La Tati played the role Bernarda in her adaptation (third Lorca in 6 days!) illuminated from above with a coffin. She dances little, leaving that to her daughters who do a decorative, slow dance with good lighting. Grey casts, with pants below the skirt and scarf on the head.

Layers of synthesizers like church organs from the pulpit to the crossed-throne of the mother. Six women, one seguiriya, a coffin that rises up to the heights, the walking stick of La Tati and her finale to the seguiriya as she takes her seat.

La Tati

Two suffering women dance the masculine farruca, but the second-hand passes like a hammer with tedious moments... the swing-alegrías by Diego Carrasco sung by Manuel de la Malena bring the first hint of action; recitation-waltz with piano, the sugary guitar of José Luis Montón... the five women play cajon, sing and dance to tangos. The mother, in her cross and crossed, a prerecorded lullaby on violin, a young lady takes off the habit and dances with sensual, constant caresses…until the footwork fighting scene, the shot, the mournful electronics as the coffin lowers. "Silence!" shouts Tati, as she does a reverential pataíta.

Chano Lobato
Villavicencio Palace, 19:00

Chano Lobato

With his arms he signals the horizon to alegrías from the tall tales and truths that his mentors taught him, and his shadow projected on the palace walls make him into a giant. "Trust in you, there is no one who has it..." And why not? Always Chano, his tricks and tales, his thousand and one songs lit up by Espeleta and Pericón with a marine background. Now Chano stirs up his moment of sweetness with 'Azúcar cande', and with his throat "that Pavarotti ain't got none of" he enters into tangos and soleá and in the malagueñas "put it to three and let it be like God wants it." Malagueñas in the style of Rancapino, the history of Espeleta in the birth of "tirititrán," his jingling alegrías next to the window of the slaughterhouse; something sincere with the guitar of Niño Elías, peak moment with "faro finisio ensendío y tó," fishing to the tiento, bulerías torrotroneras and hispanoamericano, from guajiras to 'Volver'. Enjoying it Jerez-style.

Chano Lobato and Niño Elías

Conferences:

In the afternoon the fifth conference cycle about Flamenco and Spanish dance was started off with a lecture by Blas Vega from his text "The Bolero school of dance: historical news." He explained the transition from the academy to the dance hall, his contact with other dance forms and the superposition of new Flamenco in the Bolero school of dance.

The next day, José Luis Navarro, author of "Seeds of ebony" spoke about "The Afro-Cuban presence in Flamenco": black dances and their "prototypes and exaltations of sensuality," the dances of black slaves, dances of Angola from back when black people were called Ethiopians and the importance of the indecent zarabanda. He also spoke of the ritualistic roots of "new American Tango" which was made Flamenco upon the arrival of café-singers... And a citation: "The Rumba, more that a dance is an atmosphere" (Alejo Carpentier).

Luis Clemente
Translated by Jessica Lorber