Ellas al toque: ausencias y roles de género en el contexto guitarrístico del Concurso de Cante Jondo de 1922

Abstract

This article deals with the presence of women in the flamenco guitar territory during the first third of the 20th century and their absence in the 1922 Concurso de Cante Jondo. To do so, we will show how numerous female flamenco singers accompanied themselves on the guitar and played for other important flamenco singers. Specifically, we will draw a map of women guitarists who in the years before and after the 1922 Contest had a notable guitar activity, although not historiographically recognised or represented in the programme of the Contest, such as Tía Marina Habichuela in the context of the city of Granada, Aniya la de Ronda in the mountains of Malaga or the Borrull sisters in Barcelona. We will also analyse the possible reasons why the flamenco guitar has been an eminently male territory in subsequent decades and what happened in the context of the 1922 Granada Flamenco Singing Competition in terms of guitar and gender.