Text: Silvia Cruz Lapeña
Photos: David Mudarra -Suma Flamenca
Guitar: Javier Ibañez Juan J. Alba
Guest artists, cante: Anabel Rivera, Sandra Zarzana, May Fernandez
Instructions for seeing «Guerrero»
Imagine:
That sculptor Michaelangelo had been a flamenco fan, and his Pietá, the virgin embracing her dead son, was not imitating movement, but actually moving. And instead of white marble, she was dressed in black lace.
Be aware:
That the dancer who interprets the man is from Cádiz, has a good head on his shoulders, knows the lesson by heart and only needs to persist to end up on top.
Visualize:
His trim body, long flexible arms and legs, infinite and perfect for dance. Add a face that is ideal for flamenco.
Take note:
That this dancer has the best turns in flamenco dance today. His dancing is meticulous, he dominates speed but enjoys silence and moves his arms better than any other male dancer in the profession.
Listen:
The story he tells is that of a man surrounded by women, women he loves and who join his struggle, which is life itself, of being a warrior.
Remember:
The flamenco in this narrative is not completely contemporary, nor is it static, it's full of references and has a feeling that will soon be his personal identification.
Dream:
That three beautiful women with gut-wrenching voices sing to the handsome man, and they are all his lover, mother and sister at the same time.
Fantasize:
That he falls in love with them, and that he covers them with his body and his shadow. And that he does it just as well to malagueñas, fandangos, verdiales and polo.
Cry:
When you see one of them, Sandra Zarzana, sing a nana to the man-boy while he creates truths with his fingers and hands. He does this dancing slow and lyrically, while they both pull on a rope that joins them and is the color of blood.
Fear:
The moment May Fernández appears, breaks the rope and the child becomes a man to the sound of bulería por soleá sung and danced in such a way, that it will get you right in the gut.
Tremble:
When you see Anabel Rivera sing to the man. Tangos or zambra, and whatever else is required. Tremble when you hear her, along with her colleagues, singing alegrías or recalling songs of Adela la Chaqueta while the man moves away from dance to become very flamenco. Tremble with Anabel, tremble because she's that powerful.
Hope:
That Eduardo is never short of venues to develop his vision of flamenco, which is neither dancerly, nor in the middle of nowhere. Hope for it because his work is demanding. Hope for it because he can do it better. And to say better, is the utmost, because what he presents in «Guerrero» is a magnificent creation.
Be sure:
To go see «Guerrero» as soon as possible.
And don't worry if at the end, you note a certain tightness in your chest: it's simply your heart learning another language.
