Maria del Mar Moreno Compañía 'Jerez puro, esencia'

Ma.del Mar Moreno Compañía
“Jerez puro, esencia”

Text: Estela Zatania
Photos: Ana Palma

Dance: Ma. Del Mar Moreno, Juan Ogalla, Luisa de Terremoto. Cante: Antonio Malena, Manuel de Malena, Luis de Pacote, Juanilloro, Macarena Moneo, Rosario Soto. Guitar: Santiago Moreno, Domingo Rubichi. Palmas: Luis de la Tota

“Essential, distilled, impeccable, genuine, uncontaminated, indispensable, untainted, natural, legitimate, authentic, truthful”.   These are the synonyms the dictionary gives for “pure”.  And “pure flamenco”, a phrase which gets a lot of bad press nowadays, can be all those things…or none of them, depending on each individual’s criteria.  In María del Mar’s show “Jerez Puro, Esencia”, presented at the Joaquín Turina Theater within the series of “Jueves Flamencos” sponsored by Cajasol, the dancer gives her Jerez-style version of purity.
 
Flamenco is taken very seriously in Jerez, and the search for the Holy Grail of purity is a permanent pastime, even when the goalposts are constantly shifting.  María del Mar defines her purity with the help of representatives of some of the most respected flamenco families of Jerez, such as the Malenas, Moneos, Rubichis, Sotos, Carpios and Terremotos.  Although it’s not the most famous members of these families, the purity and essence the dancer seeks is in them, and the group effort manages to produce an accurate image of Jerez flamenco.  The very first number, after a symbolic presentation where María del Mar herself sings a siguiriya without guitar, is a bulería fiesta “finale”.

“Doing what they have always done, and without being superstars, doing it with dignity, dedication and love”

The malagueña of Mellizo sung by Manuel Malena accompanied on the guitar by Domingo Rubichi, is followed by Antonio Malena’s tonás to prologue María del Mar’s dance of siguiriyas, in which she exhibits the characteristic intensity that contrasts with the Seville concept, not only of dance – the famous “escuela sevillana” – but also of cante.  In fact, the Seville audience doesn’t seem quite prepared for such an outpouring of energy, and doesn’t respond until the end.

Cádiz dancer Juan Ogalla interprets soleá por bulería with a long heelwork section, and all the technique and strength he is known for.  Antonio Malena sings for Luisa Terremoto’s home-style dancing, and María returns in a flaming red dress for a soleá that ends when the dancer crumbles a clump of the white “albariza” dirt that produces the famous wines of Jerez; everything is symbolism and tradition.

“Jerez Puro, Esencia” is not a “work” in today’s sense of the word.  Aside from the constant geographic message, there is neither a script nor theatrical coherence.  Just straightforward cante, dance and guitar by a group of people doing what they have always done, and without being superstars, doing it with dignity, dedication and love.  I haven’t got enough fingers and toes to count all the costly pretentious works I’ve been subjected to in recent years in the name of “flamenco”, so kudos to María del Mar for having cooked up this discreet but entertaining and sincere presentation.