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Friday,
September 15th.
Hotel Triana. Open-air concert.
Manuel
Molina, Paco Taranto,
Manolo Marín, and Triana Pura
UN
BAILE EN TRIANA
Manuel Molina
As a compliment
to the main activities of the Bienal, late nights in a courtyard in the
Triana neighborhood have a more street-level vibe and peripheral content, although,
for this introduction to the series within the program (‘Territorios’),
four cardinal points of the art were chosen from the same neighborhood: Manuel
Molina, Paco Taranto, Manolo Marín, and Triana Pura. The atmosphere was
more relaxed and nocturnal, with the starting time at 12, and a bar with tapas.
The show was sold out—that night ‘Inventario’ was to play again at
the Lope de Vega theater— and the public wandered through the streets of Triana
till well past three in the morning.
Triana Pura
‘Un baile en
Triana’ is the title of one of the scenes dealing with flamenco from the first
book written on the subject. The title of the show, ‘Triana, un estado de mente’
(a state of mind), uses a clever play on words (de mente/demente).
Triana Pura
Triana Pura started
with bulerías, and Esperanza la del Maera seemed tired, hardly clapping:
she neither stood nor sang. Not the case with El Herejía, and El Coco with
his cuplés, but the absolute star was Pastora la del Pati, singing
and dancing to her son’s comments.
Paco Taranto
Paco Taranto was
too linear. He is one of the most genuine representatives of the soleá
of Triana—of the Zurraque area where he was born—and is unaccustomed to performing
onstage. Unlike other occasions, his performance was less than compelling. He
also offered alegrías, bulerías (mild, with a tarara
ending), fandangos, and tientos-tangos trianeros.
Celestial suit,
vertical guitar. Manuel Molina. His bulería:
La bulería
la inventó Andalucía Andalusia invented the bulería
la bulería
es un requiebro de pena the bulería is sorrowful flattery
This was the beginning
of one of his peculiar plaintive bard-like recitals. He opened his arms, singing
to the stars, holding out his guitar, and cradling it once again. Manuel Molina.
The author of the best unnoticed recording from last year: ‘La calle del beso.’
He concluded with
accompaniment from Raúl Moreno on second guitar and clapping from Farruquito,
singing:
Parece una tontería It
seems silly to say
pero ser de
Triana but being from Triana
da categoría gives
you class and style
Manolo Marín’s
dancing is beyond reproach, and he surrounded himself with five bailaoras,
like a dance teacher, starting off with tarantos… and in the end there
were three generations grasping each others’ waists, por tangos.
Fin de fiesta.
23 Triana natives. A selection of bulerías and tangos. The
best of the whole evening came in the form of an anonymous bit of dance from a
six-year old boy. Mental. Estatus trianaerium.
Luis
Clemente
Translated
by Norman Paul Kliman
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