Alicia Morales spent more than three years researching singer El Mochuelo, whose early recordings and influence she says have been underestimated. Her project, Honores a El Mochuelo, comes to the Sala Negra at the Teatros del Canal on 22 October. The festival programme lists the premiere as Honores a Antonio “El Mochuelo”. Morales wrote and performs the work, accompanied by Jerez guitarist José Quevedo “Bolita”.
Morales is part of a growing group of flamenco artists drawing on their own authority to add to the art form’s history. Even as a promotional strategy, parity in music programmes has lost its force. The Netherlands hosts the only impressive flamenco festival directed by a woman: Ernestina Van der Noort organises it.
The 21st Suma Flamenca runs from 13 October to 1 November 2026, with 47 galas and 33 absolute premieres. Its theme, Flamencas, honours women’s role in cante jondo, while Carmen Amaya is the edition’s visual symbol. Carmen Linares and Rocío Molina are on the programme, alongside Aurora Vargas and Mercedes Ruiz. Patricia Guerrero appears with Argentina. Lucía la Piñona and Sandra Carrasco will perform, as will Morales. The male performers include Israel Galván, Farruquito and Jesús Carmona.
The research comes alive onstage.
Trinidad Jiménez performs at Suma Flamenca on 18 October at the Pilar Miró cultural centre. She plays the bass flute, which she introduced to flamenco when the transverse flute was the norm. Her project, Raíz Sureste 2026, explores sounds from Almería and Granada, along with material from Málaga. Singer and percussionist Desirée Paredes joins the ensemble. Julián Olivares plays guitar and tres cubano. Juanfe Pérez handles bass and percussion, while Nasrin Rahmani plays percussion.
Jiménez’s research uncovered a family connection: her grandmother was a skilled dancer of “robaos”, a little-known style related to verdial. Jiménez also argues for a history of flamenco that credits contributors beyond its stars. Her work includes a doctoral thesis on Jorge Pardo.
Morales’s research centres on a male singer. She says El Mochuelo recorded more than anyone else in flamenco history, then died poor and on the street. Her study draws on recordings held by music archaeologist Carlos Martín Ballester. Morales has also brought forward a style of guajira associated with El Mochuelo, distinct from the tonalities promoted by Antonio Mairena. The festival presents her project as a tribute to the singer known as the “king of the farruca”.
That work follows a shift associated with Carmen Linares. Her Antología de la mujer en el cante challenged a history that had placed women closer to melodic styles than to cante jondo. Linares chose the singers for the anthology herself, using her artistic standing to revise the canon. She is due to perform it at Suma Flamenca on 27 October, three decades after the album’s release. Linares is also one of the central women artists in the festival’s 2026 programme.
Other artists are carrying the work forward. Mayte Martín is recognised for her knowledge and distinctive artistic and ethical approach. Rocío Márquez combines research with singing and has expanded flamenco through its margins. Sandra Carrasco has worked on Recordando a Marchena. Laura Marchal’s project is La semilla del encanto, while Ana Brenes has created Mientras camino.
Many of these artists have financed their own projects. Jiménez teaches at Universidad Alfonso X El Sabio and performs for other artists. Morales previously took on extensive work to save money for her project. They say they would make the same choice again, but want more festivals such as Suma Flamenca to give them space. They still describe their cultural contributions as a “madness” or a “whim”.
