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BIENAL DE FLAMENCO DE SEVILLA 2008. ROCÍO MOLINA, 'ORO VIEJO'

Baile's future is now

Silvia Calado. Seville, October 9th, 2008

'Oro viejo'. Rocío Molina : baile, choreography, artistic and musical director. Laura Rozalén: special collaboration on baile. Eduardo Guerrero, Moisés Navarro: baile. Paco Cruz, Rafael Rodríguez: guitars. Sergio Martínez: percussion. Bobote, Eléctrico: clapping. Rosario la Tremendita: cante. David Picazo: stage director. 15th Bienal de Flamenco de Sevilla 2008. Teatro Lope de Vega. Seville, October 9th, 2008. 9 p.m.


Rocío Molina on 'Oro Viejo'
Photo Bienal de Sevilla © Luis Castilla
  
   

And at the end, the sand of the hourglass spills over her the way water spills. Rocío Molina thus concludes her reflection about the relativity of time, kneeling, under a spotlight, with the minutes slipping between her hands. A plot which you can take or leave, according to the spectator's taste. Well, that series of bailes which premiered last night at the Lope de Vega, in itself, asserts itself as one of the most interesting baile shows which has been performed in this edition of the festival. This girl is still sped up ... luckily for the genre.

Her levelheadedness on stage, her forceful personality, that pinch of impudence, her perfect technique ... and the dualities: the woman and the girl, the depth and the game, the subtle and the brutish. All these ingredients are combined in the figure of the Málaga-born bailaora and in how she projects her restlessness on stage to the point of shaping up a show which, like 'Almario' , is quite simple. Here in 'Oro viejo', there's no more than choreographic combinations of the four dancers and of their particular styles, old musical relics recorded from grandma's radio, a guitar with tradition, another more current one, some touches of female cante curled live, able clapping and percussions from several worlds. And on stage, a bench, a triple chair and, apparently, some audiovisuals (not visible from the stalls).

 

Rocío Molina and Laura Rozalén on 'Oro Viejo'. Photo Bienal de Sevilla © Luis Castilla
   
Following a prologue in which she danced the word of an old man, Rocío Molina joined her two dancers in an afternoon of bullfighting and pasodoble. Old-time, modern, and a little jocular. Imperio Argentina's 'Falsa moneda' was danced by Laura Rozalén, gracefully waving her roundness, dramatizing the lyrics like old-time couplet singers. With just Rafael Rodríguez's guitar to the right, the girl came out to wave her fan. A flirtatious, decorous, delicate guajira like the lace of her pink nineteenth-century-style dress. At nightfall, two inebriated boys dance 'Limeña' on a park bench. And La Tremendita, clearer than in 'Vamos al tiroteo', sings in silence to the "guitar of my love affairs". Then at dawn, the scene moves to the countryside and the girl puts on a straw hat and dances inside a circle with self-confidence, sauciness and sensuality. Kindness turns comical to the sound of the wily little song '¡Dónde va, María!', performed four-way on the crowded bench. Laura and Rocío use an instrumental 'María de la O' instrumental to display graceful movement, without further ado. And the tone turns serious, ready for the bailaores to show off dynamics, figure and quality in a mixture of old-time martinetes which therefore breaks up the traditional narrative of the baile. La Piriñaca's echo sentences. Rodríguez's guitar sings the malagueña by Chacón. And Rocío dances it barefoot in a bata de cola and her two colleagues, falseta by falseta, note by note. The caña illustrates for good that contrast between the time that passed, that which will pass, yesterday, today, your speed and mine. Laura is repose. Rocío, restlessness. And time traps her, tortures her and rocks her in the final fandango, intense, groundbreaking and very exciting. Please, don't stop that clock of yours which by being so fast brings us the future to the present.



Photo Bienal de Sevilla © C. Corrales
 

And tomorrow…

· David Morales , 'El indiano. Bailes de ida y vuelta'
Teatro Central, 9 p.m.

Cádiz-born bailaor David Morales lays out a route through round-trip bailes, inspired by the story of an Indian who returns to his native Cádiz. Milonga, guajira and vidalita are part of the show's repertoire, including the collaboration of bailaora Rosario Toledo, singer-songwriter Javier Ruibal and Julio Fraga as stage director.

 
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