A third important figure was the Basque painter Ignácio Zuloaga. Lorca worked to publicize the event by giving oral presentations and publishing essays about the Flamenco arts. At twenty-three, Lorca became an activist in popularizing the Concurso, second only to Falla. Included among them was the young poet Federico García Lorca. In order to find colleagues to help sponsor and promote the Concurso, Falla gathered together an impressive group of musicians and artists. Thus Falla aimed for an audience encompassing not only flamenco circles, but also to influence the musical world and culture. Enlisting the cooperation of Spanish intellectuals was considered crucial, to counteract the antiflamenquismo of the generación del '98 these reformers had condemned the flamenco arts as frivolous and regressive in their sweeping effort to modernize and transform Spain. It was music Falla had spent years studying, having grown up with it, hearing it directly from Gitano friends, cantaores and tocaores. The gaditano Falla recognized in flamenco a musical art form of great value. The Spanish classical composer Manuel de Falla (1876–1946), an Andalusian, was the principal organizer of the Concurso he sought to encourage and enhance the performance of flamenco, which had fallen into a period of decadence.
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