|
"The
Infinity of Forms". Pepa Montes, Ricardo Miño and Pedro Ricardo Miño
Central
Theatre.
September 27th
Matriarchal:
The performance from the emblematic Triana family circles around the subtle arm
movements of Pepa Montes
The
Family
Various forms,
far from infinite, circle around the equilibrium that the dancer maintains between
her arms and her feet: her arms move to the guitar of her husband and her feet
to the rhythms of her son. Something solemn and thought out, and the family’s
direction becomes clear as they present the seguiriyas.
Ricardo Miño
molds with his chords, the sculpture of Pepa beneath her shawl. The voice of Segundo
Falcón comes up and Enrique Soto digs deep, "I´m not from this land,
nor do I know anybody" ("Yo no soy de esta tierra ni conozco a nadie,")
a song more than one hundred years old, attributed to Paco la Luz - done with
arms in the air, a short red tailed skirt and shawl hanging to the floor ("The
family is of this land, and was surrounded by friends.")
Ricardo stays on
stage for a guitar solo in soleá (in this same theatre, he played
next to Gualberto, with whom he recorded two albums.) The bulerías
are summed up by Bobote y Eléctrico, two rhythmic geniuses from Seville
who are permitted a few steps – another stellar dance, but more anxious. When
the band comes in, they travel through malagueño territory. A serene
rondeña. "Feeling" was the title of a soleá
that starts in caña and finishes in Triana, well walked by Pepa.
The piano backs
up Segundo on some very classic malagueñas, those of El Mellizo
and La Trini, and a zapateado with the lively percussion of El Pájaro,
is brought in with bulerías to the rhythms of Lorca. The father
tops it off as the singers do tangos on foot in order to see the entrance
of Pepa; frisky, always with class. To highlight the encore, the whole family
from father to son lay down their own original steps. A family cast with tenderness
in their eyes. Although this may be true, the libretto equates evolution and regression,
while proclaiming, "the infinity of forms" after a preconceived concert
that left us disconcerted.
Luis Clemente
Translated
by Jessica Lorber
|
