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Antonio
el Pipa Dance Company: "Puntales"
Maestranza
Theater.
Sunday, September 24th, 9 PM
OSTENTATION
To entertain
himself as a choreographer, the Jerez idol Antonio el Pipa surrounds himself with
beardless youth and effective schemes.
Fifteen minutes
of applause. A bombardment of greetings, with baroque gestures of gratitude and
blown kisses, suspended like the grand exaggerated finale that caricaturizes himself.
He likes himself. And he begins with the end, with the round of tonás
screamed out by the impressive voice of Tía Juana, doubled by Luis Moneo
and Manuel Tañé, the third singer of the night with his rough vibrato.
Multitudes. He
likes himself surrounded by the body of dancers from the Taller Flamenco (Flamenco
Workshop) and the Andalucian Dance Company, seven boys and five girls of the same
age (young, 16, 17 years old) doing the catwalk for the first time on stage. Added
to the guitar section of Antonio Jero and Juan Moneo is José Luis Montón,
who wrote the original music, and who stays on stage alone with El Pipa for the
sophisticated farruca in which he stretches out his long extremities. Ostentatious.
(This is, incomprehensibly the most expensive show of the Bienal) If Israel
Galván studied insects, Antonio, to learn to stick out his chest, must
have studied the pigeons in the Jerez town square.
María del Mar Moreno
Surrounding Tía
Juana who sang a soleá, the seven ("little Pipas") danced,
injected with the jondo (pure) spirit by means of cloning. They leave María
del Mar Moreno alone and with her curving moves she softens the cliché…
but getting up suddenly from her chair, Tía Juana breaks out with her hoarse,
scraping vocals.
María del Mar Moreno
After singing some
tangos for which El Pipa dances with the five girls, Manuel Tañé
takes no advantage in the "pimpinelada flamenca" which he sings with
Felipa de Moreno - a ballad with a full moon and three guitarists. It was the
start of horrid romances: when they sing them, Antonio and María del Mar
cause a fervor, especially Antonio with his "Doble
sentir" (double feeling). At the end he poses for
a photo with mantón (Spanish embroidered shawl), which in the end,
hangs like a cape, highlighting his princely title.
María del Mar Moreno
"They are
dancers, with ruffles and polka dots of all different colors, because they are
dancers." Homogenous clones por alegrías. They bring out Milagros
Menjíbar, with her slow and heartfelt dance. With her hands, she frightens
the specs of dust that are stirred up by her skirt tail.
María del Mar Moreno
Tía Juana
dances (more than enough) in the soleá por bulerías. The
rough fringe veil of her voice leaves her without subtelty. Antonio comes out
with a glamorous costume. He likes himself. As he starts dancing, the singers
start the fin de fiesta with bulerías, with Antonio in the
center vortex of everyone to conclude the same show as always (now it´s called,
"Vivencias", "Recital" or "Generaciones"), with
he who makes Flamenco a little more deified.
Luis Clemente
Translated by Jessica Lorber
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