Fuentes. Image taken from here

Watershed of the Guadalquivir includes not only the municipalities of the provinces of Andalusia (Jaén, Córdoba, Almería, Granada, Málaga, Sevilla, Huelva and Cádiz), but also some areas of Murcia, Albacete, Ciudad Real and Badajoz. 

The Guadalquivir River Basin. Image taken from here

Between Seville and river mouth, there lies a large wet area, the Guadalquivir Marshes (Las Marismas del Guadalquivir). The irrigation of the Guadalquivir allows to give a significant proportion of Spain's agricultural production (sugar beet, cotton, rice, corn and other cereals, vegetables, strawberries, olives, citrus and other fruits) and favours the development of processing industries, such as oil, sugar and cotton mills, dairy factories, meat processing plants, canning, woodworking and furniture construction. There are also many dairy and fighting bull farms in its watershed.

If you are planning on looking for some refreshing entertainment or recreation in the riverside areas, there's actually lots on offer. It's a river that gives life to the wetlands in Doñana, the most spectacular natural reserve of Europe being not only its ecological, but also its water heritage. You can visit this site, to begin with. Then, you can just go swimming, fishing or boating, or practise rowing, kayaking, canoeing and sailing.
Arc bridge over the river at Andújar, c. 200 BC. Image taken from here

Away from the water, the options seem to be endless; from hiking, hunting, horse riding and cycling, to motorised activities, such as off-road dirt bike racing (see the motocross race calendar), etc. For mountain bike enthusiasts there's downhill mountain biking (Descenso en Bici del Guadalquivir) with some “official” routes and events, e.g. from Córdoba to Palma del Río or from Seville to Sanlúcar de Barrameda.

River running through and separating Seville into two. Image taken from here

24 March 2013

Love for poetry. Vicente Aleixandre

Even though people with philosophical and literary interests are not visible in the streets - like in the bars in Greece, for instance, where there're guys reading a book stooped over a cup of coffee and exchanging their observations spiritedly with one another, the owner or a waiter - there has always been a lot of remarkable intellectual activity to observe or engage in in Seville. This time I take the liberty to introduce Vicente Aleixandre, one of the most touching authors of Spain in the twentieth century.
Vicente Aleixandre, a Sevillian-born poet who lived a good long life in the years 1889-1984

I myself adore and admire his otherness, that is to say, his enjoyable style of writing and merely personalistic choice of subject matter of which the uniqueness of his spiritual realization being most worth your while. 
Handwriting sample of Vicente Aleixandre

As I said before, Vicente Aleixandre was born in Seville, but raised in Málaga that also lies at the heart of much of his work. In his early teens he moved with his family to Madrid, where he studied law and business administration and began a career in economic law. His first book was published in 1928. Around the same time, Vicente Aleixandre started to befriend with Pedro Salinas, Federico García Lorca, Jorge Guillén, and other Spanish poets based in Madrid, resulting in the novel literary movement referred to as the Generation of '27. The legendary writers of the group tried to bridge the gap between folklore, classical literary tradition and avant-garde phenomena. The influential group of poets wasn't exclusively located in Madrid, but rather spread itself out in a geographical constellation which maintained links together. By the way, the first formal meeting of the group took place in Seville in 1927, and, not surprisingly, two of its most important nuclei were in Andalusia: in Seville, around the Mediodía review, and in Málaga, around the Litoral review.

Monument to the poets of the Generation of '27 in Puerta de Jerez, a square in Seville

Moreover, great thinkers, writers and poets are generally loved and respected by Andalusians. There are a lot of streets (calles) in Andalusia named in honour of them. For example, streets named after Vicente Aleixandre can be found no less than in 24 municipalities of the province of Seville, in 14 municipalities of the province of Granada, in 10 municipalities of the province of Córdoba, in 8 municipalities of the province of Málaga, and in 7 municipalities of those of Huelva, Cádiz, Almería and Jaén. At least! 
Vicente Aleixandre Square

Promenade of Vicente Aleixandre

Vicente Aleixandre was awarded the Nobel Prize for Literature in 1977, at the age of 79. At the time, his poetry was barely known outside of Spain. Some of his work was translated into English in Twenty Poems of Vicente Aleixandre (1977) and A Longing for the Light: Selected Poems of Vicente Aleixandre (1979). But, as a matter of fact, prior to 1977, Aleixandre's works available to English readers, including Vicente Aleixandre and Luis Cernuda: Selected Poems (1974) and The Cave of Night: Poems (1976), had received little notice.

I translated a couple of his poems for your information and inspiration, but as I found later there were already some interpretations available online, I won't use mine though.

SIN FE
WITHOUT FAITH
Tienes ojos oscuros.
Brillos allí que oscuridad prometen.
Ah, cuán cierta es tu noche,
cuán incierta mi duda.
Miro al fondo la luz, y creo a solas.
A solas pues que existes.
Existir es vivir con ciencia a ciegas.
Pues oscura te acercas
y en mis ojos más luces
siéntense sin mirar que en ellos brillen.
No brillan, pues supieron.
Saber es alentar con los ojos abiertos.
¿Dudar...? Quien duda existe. Sólo morir es ciencia.
You have dark eyes.
Gleams there that promise darkness.
Oh, how certain is your night,
how uncertain my doubt.
I see the light in the depths, and alone, I believe.
Alone then, you exist.
To exist is to live with knowledge blindly.
For you approach darkly
and in my eyes more lights
are felt without my observing that they are shining in them.
They do not shine, for they were aware.
Is awareness knowledge?
I do not know you and was aware.
To be aware is to breathe with open eyes.
To doubt …? One who doubts exists. Only death is knowledge.
Translated by J. M. Cohen (see the references)

AMANTE
LOVER
Lo que yo no quiero
es darte palabras de ensueño,
ni propagar imagen con mis labios
en tu frente, ni con mi beso.
La punta de tu dedo,
con tu uña rosa, para mi gesto
tomo, y, en el aire hecho,
te la devuelvo.
De tu almohada, la gracia y el hueco.
Y el calor de tus ojos, ajenos.
Y la luz de tus pechos
secretos.
Como la luna en primavera,
una ventana
nos da amarilla lumbre. Y un estrecho
latir
parece que refluye a ti de mí.
No es eso. No será. Tu sentido verdadero
me lo ha dado ya el resto,
el bonito secreto,
el graciosillo hoyuelo,
la linda comisura
y el mañanero
desperezo.
What I do not want
is to give you the words of day dreams,
not to spread the image with my lips
on your face, nor with my kiss.
I take the tip of your finger
with pink nail, for my gesture,
and, in this manner of airs,
I give it back to you.
From the grace and the lightsomeness of your pillow.
And the heat of your exotic eyes.
And the light of your secret
breasts.
Like the moon in the spring
a window
gives us yellow light, and a heart
beat
seems to flow back from you to me.
It’s not that. Nor will it be. Your true sense
has already given me the peace,
the beautiful secret,
the charming dimple,
the lovely corner of your mouth
and the weary
morning.
Translation (first draft) from the blog Spanish Poetry in Translation.