|
“Más allá del tiempo”. Dance: Andrés
Marín, Mercedes Ruiz, Leonor Leal. Cante: David Lagos, Londron,
Encarna Anillo. Guitar: Canito, Juan Requena. Bass: Juanmi Guzmán.
Acordeón: Rafael Álvarez. Clarinet: Javier Trigos.
Percussion: Javier Requena. Second part. Guitar: Tomatito. Dance:
Joselito Fernández. Cante: Potito. Violin: Bernardo Parrilla.
Bass and mandola: Diego Amador. Percussion: El Bandolero.
At seven o’clock on the twelfth day of the Festival
de Jerez we made our way to the Sala de la Compañía
to see the ballet of Mami and Hiro present ‘Sonekazi’.
The inclusion of this adaptation of a classic Japanese story reflects
the festival organizers’ goal to internationalize the offering.
It worked well as theater, and even better as dance, if not as flamenco.
At
the Villamarta there was a split program beginning with the company
of Andrés Marín. They’d already warned me about
the futurist tendencies of this young man, so I “knew”
I wasn’t going to like it. But when flamenco comes aknockin’,
trying to deny its presence is as futile as calling “flamenco”
that which is not. The unmistakable smell, the indescribable flavor,
quality cante and guitar, the compás that glues it all together
and draws us in – Marín’s dancing is the fresh
face of flamenco that others have sought without success.
No-nonsense dance, and an absolute
respect for the audience
The elegant composure that just barely conceals his extreme intensity
marvels and fascinates. The dancer exhibits surprising control and
technical domain, always strictly at the service of his cerebral
and very personal vision of flamenco. The history of male flamenco
dance distilled to a series of instantly recognizable movements
the dancer elevates to another plane making them seem new. He has
been criticized for lack of spontaneity and for being overly choreographed,
but that’s the fashion these days and this man revels in doing
it well. His no-nonsense dancing becomes a surrealistic statement
in the line of Israel Galván, but more accessible.
We are not punished with a plot, classic flamenco singing is used
as an embellishment and incongruous elements are incorporated with
almost impeccable taste…”almost”, because the jury
is still out on the accordion.
For those who couldn’t quite assimilate the somewhat robotic
aesthetic of Andrés Marín, Mercedes Ruiz contributed
a sensual curvilinear touch that contrasted with Marín’s
geometric forms. She appeared in blazing red, the first splash of
color, and her arm movement was enough to seduce the entire audience.
The show is enhanced by elegant and original sets, a lack of superficiality
and an absolute respect for the audience, something for which we
are profoundly grateful in this superficial age.
The fresh face of flamenco that
others have sought without success
After
intermission, the anticipation to see and hear Tomatito was palpable.
He is heir to the university (the word “school” falls
short) of Paco de Lucía with whom he played since adolescence,
and enjoys that same kind of international fame, independently of
flamenco.
He offered a program that practically traced his entire career,
from a splendid traditional solo of alegrías without backup
of any kind, moving on to taranta, a form always enriched by his
Levantine roots, and a series of less identifiable arrangements
until finally getting to the classic jam session with sextet including
lengthy percussion solos that were effusively applauded by some,
received with indifference by others in this diverse audience.
The recital was decorated with familiar faces such as those of
singer Potito, dancer Joselito Fernández and the multi-talented
Diego Amador.
Text : Estela
Zatania
|
|
Theater
Villamarta Program
De Peña
en Peña Program: Trasnoches,
De Peñas, Peña de Guardia
Other
shows(Gloria Pura, Bordón
y cuenta nueva, De la Frontera, Café Cantante, Sólos
en Compañía)
Courses
and workshops
