No. 7 (2012): Diciembre

The new number of La Madrugá brings with it a few most interesting and varied works on this art increasingly in strength that is the Flamenco.

The teacher and guitarist Carlos Piñana attacks an analysis of the accompaniment of the cantes de las minas (sing of de mines), opposing the traditional toque represented by his father Antonio Piñana, to his own offers replete with new sonorities.

Balbino Gutiérrez, one of the principal experts of Enrique Morente, realizes an approximation to the work of the brilliant from Granada flamenco singer, for whom the freedom and the creativity were always a stamp of his artistic personality.

The journalist, teacher and investigator Antonio Parra proposes an analysis of the flamenco dancing from the perspective of the theories of the communication and, particularly, of those born in the school of Palo Alto.

The guitarist, teacher and investigator Norberto Torres invites us to a historical tour across the principal figures of the toque native of Jerez de la Frontera, from mythical names as the maestro Patiño and Paco el Barbero up to Moraíto Chico.

Raquel Cantero, a young flamenco singer from Extremadura, brings us over to a type of popular saeta (arrow) that was in vogue up to the 19th century in Murcia, the "saeta de pasión".

Rubén Gutiérrez Mate offers us the fruits of his labor of investigation and emptying press to know to develop of the flamenco into Tetúan, in the Spanish Protectorate into Morocco.

Francisco Julio Giménez narrates his didactic experiences with the Flamenco and about the project "Flamencas" that has allowed to his pupils to know closely some of the women of major relevancy in this art.

Finally, Cristina Marinero realizes a meticulous analysis of the dance that Carmen Amaya led in Francisco Elías's mythical movie "Maria de la O".