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The dancer: "Today, dancers have a lot more training, but sometimes
not as much personality or feeling"
Manolo Marín (Photo: Daniel Muñoz)
Your work with María Pagés contrasts two different styles...
In the end, it's all flamenco, but things evolve. Flamenco dance has come a
long way. I'm in favor of evolution, but up to a certain point. Some people know
how to create fusion, and others do it just because it's fashionable, or for whatever
reason. María's not like that. She's from Seville, she's studied with me,
and her dance is always flamenco, even if she explores other kinds of music. The
music might offer something new, but the style of this company is flamenco. I
suppose I represent the past. Aside from my appearance and my stamina, this is
probably most apparent in the fact that what I really like is dance with personality
and essence, and less emphasis on technique. I think that the virtuosity and strength
that you lose with time is compensated by the intensity and focus of style that
you gain. Knowing how to make your dance work comes from experience and teaching.
When you teach, you learn, too. It depends on your build, on your temperament,
on everything.
| "In flamenco dance, the heart is more important than the
head" |
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How do you think that flamenco dance can evolve without losing its essence?
I think it's possible, because you can look for new forms, but you shouldn't
forget things like the roots of the art or putting emotion into what you do. Technique
is absolutely necessary, but I think that in flamenco dance, the heart is more
important than the head. The worst thing that could happen would be if artists
stopped dancing with feeling. Young people today are more prepared because they
have more means at their disposal, not the way things were back in my time, when
you had everything going against you. Nobody could afford academy lessons back
then. Today, dancers have a lot more training, but sometimes not as much personality
or feeling.
What differences do you see between male and female dancing?
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Foto:Daniel Muñoz
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The differences between the two are disappearing. I never did like the limitations
placed on either form; it always seemed exaggerated to me. But men and women do
dance differently, just as they do other things differently. Women walk and move
differently from men, and that difference should be present. Very few women pay
attention to the details in the arms and the body, and it's something that's important
for male dancers, as well. The way a dancer dresses or wears his or her hair is
not so important any more. Dancers don't seem to worry about those things these
days.
Everything depends on your build and temperament. A tall man shouldn't dance
the same way as a short man. A smaller person can dance more energetically, more
dynamically. But a taller person has to dance in a tighter, more stately manner,
because, otherwise, it wouldn't look right. Some limitations are inevitable. People
used to think that men had to act like powerful machines, ripping the stage apart,
and that women had the artistic qualities. I think that's a bunch of nonsense.
Men can be artistic, and can even move their hands without looking effeminate.
Women have copied a lot from male dancing, not only in the footwork, but other
things, like the hips. They've learned from men, and have added things to their
dance. But we can't say the same thing about men. It's hard for a young man to
dance por fiesta, because you have to have more gracia. That's always
easier for women. If you tell a man to dance a rumba, he'll hate it. But a woman
with a bit of hair and gracia in her dress will liven anything up. Dancing
tangos and por fiesta is for older men; for more mature artists.
Looking back, do you see a great difference between the way you used to
dance and the way you dance now?
Some of the bigger names -and the smaller ones- think that they've invented
what they're doing, and that nothing existed before they came along. I think there's
nothing new under the sun. But nowadays there are more resources available, and
there's television, which is very important. Things haven't developed as much
as people think, although there have been big changes in the steps and technique
has come a long way. Some dancers have developed well, but most haven't. Most
of them don't understand what they're doing. They think that they're breaking
new ground. Faster, higher, longer; it's like a marathon, with too much technique
and artists trying to outdo each other. With all that technique, they forget about
the most important thing: feeling good onstage. People try to do so many complicated
things that they forget why they're onstage. Things have evolved well, but I have
no idea what they'll be doing years from now. We seem to be getting back to the
basics. Fortunately, people have started to realize. Audiences are learning too.
They applaud the more commercial stuff, but after the show, they realize what
was good and what wasn't so good. It's becoming more and more common.
It's surprising to see some of the things that provoke a standing ovation.
Yeah, it sure is, especially down South: Now, everybody applauds bulerías.
There isn't any strong applause for the whole show; the audience never really
warms up, and then, at the end... What's the difference going to be, then, if
something comes off really well? Everyone claps now: the parents, the family,
everyone. Another surprising thing is how the flamenco venues in Paris or London
have disappeared. All those restaurants with paella, sangría and
flamenco have packed it in. But, nowadays, people go to the theater to see flamenco,
and they know what parts deserve applause. The Spanish audience applauds the most.
I think it's harder to fool people. Artists are always going to do more commercial
things, and, if people see you on television, you're a genius. A very popular
actress told me the other day, "Manolo, if people don't see you on television,
you're a nobody." So, we're going to have to go on TV, even if we have to
sell used cars. I'll go on first, and then you, Ángel
(Muñoz, lead dancer of the María Pagés company).
Next...
revista@flamenco-world.com
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