{"id":10154,"date":"2021-09-14T10:27:30","date_gmt":"2021-09-14T10:27:30","guid":{"rendered":"https:\/\/www.universolorca.com\/personaje\/ceron-rubio-miguel\/"},"modified":"2021-10-22T09:36:07","modified_gmt":"2021-10-22T09:36:07","slug":"ceron-rubio-miguel","status":"publish","type":"personaje","link":"https:\/\/www.universolorca.com\/en\/personaje\/ceron-rubio-miguel\/","title":{"rendered":"Cer\u00f3n Rubio, Miguel"},"content":{"rendered":"
\"Caricature<\/a>
Caricature drawn by Antonio L\u00f3pez Sancho showing 31 characters linked to the Flamenco Song Contest. Miguel Cer\u00f3n appears in profile in the upper right corner, with mustache and mole on his cheek \/ Photo: Centro Art\u00edstico de Granada<\/figcaption><\/figure>\n

A contemporary and friend of Federico Garc\u00eda Lorca, member of the El Rinconcillo tertulia and organizer, along with Manuel de Falla<\/a> and Lorca himself, of the Flamenco Song Contest<\/a> in 1922.<\/p>\n

He lived in the Granada of the early twentieth century, in the Paseo de la Bomba, near Fernando de los R\u00edos<\/a>. A cultured man, fond of drawing and a great music lover, he liked sports and participated in some of the excursions that his friends, including Manuel de Falla, organized to the Sierra Nevada. He was a contemporary of Andr\u00e9s Segovia, Federico Garc\u00eda Lorca, Manuel \u00c1ngeles Ortiz<\/a> and Hermenegildo Lanz<\/a>. He met Federico at the Centro Art\u00edstico<\/a>, when he was very young, while playing a page of Debussy on the piano. He was part of the tertulia of El Rinconcillo, in the Caf\u00e9 Alameda<\/a>, where he met up with most of the artists and intellectuals of Granada at the time.<\/p>\n

The last time Cer\u00f3n and Federico met was in Granada in July 1936, in Plaza del Campillo. They met by chance and stopped to talk. Some girls approached them to ask them to collaborate for the International Red Aid. According to Cer\u00f3n, Lorca agreed and jokingly proposed to go to Russia.<\/p><\/blockquote>\n

Miguel Cer\u00f3n was a generous person. He helped a very young Andr\u00e9s Segovia, seduced by a performance of the Madrid Symphony Orchestra at the Palacio de Carlos V, to get hold of a medium quality guitar at Benito Ferrer’s house. Andr\u00e9s had to hide the instrument so that his aunt and uncle, with whom he lived, would not discover it. Cer\u00f3n also played a prominent role in the publication of Federico Garc\u00eda Lorca’s first book. His father, don Federico Garc\u00eda Rodr\u00edguez<\/a>, before paying for the editing of Impressions and Landscapes<\/em><\/a>, decided to ask several people if the book was really worth publishing. He feared that his son was going to make a fool of himself. He consulted Luis Seco de Lucena, editor of El Defensor de Granada<\/em>, Andr\u00e9s Segovia and Miguel Cer\u00f3n. All three were of the opinion that it should be published, that Lorca undoubtedly had a future as a writer, and Don Federico paid for the editing of this collection of travel prose, which was printed in April 1918 at the Paulino Ventura Traveset<\/a> Printing and Lithography house, with a cover by Ismael Gonz\u00e1lez de la Serna<\/a>.<\/p>\n

Cer\u00f3n witnessed the young Lorca’s inclinations for the theater. One day, in a viewpoint of the Generalife<\/a>, after a tribute to Fernando de los R\u00edos, Federico recited in private for Gregorio Mart\u00ednez Sierra<\/a> and Catalina B\u00e1rcena<\/a> (who were to perform at the Isabel la Cat\u00f3lica Theater) a poem (now lost) about a wounded butterfly that falls in love with a cockroach. It moved them so much, according to Cer\u00f3n, that they asked him for a theatrical piece and promised to premiere it at the Eslava Theater. This was the origin of The Butterfly\u2019s Evil Spell<\/em><\/a>, a title suggested by Mart\u00ednez Sierra.<\/p>\n

In 1922, Miguel Cer\u00f3n, Manuel de Falla and Federico Garc\u00eda Lorca were the promoters of the Flamenco Song Contest organized in Granada. They involved the Centro Art\u00edstico and the City Hall. The date coincided with the Corpus Christi festivities, in June, in the Plaza de los Aljibes<\/a>. The success was resounding. The activity responded to the concern of its three promoters to revitalize this traditional Andalusian song and give it a prestige it lacked.<\/p>\n

\"Organizers<\/a>
Organizers of the Flamenco Song Contest. Miguel Cer\u00f3n is first from the left.<\/figcaption><\/figure>\n

In 1924, Miguel Cer\u00f3n was part of the group that accompanied Juan Ram\u00f3n Jim\u00e9nez<\/a> and Zenobia Camprub\u00ed<\/a> during their visit to Granada. Both the Lorca family and friends (the family of Fernando los R\u00edos, Emilia Llanos<\/a>, Miguel Cer\u00f3n, Falla and his sister<\/a>…) did their best to attend to the poet and his wife. This trip gave rise to Juan Ram\u00f3n Jim\u00e9nez’s book Oblivion of Granada<\/em>, which contains letters, anecdotes, memories and poems inspired by the city and which appeared posthumously.<\/p>\n

Lorca’s father, before paying for the editing of his first book, ‘Impressions and Landscapes’<\/em>, decided to ask several people if it was really worth publishing. One of them was Miguel Cer\u00f3n, who corroborated Federico’s talent.<\/p><\/blockquote>\n

Miguel Cer\u00f3n was the one who read to Federico, in an improvised translation, the work of the Irishman John Milllington Synge, Riders to the Sea<\/em>, which probably influenced the conception of Blood Wedding<\/em><\/a>.<\/p>\n

The last time Cer\u00f3n and Federico met was in Granada in July 1936, in the Plaza del Campillo. They met by chance and stopped to talk. Some girls approached them to ask them to collaborate for the International Red Aid. Lorca agreed, according to Cer\u00f3n, and jokingly proposed to go to Russia.<\/p>\n

Miguel Cer\u00f3n Rubio has not left any written work, but his oral testimonies have been collected by several researchers and scholars of Lorca’s work: Agust\u00edn Pen\u00f3n<\/a>, Manuel Orozco D\u00edaz (a friend of his) and Ian Gibson. Cer\u00f3n’s portrait of Federico Garc\u00eda Lorca and himself as a testimony of friendship appears in Manuel Orozco D\u00edaz’s book Figures in Lorca\u2019s Granada<\/em>, and in Marta Osorio’s book<\/a>, Fear, Forgetfulness and Fantasy<\/em>. Agust\u00edn Pen\u00f3n was able to see and interview him at his home and his words are reproduced in the books cited.<\/p>\n

Miguel died in Granada in 1981.<\/p>\n","protected":false},"excerpt":{"rendered":"

A contemporary and friend of Federico Garc\u00eda Lorca, member of the El Rinconcillo tertulia and organizer, along with Manuel de Falla and Lorca himself, of the Flamenco Song Contest in […]<\/p>\n","protected":false},"featured_media":0,"template":"","agrupacion":[139,126],"class_list":["post-10154","personaje","type-personaje","status-publish","hentry","agrupacion-rinconcillistas-and-gallo-journal","agrupacion-friends"],"_links":{"self":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/personaje\/10154"}],"collection":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/personaje"}],"about":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/types\/personaje"}],"wp:attachment":[{"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/media?parent=10154"}],"wp:term":[{"taxonomy":"agrupacion","embeddable":true,"href":"https:\/\/www.universolorca.com\/en\/wp-json\/wp\/v2\/agrupacion?post=10154"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}