2005 MÁLAGA EN FLAMENCO FESTIVAL. INAUGURAL GALA: ‘MÁLAGA’

The Málaga Bienal is born

Silvia Calado. Málaga, September 14th, 2005

‘Málaga’. Direction and choreography: Paco Mora. Cantaores: Antoñita Contreras, Bonela Jr., Rocío Bazán. Guitarists: Francisco Javier Jimeno, José Antonio Chaparro, José Fernández, Gaspar Rodríguez. Bailaores: Sergio Aranda, Solera Chica. Dance corps: Virginia Ruiz, Eva Fernández, Elena Molina, José Maldonado, José Manuel Galán, Jesús Nieto. Clappers: El Yaya, Nuria Martín, Laura Cano. Guest artist: La Cañeta de Málaga. Málaga en Flamenco Festival. Cervantes Theater. Málaga, September 14th, 2005. 9 p.m.

Photo: Daniel Muñoz

Málaga rediscovers Málaga, with a part of its cultural heritage veiled until now by the ups and downs of tourist development. It goes and revises its flamenco side with the meticulousness of a researcher. It delves into the past in order to expose a promising future. The show ‘Málaga’, which will be the emblem of this bienal (biannual event) which has just been born, revealed itself at the Cervantes Theater as nearly an illustrated master class of flamenco taught and received by the city of La Alcazaba. And it's surprising for locals and outsiders alike to discover the round-trip roads with the native cante triangle. Coming to give and take were from El Planeta to La Niña de los Peines, while native artists grew such as El Piyayo, El Cojo de Málaga, La Cuenca... and cante through malagueñas. All of that and more is told with a tuned-in radio and a stage brimming with activity, in the show which is already ready to travel to theaters throughout the province and to the other Andalusian capitals. Málaga wants it to be known that it's in flamenco.

As the express aim of the director, ‘Málaga’ shies away from the typical festival which juxtaposes performances and lays its stakes on a measured-out, controlled show with the common thread of the old radio voice. To get down to the task at hand, an ode to the malagueña and what is Málaga. A poem, nymphs, fishermen, Picasso, the sea and a guitar. On tuning in, an example: a malagueña performed by Antoñita Contreras. The story goes on in the mountains, where El Planeta is said to have passed through, leaving behind his martinete and taking away a highlander woman. And coming out to dance it are three bailaores and three bailaoras dressed in a bata de cola. Dynamism in the group's movement, sense of development and baile execution.

The audience is more than receptive and responds with a warm applause, while pictures of Ronda are projected in the background. It is El Cojo de Málaga's turn, who looked towards the mining lands to enrich cantes such as the taranta. Reliably performing it here is Bonela Jr. Back to the mountains, for it is said that cantes such as the caña were born there. On cante, Rocío Bazán, who displays maturity and permanence in her voice. On baile, Sergio Aranda, a bailaor with power, skill and Farruco airs. The alegrías ‘A mi hermana Cai’ is done with four guitars. The sonanta is well-liked indeed by the Málaga following. And continuing with its sights set on the neighboring province, ‘cantiñas malacitanas’ are dusted off which La Niña de los Peines learned from La Trini, imprinted on the baile, old-style, by bailaor partners as if straight out of El Café de Chinitas, one of the most emblematic singing cafés of nineteenth-century Málaga. Antoñita Contreras sings the story which occurred there between Paquiro and his brother. The first part comes to an end with energetic cantes through tangos. Ode to El Piyayo. Rocío Bazán, full throttle. The dance corps comes out to vary the scene and draw the curtains for a short while.

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A recollection of summer festivals from the sixties kicks off the second half of the show. On the bill, La Cañeta de Málaga, two guitarists and three clappers. The few words she utters before getting down to singing include praise to the projection of the young artists who are members of the show and a prediction: “This bienal is going to be a big hit”. She sang and danced bulerías like a cyclone... as if to say, here's Málaga and the entire flamenco world. All of her; artist and personage.

Before the show's rhythm flags, she bids farewell and makes way for baile through soleá. The reason is that Málaga-born La Cuenca was the first to dance the soleá by Julián Arcas. It's danced by Solera Chica and sung by Antoñita Contreras. Paco Mora, who many recognize as Herod in ‘Salomé’ by Carlos Saura, also wants to be considerate with his native land and appears attired in a suit and hat, all in white, to dance a rondeña. Still, smooth, bright. There is no shortage of stage presence in this bailaor, who he himself choreographs, directs, writes the script and designs the wardrobe. The return of the prodigal son is received with a thunderous ovation. The only thing left to tell in this story is the end. And, just like in all tales, it had to be a happy one. It began with a reaffirmation through abandolaos and finished off looking at Jerez, that is, through bulerías. Málaga gets back flamenco. A sea christening for the new bienal.

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