|
Compañíá Israel
Galván
“La Edad de Oro” (The Golden Age)
Thursday, June 15, 2006, 8:00 pm. Rodey Theatre. University of New
Mexico
Text: Mari Katsigianis
Israel Galván – Dance . Fernando Terremoto –
Cante. Alfredo Lagos – Guitarra
“The Golden Age” features the profound performance
style of Israel Galván, the cante puro of El Terremoto, and
the virtuoso guitar of Alfredo Lagos. These three come together
to create an homage to the golden age of flamenco.
Here, in this show, the combination of the old with the new works,
and works phenomenally well! Sr. Fernando Terremoto, a major force
in cante jondo came together with the innovative and often controversial
Galván to make a statement, and that statement was: “flamenco
like all other living organisms needs to evolve in order to survive.
The traditionalist will say this is not necessary and in the past
I would have agreed. But after seeing the cantaor, a master of “jipio”,
and the amazing guitarist Alfredo Lagos holding his own with the
dancer, I have to admit I was won over.
To hear Terremoto sing something as tender as “Your braids
are what hold me captive”, and furthermore, to see it coupled
with cutting-edge dancing, is like watching a rock video. His letras
were in the traditional vein and that only served to highlight Israel’s
“por direcho” straight to the brain dance-style. The
contrast succeeded.
You can see on Galván’s face the pure joy with which
he dances. His happiness was infectious, and I found myself walking
out of the auditorium on air, higher than a kite. This was my first
exposure to the Galván mode of dance. I was prepared not
to like it, but was instead delighted to be there! To imagine this
style – picture bees, ants, hummingbirds, sharks, eels, rabbits,
cats, in fact, ALL nature. Now go ahead and set their movements
to flamenco music.
Light, sound and silence…small sculptures,
moving and changing
Such a refreshing show, the diversity of the artists serving to
make each one distinct and memorable. It was also surprising to
discover how this reviewer (who considered herself a tradional “puro”-phile
) was able to engage her imagination AND satisfy her passion for
duende, the whole thing worked and worked well.
To discuss the politics of this show takes away from the description
of the kinesiology, used not full-throttle but added here and there,
complimenting the cante, working in tandem with the guitar, or soloing
for a very brief moment. Each of the pieces performed were like
small sculptures, moving and changing – their artistry ephemeral.
Enjoyable to see was how his body moved in unexpected ways and occupied
spaces other dancers could not. The over-arched back, the rapid
vocabulary of the hands, the facial expressions, each and every
one an important component of the presentation.
Guitarist Alfredo Lagos did his part to provide the tradional framework
in which the new style operated. His mastery of guitar is equal
to Terremoto’s voice – pure perfection!
The brilliance of Israel Galván’s production lies
in the understanding of when to dance and when not to, allowing
for these top-level artists to share the stage in equal measure.
Also allowed their moments, were light, sound and silence, each
applied as needed. If tradional productions can be compared to a
Leonardo da Vinci painting, imagine “La Edad de Oro”
is a Jackson Pollock.
Galván will be making appearances this summer in the States.
This is a dancer not to be described, but seen.
Compañía Manuela Carrasco
“Un Sorbito de lo Sublime”
Wednesday, June 14, 2006, 8:00 pm. Rodey Theatre, University of
New Mexico, Albuquerque
Text: Damaris Solis and Mari Katsigianis
Manuela Carrasco, Joaquin Amador, Rafael del Carmen, El Torombo,
Pedro Serra, Miguel Iglesias, El Extremeño, José Valencia,
Antonio Zuñiga, La Tobala, Samara Amador, y José Carrasco.
Starting with “Taranto”; from my vantage point
in the theatre, I had the sensation of secretly observing from my
balcony a private juerga in progress in the patio of a neighboring
gypsy family.
It’s as if they’d all been on a diaspora, traveling
separately to the farthest points of the earth and now returned
to home base for a much needed reunion. With that, they bring to
their collective table varied stories, flavors and accents gathered
from each personal sojourn.
Foto: Estela Zatania
Manuela Carrasco makes her entrance with taranto, walking in regally,
a true matriarch who surveys the faces of those present. This is
after all HER clan. Once she’s established that they’re
well, she delves deeper to notice subtle changes in their personalities,
assessing where they are in particular stages of their life. Has
the family name, (in fact, her reputation) been compromised?
She must make a decision. As she slowly turns, in measured steps
she lifts her face upward in a profile which renders open the heavens.
Using only her feet, she shakes the family out of their complacency,
reminding them who it is that ultimately sets the tone.
Oblivious to others’ reactions, Enrique El Extremeño
begins to sing only to her, interceding perhaps for the children,
and begging on their behalf for mercy. Her answer is to perform
the taranto in a stoic and noble manner. As he entreats her with
cante Manuela pivots to face him, dropping her head and shoulders
in a surprising act of assent. Her final compromise: placing one
hand upon his shoulder.
She exits. The crowd roars.
The next act featured La Tobala and Samara Amador sitting together
facing off one another in a dialogue of cante. Here La Tobala is
a sweet and light foil to Samara who’s husky alto/contralto
voice is reminiscent of a younger Remedios Amaya with a touch of
Tia Juana la del Pipa. Amazing to see is the face of Samara, a perfect
copy of her mother, Manuela. She sings the way her mother dances…
“de las entrañas (literally translated: from the gut).
A profile which renders open the heavens…
the impending torrent to come
With “ Sorbito de lo Sublime” the company diverted
from the printed program by offering a more spontaneous presentation.
Here, Rafael del Carmen lived up to his reputation of unpredictability
and unorthodox execution (which I am sure, makes the more pedantic
flamenco academics cringe). In fact he has a gift for interfacing
directly with the audience, smiling, clowning, and yet still remaining
“on the stage”. Just when I thought he’d pushed
the envelope a little too far (risking personal injury had he persevered
in that direction), he quickly leapt airborne in the commission
of an acrobatic vuelta.
As for the cante that night, El Extremeño set the pace,
using his voice as direction for José Valencia to follow.
And follow he did, taking orders to carry the mission, along with
the other singers to it's ultimate destination.
Dancer El Torombo with his distinctive style – a frenetic
energy to say the least – caused the dust to rise from the
stage (a result of intense taconeo). Very different in presentation
from Rafael Del Carmen, he complemented the ensemble with his one-of-a-kind
talent. That talent can be best defined as flying hair, clothing,
arms, and legs in a whirlwind of athletics that would be quite at
home in a Cirque du Soleil production. Needless to say he caused
the audience to gasp collectively.
Rather than chronicle each and every number or artist, I instead
choose to focus on the “sublime”, (since it’s
a given that anything this company does is quite extraordinary).
What is apparent is that the most excellent Manuela Carrasco chooses
to surround herself with excellence in her selection of company
members (unlike some stars who opt for more ordinary accompaniment.)
”Solea” is her signature dance known worldwide. She
embodies onstage, “La Capitana”, accomplishing more
with the shrug of a shoulder or a piercing glance than any of her
contemporaries. There is no need here to “state the obvious”
with superfluous choreography. She utilizes, subtle touches such
as the lifting of her skirt, elevated with dignity, prior to commencing
a killer footwork phrasing. This illustrates her artistic vision,
signaling to the lead guitarist the impending torrent to come. And
only a guitarist of Juaquin Amador’s caliber can successfully
carry off her imperative. He has great courage coupled with genius,
and his confidence to shine is mirrored in hers.
When you experience a virtuoso performance, you’re also attending
a master class. How fortunate for those attending this show to see
so many of these masters in one place, one show, and at one time.
Rafael Campallo y Compañía
June 15, 2006, 8:00 pm. Rodey Theatre – University of New
Mexico Campus
Baile: Rafael Campallo & Adela Campallo. Cante: Juan José
Amador y José Valencia. Guitarra: Juan A. Campallo &
Mariano Campallo. Percusion: Jose Carrasco
It’s clear Rafael Campallo has been gleaning from extremely
rich fields. He’s added a new depth to his dance persona,
yet retains his youthful playfulness and exuberance filtered through
flawless technique. He possesses the ability to manipulate a compas
within the measure, switching effortlessly from fugue to molto legato
with whatever body part he chooses.
«Granaina»: The bata de cola has been, at least in the
U.S., “let go” as of late. The mere fact that Adela
Campallo has brought in the bata de cola so well-executed in this
Granainas, illustrates the way it is meant to be used. Due to the
heaviness of the material and skirt length, it is impossible to
come on stage in a furious choreography of taconeo. Her stately
grace, coupled with steel-chain-in-a-velvet-glove delivery demonstrated
controlled intensity. Adela’s arms and wrists entwined over
and over to create the illusion of tightening a noose around the
neck of despair, a quiet rebellion sustained only by her artistic
will. Her bata was an extension of her body, resembling a palm tree
caught in a cyclone, bending but refusing to break.
The «Tangos» performed that night is a perfect example
of the Campallo style. It is distinct in their use of combining
hyper-speed motion with the ability to stop within the blink of
an eye that is attributable only to the supernatural. One thinks
one is seeing computer animation, because what human is capable
of this execution? They are traditional and at the same time cutting-edge.
Not many can pull that off without the risking of looking presumptious.
Their dancing is balanced, grounded and intelligently magical. The
highlight of the tango came when both dancers slowed down and speeded
up as if some unforeseen and remote force acted as a puppeteer,
their every move a picture, whether in time or out of time, but
ALWAYS in compas.
Attributable only to the supernatural…what
human is capable of this execution?
In the «Martinete/Seguidilla», the singer accompanying
Rafael evoked a religious, otherworldly atmosphere that breathed
life into these ancient palos. He dove into the true nature of this
palo, pathos which was hauntingly painful to hear, but you couldn’t
bear to look away. What I experienced was reminiscent of a caliph,
his two hands curved slicing swords dissecting right and left as
if attacking invisible adversaries, on a mission to deliver his
cante to Raphael. Lighting and sound complimented the piece in that
there were both dark and light places so that the eye was forcibly
drawn to the cante and the guitar. Most compelling was Rafael Campallo
standing motionless under a single spotlight with his arms behind
his back as if held prisoner by the letra. Then he began…
In «Alegrias» Adela Campallo, a lesser-known but nonetheless
top-echelon performer, caught the audience off-guard. She, like
an underwater volcano newly discovered, erupted smoke, fire and
metal-melting lava skyward — an inverted meteor. The most striking
aspect of this number was the way she not-too-delicately hiked up
her dress in a defiant challenging of patriarchal control, letting
rip her virtuoso footwork which was well-thought out conversation
received very well by the local flamenco community who are looking
for high standards.
The Fin de Fiesta was run, not by the dancers, but by the musicians
as Rafael was relegated to the role of bulerias on the guitar for
the rest of the musicians.
|