Not a lot has been said in recent times about the garrotín but at Teatro Flamenco Sevilla we are rediscovering this once world-famous flamenco style in Passion, the most popular, daily, live flamenco show in Seville, and exploring its Asturian heritage and its evolution within flamenco culture. It’s a flamenco style that combines a fascinating mix of regional and cultural influences, such as the lively rhythm reminiscent of the tangos, but with its own flavour and characteristics. 

Garrotín: flamenco show origins

As in the case of many of the flamenco styles, the origins of the garrotín is somewhat uncertain and shrouded in mystery. It is thought to have come from the Asturian dance la garrotiada, although musically, the garrotín has more similarities to the Journey Tangos (Tangos de Camino) from Granada than to northern Spanish folklore. This leads us to think that, although its roots can be traced to Asturias, its true essence was forged in the cultural melting pot of Andalusia, where it was adopted and transformed into what we know today.

The garrotín became famous in Madrid in 1905 when Faíco, a skilled, visionary flamenco dancer from Seville, introduced it in a new flamenco show accompanied by the legendary flamenco guitarist, Ramón Montoya. Faíco and Montoya created a new version of the garrotín, mixing the Asturian tradition with flamenco rhythms, which they performed in flamenco shows in cafés and theatres all over Spain, where it quickly became popular. 

Garrotín: flamenco singing

The flamenco singing style of the garrotín is characterised by its binary rhythm, which it has in common with other flamenco styles, such as the tanguillo, tango and rumba. This quick, lively rhythm is a festive style of music, full of energy and happiness, which has a similar structure to the farruca but maintains a unique identity. At the end of the 20th century, flamenco singers such as Manuel Torres and La Niña de los Peines began to add more flamenco to the garrotín, adapting it to the traditions of pure flamenco without losing its original essence. 

The garrotín is made up of octosyllabic four-line stanzas and is characterised by its playful, humoristic tone. Often the singing ends with a refrain, brief phrases that reinforce the lighthearted, playful spirit of the garrotín. Although originally it was performed in the key of D, which gave it a unique sound within flamenco, today the garrotín is sung in a variety of different keys, depending on the style and performance of each artist. 

Garrotín: flamenco dancing

The garrotín flamenco dance is a fascinating aspect of this flamenco style. Its evolution is a testimony to how flamenco has been able to adapt itself and transform itself over the years. Faíco, with his innovative interpretation, established the garrotín as we know it today. Initially it was a dance performed exclusively by men, but over time, it has become a female flamenco dance. 

One of the most characteristic elements of the garrotín is the use of the Cordobes-style hat, which the dancer uses as part of his or her performance, adding a touch of flirtatious fun. The garrotín dance is dynamic and joyful, with movements that reflect the cheeky playfulness of the lyrics. The garrotín lasts about eight minutes which is plenty of time for the flamenco dancer to show off his or her skill and unique style. 

Garrotín: flamenco artists

The garrotín has been performed by some of the greatest flamenco artists, many of whom have left their mark on this flamenco style. Pastora Pavón, better known as La Niña de los Peines, was one of the first flamenco singers to popularise the garrotín in flamenco shows. Taking as her inspiration the Asturian versions, Pastora transformed the garrotín into a festive, tango-style flamenco song which captivated flamenco fans for its freshness and originality. 

Another important figure in the history of the garrotín is Carmen Amaya, the revolutionary flamenco dancer who took this style to the heights of flamenco and included it in flamenco shows all over the world. Known for her passion and energy, Carmen Amaya took the garrotín to America, performing in cities such as New York, where her talent was praised by well-known personalities such as Charlie Chaplin and Orson Welles. Her contribution to the garrotín, and flamenco in general, is immense as she not only preserved this style, she also expanded it and adapted it to new audiences.  

Garrotín: the resurgence

After two decades of splendour in the 20th century, the garrotín was relegated to relative obscurity and was infrequently performed. However, from the 1960s it began to make a comeback, occupying a place in the flamenco shows of many contemporary flamenco artists. 

At the present time, the garrotín is still a vibrant, festive flamenco style, which preserves its essence while adapting to modern times. This renaissance has been boosted by flamenco artists that, in the same way as Faico and Pastora Pavón, have seen the way that the garrotín can be used to express the joy and creativity characteristic of flamenco.

If you are enthusiastic to enjoy more flamenco and discover the magic of the garrotín and other flamenco styles, come and visit us at Teatro Flamenco Sevilla in the heart of Seville. Here you can enjoy a unique, unforgettable flamenco show, where every day you can feel the passion and force of our cast members. Book your flamenco tickets now, don’t miss the opportunity to experience the magic of flamenco in Passion, most popular daily live flamenco show in Seville. We look forward to welcoming you.