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SEVILLE'S BIENAL DE FLAMENCO
2002. 'YO MISMA, JUANA AMAYA'
Festival with a headliner
Silvia Calado Olivo. Seville, September 29, 2002
Photos: Javier Hurtado
'Yo misma', Juana Amaya. Dance: Juana Amaya, Rafael
Campallo, Andrés Peña. Cante: Enrique el Extremeño, Juan
José Amador, Juana la del Revuelo, María Vizárraga, Heminia
Borja. Guitar: Paco Fernández, Martín Chico, Román. Percussion:
Juan Ruiz. Bass: Pablo Zapata. Lighting: Paco Escamilla. Teatro Lope de Vega.
Seville, September 29th, 2002. 9:00 p.m.
 The
title required little explanation. The expectations were just that: Juana Amaya
dancing. And from the outset, once again, the label 'world premiere' was compromised.
The relevance of the name given to the show grew as the performance unfolded -
the star's two solo dances led into those of two other artists with long, drawn-out
dances. The show turned out to be an evening of festival-style flamenco that even
infected to the audience that was constantly shuffling around. A varied lineup
of artists where each one was a world unto him or herself, with little regard
for the clock. That's the only way this type of show could possibly approach two
hours without intermission.
The festival concept worked against the star...or against whomever was looking
for it. Juana Amaya danced seguiriyas in trousers, paying tribute to Carmen
Amaya from whom she is descended on her mother's side. Juana Amaya also danced
soleares for more than half an hour wearing a ruffled skirt and bodice. In both
numbers she danced in full control of her artistic resources...and above all,
with balance. Virtuosity does not have to diminish women's dance, technique hand-in-hand
with expression, good taste not obliterated by strength. She also danced in trio,
filled out with tangos and ending with bulerías, along with Rafael
Campallo and Andrés Peña. Between trio and trio both were able
to get into their own thing, the former with alegrías, his strong suit,
excessively favored by the dancer; the latter, winner of the last Bienal's dance
contest, with soleá por bulerías straight from his hometown of Jerez.
 The
singers had their own moment, particularly Juana Revuelo, who offered her tangos
and bulerías repertoire right down to the last detail, including apron
and old-fashioned bloomers, accompanied on the guitar by her son. The singer from
Seville sang soleá standing with her hand on Amaya's shoulder, just as
when she sings for Farruco's grandsons, but more restrained, her throat more under
control now. In the men's department, El Extremeño and Juan José
Amador had a spot for martinete to introduce Juana's seguiriya. The solos (and
non-solos) of the rest of the group deserve special mention with regard to the
bass and cajón...not for having been admirable, but rather quite
the contrary.
As was fitting, the festival ended with the usual bulerías fiesta, small
girl included, little dances fleshed out with the cheering backup, applauded profusely
by all, ole, ole.
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The other side of the story
The lighting for 'Yo misma, Juana Amaya' is something else. If the Bienal 2002
has been characterized by shadows, the Morón dancer's show went too far in the
other direction. The whole gamut of lighting options was deployed, without rhyme
or reason. Dozens of effects per minute with no consideration for silences or
the location of the person being illuminated, a dizzying series of colors (green,
red, purple, pink...), spiraling backgrounds with hypnotic shapes that distracted
from the center of attention, discotheque fashion. The individual claiming responsibility
for such a creation: Paco Escamilla.
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