Museu Picasso 31 May / 19.00 h.

José Luis Ortiz Nuevo

Historian and flamenco-style comedian

Fragments or Ephemeral Musical Consolation, Flamenco Situations for the Sake of Money, chosen, staged and voiced by José Luis Ortiz Nuevo

Thirteen situations in which the lives of Flamenco and Money intersect. Excerpts from the lives of artists related to monetary matters, chronicles of poverty and songs about the bloody dough, by way of a monologue, naked and sentimental.

1.The leverage of complaint.- Jingles
2.The dodge at Fuente Amarga according to Pericón de Cádiz
3.Once upon a time in Seville at the end of the uproar
4.Affection, version Carrete
5.It happened in 1892: tales of hunger
6.The labour crises in Andalusia, 1907
7.Food for the rest of your life, they said to Borrico de Jerez
8.Ephemeral musical consolation
9.I haven’t got even a tin of biscuits left! Segunda by Juan Martínez
10. From the bottom of the mine
11. For the sake of twenty cents, a story by Pepe el de la Matrona
12. The way the world is
13. Funny tragic epilogue: The Tango of the Peseta

Museu Picasso
Centre de Coneixement i Recerca del Museu
Plaça Sabartés, 1. 08003 Barcelona

El Dorado 31 May / 20.00 h.

Niño de Elche, artist

The lumpenproletariat loop

In Lumpen, marginación y jerigonza (Lumpen, Marginalisation and Slang) Alfonso Sastre discusses the many Basque loanwords found in Caló, the secret language of the Gypsies. In fact, the mysterious rapport between Carmen and Don Jose comes after the gypsy woman uses a few words in Basque to address the soldier: laguna, ene bihotzarena (companion of my heart). It was logical that a language so different from Spanish would provide the tools for the slang speech of a social class that needed secrecy to survive. In this digression on Basque and Caló, the latent political issue of the problem of stateless languages has intimations relevant to Agamben’s observations on the text by Becker-Ho. The fact is that the region that creates these jargons is essential for understanding the interest of the Situationists and other modern experimentalists in the gypsies. And there is also the matter of the oft-recurring importance of foreign languages for the creation of the new – foreigners in the Paris of the avant-garde, Kafka and Beckett, for example. It’s not just a question of foreign languages, it is a question of retaining the foreignness of all language. “If vernacular languages are the slangs that embody the pure experience of language, just as the peoples are the more or less successful masks of the factum pluralitatis, our task cannot consist, then, in constructing grammars from these slangs nor the recodification of peoples by ascribing them state identities; on the contrary it is only by breaking at some point the chain of existence linking languages, grammars (language), peoples and states that thought and praxis will be equal to the times we live in. The forms of this interruption, during which the factum of language and the factum of community emerge into the light for a moment, are multiple and vary according to the times and circumstances: reactivation of a jargon, trobar clus, pure language, minority use of a grammatical language...” Agamben concludes. It is clear that without bohemian life – literally gypsy life –aesthetic modernity cannot be understood. It is worth recalling Marx’s definitions of the lumpenproletariat in the 18th Brumaire of Louis Bonaparte, where he refers to “ruined libertines, discharged jailbirds, vagabonds, pimps, brothel keepers, literati, organ grinders, gamblers, escaped galley slaves, swindlers, pickpockets and thieves, tumblers, rag pickers, knife grinders, tinkers and beggars, in short, all that formless, disperse and wandering mass which the French call la bohème”.

El Dorado
c/ Buenaventura Muñoz, 21
08018 Barcelona
Tel. 93 309 29 67