HARMATTAN, PREMIERE

Flamenco's exoticism

Carlos Sánchez. Seville, April 23rd, 2004

Harmattan. Daniel Méndez (guitar). Óscar Lagos (guitar). Jallal Chekkara (voice, violin and lute). David Palomar (cante). Antonio Montiel (percussion). Felipe Mato (baile). Ángel Morilla (cello, bass and keyboards). Nicolia Morris (bailaora and guest artist). Alameda Theater. Seville, April 23rd, 2004.

Harmattan (Photo: Ana Gallego)

Harmattan makes a reference to the very geomusical genesis of flamenco, to that exchange, fusion or mixture of cultures, peoples and races which have endowed this art with the idiosyncrasy that characterizes it and identifies it. If this musical mestization is joined by the anxieties of these young artists, the result is a risky, highly appealing show.

The staging by this new mestizo flamenco group features a high musical component. The creations by Daniel Méndez are masterfully combined with the Muslim features of Jallal Chekkara. From Morocco to Morón. Flamenco goes beyond borders. The desert winds emerge from the throat of the Andalusian. Palomar, protected by the guitars of Méndez and Lagos, covers the necessary flamencura. They start through rumbas. The dancing takes over the spotlight with the exoticism of Nicolia Morris and the movements of Felipe Mato. Strength and character in two so different cultural schemes, which the grandeur of flamenco unites.

Morilla's piano recreates the ambience. From Tetouan to the 'little silver cup' through seguiriyas. Montiel opens his heart with the Indian tablas. This Sevillian knows what he's doing and what he's playing. The percussion provides the show with great consistency. Meanwhile, Morris and Mato begin a search towards the paths of the avant-garde in their desire to endow baile with new perspectives. The African rhythms are inserted between flamenco in a game that travels to a world of sensations. Chekkara gives samples of his homeland's rhythm. The magnificence of the music makes it possible for the same instrument to sound different depending on the person who's holding it. Méndez, showing off his virtuosity, wonderfully flamencoizes the lute.

Light. The music composed for the show 'Inmigración' by Ángeles Gabaldón, moves solo with the mark of Méndez's guitar. The young Sevillian takes his creative capacity to new heights. Montiel signs the soleá and the bolero. Palomar doesn't want to talk about love and leaves through tangos. Flamenco guitar flirts with the Muslim lutes and violins. It's time for bulerías. Flamenco goes on.

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