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2006 JEREZ FLAMENCO
FESTIVAL. SARA BARAS, ‘SABORES’
Colorist aftertaste
Carlos Sánchez. Jerez, March 3rd,
2006
Photos: Daniel Muñoz
‘Sabores’. Sara Baras: baile,
direction, choreography. José Serrano, Luis Ortega:
guest artists. Alicia Fernández, Cecilia Gómez,
Ana González, Charo Pedraja, María Vega, Raúl
Fernández, José Galán, Raúl Prieto,
Daniel Saltares. José María Bandera, Mario Montoya:
guitar. Saúl Quirós, Miguel de la Tolea: cante.
Antonio Suárez: percussion. José Amador Goñi:
violin. 10th Jerez Festival 2006. Teatro Villamarta. Jerez
(Cádiz, Spain), March 3rd, 2006. 9 p.m.
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Sara Baras (Photo: Daniel
Muñoz) |
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Dreams and perspectives. Feelings and expressions. Playtime
for emotions and intentions. Tastes and flavors. A new show
by bailaora Sara
Baras. Twelve choreographic movements with the seal of
the Cádiz-born artist. Thought-out and made for her
baile. Color, plasticity and sensationalism. Without plots
or dramatic art. Without trying to tell tales. Just baile.
In a game of connections and ups and downs. Rhythmic, measured
and industrious.
A warm-up bolero to get ready. To stretch out and take places.
Of excitability and expectation. With a picture of Tía
Juana la del Pipa presiding over the stage. The show begins.
Through tangos. The dance corps on the chairs. They start
off with arm movement before beginning movements around the
stage of the Villamarta. Crosses and moves. Passes and hairstyles.
A real feet squadron. Cinnamon flavored.
‘A fuego lento’. Trio. Sara Baras, José
Serrano and Luis
Ortega. Sara lays down her baile in the space left by
the choreography which both bailaores signed with Lola Greco.
A swell of waves with her dress. The dance corps returns with
slowed-down movements. Briefly broken in the stances through
bulerías of the bailaores. A foretaste of clacking
with castanets by Luis Ortega through seguiriyas. Of classic
notions and reminiscence. Which is answered by the imponderable
arm movement of Sara Baras through taranto. With porcelain
poses and well-defined turns. Just her style. Intensifying
the tip of the toe and the heel. And riveting with the tanguillos
by the dance corps. Serrano pays tribute to the oldies through
alegrías with salt flavor. With bearing and presence.
Just like the martinete by the bailaora from La Isla. Under
the spotlight, she tells endless tales. Of rapid heel tapping
and tiny movements. She overlaps her baile with the zambra
of the female side of the dance corps. Linear movements. Squares
and triangles. In search of the epicenter of the elegance
and sensuality of the female baile which is completed with
the stylistic contribution of the male side in the soleá
through bulerías.
Sara Baras finishes off the night with ‘Bulería
de Concha’. Covered in feelings and emotions. Recalling
her beginnings, but with the maturity of a world-renowned
artist. Dedicating it to her mother, the germ of her art.
And with the usual explosive ending. A dizzying hodgepodge
she dazzled the crowd with.
Sara Baras (Photo: Daniel Muñoz)
| Torrotrón
Tomasito: voice and baile. Álvaro
Martínez: flamenco guitar. Lalo: electric
guitar. Elsa Fernández: drums. Bo, Luis
de la Tota, Luis Cantarote: clapping. Bodega de
Los Apóstoles. Midnight
Tomasito
(Foto: Daniel Muñoz) |
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Memphis tanguillos, punk soleares,
year 2000 seguiriyas, reggae through tangos...
Tomasito turns flamenco face down, sprinkles it
with a broad variety of today's sounds and afterwards
cooks it all up live with his peculiar idiosyncrasy
as a complete artist. The Jerez-born artist put
the icing on the cake on the eighth night of the
festival at Bodega de los Apóstoles, mercilessly
shaking up the wine resting in the solitary casks
to the beat of drums, guitars and electric basses.
As far as the guy who left the place saying that
isn't flamenco, he should know that Tomasito is
the pure essence of this artform, the angel, the
inspiration, the spontaneity, the rhythm with
capital letters. Lineless baile and cante. Oh,
but what a way of saying the lyrics. Oh, but what
a way of tapping his Martinelli shoes. He took
a selection of the greatest hits from his discography,
including “el fino de mi casa”, “el
rap de los niños malos”, ‘Resaca’,
and of course, ‘Torrotrón’,
a coplita in which there were those who couldn't
hold back and had to get up to dance and sing
in chorus with the ‘boy robot’.
(Text: S.C./ Photos: Daniel Muñoz)
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| To class
‘Érase una vez el flamenco’.
José Luis Ortiz Nuevo: narrator. Ángeles
Gabaldón: baile. David Palomar: cante.
Rafael Rodríguez: guitar. Antonio Montiel:
box drum. Hiring: www.bookingflamenco.com.
‘Flamenco pa toos’ Series. Sala La
Compañía. 5 p.m.
Flamenco awakens curiosity, raises
questions. When does it originate? Who creates
it? Where? Which came first: baile or cante? And
so as not to open the pages of one of the many
wise books theorizing on said questions - none
of them translated beyond Spanish -, many find
out the answers through hearsay and rumor. Here's
José Luis Ortiz Nuevo and a young flamenco
group led by bailaora Ángeles
Gabaldón, ready to make it easy with
the didactic performance ‘Érase una
vez el flamenco’ (‘Once Upon a Time,
Flamenco’). Starting with his findings,
the fruit of delving into the periodicals library
in Seville, Ortiz Nuevo has spun a narration which
recites and reveals, which is replied to by baile,
cante, toque and compás. Sometimes they're
just touches, others are complete pieces, like
the esthetic tientos by Ángeles Gabaldón.
He quotes old press articles, recovers legends
passed on by flamenco personages like Pericón
de Cádiz, daydreams about the facts, pulls
out key references like the quote by Stravinsky:
“Although it might seem anarchic, flamenco
is subject to exactness”. That is, he offers
fundamental information but decorated and on the
surface, so that as he said, “people who
don't know flamenco leave with the curiosity”.
A really good idea is the showing of the entire
script subtitled in English and Japanese, fundamental
in a festival with an international audience,
which by the way, will have the chance to see
this show again at Sala La Compañía
on Friday, March 10th at 5 p.m.
(Text: S.C./ Photos: Daniel Muñoz)
José Luis Ortiz
Nuevo and Ángeles Gabaldón
(Photo: Daniel Muñoz)
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magazine@flamenco-world.com
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