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XLVII Festival Internacional
del Cante de las Minas.
Rocío Molina, José Mercé
Monday, August 6th, 2007.
2300h.
La Unión - © DeFlamenco. com
Text: Estela Zatania
Photos: Rafael Manjavacas
 Monday’s activities on the fifth day of the La Unión festival, began with a conference by historian Francisco J. Ródena Rozas, “El antiguo mercado público de La Uníon: un siglo de historia y cultura” in which he ran down the history of this historic century-old building originally constructed to serve a free-wheeling mining town during its boom years, and which years ago was remodeled into a theater to receive, among other things, the main shows of this festival. Following the conference, photographer and journalist Paco Sánchez of Canal Sur Radio gave a lecture-demo on flamenco photography.
Rocío Molina’s group. Cante: Antonio Campos, Leo Triviño. Guitar: Paco Cruz, Manuel Cazas. Percussion: Sergio Martínez. Palmas: Ana Romero, Tacha.
The excellent double bill at the theater began with the young, not “hopeful”, but full-fledged star, Rocío Molina. Four years ago when she came to La Unión to compete in the dance contest, she didn’t even make it to the finals, but a couple of months later she was touring the US as a star of flamenco dance with a series of artists that included Paco de Lucía. No one knows how these things happen, but now, in 2007, the child prodigy dancer returned to the same stage as an authentic superstar with a name of her own.
 The young woman’s extraordinary talent has been poorly served in unfortunate works in which she was obliged to participate, apparently for institutional reasons, so the fact that she came to the festival without the structure of a “work”, was good news. This is a very creative artist with an unlimited imagination and the good taste to know how to define her own particular path while creating a new aesthetic, her own.
Sensuality, a sense of humor and also of irony. . . a lively curiosity.
Everything is surprising in Rocío Molina – if you can’t take your eyes off other dancers because they do beautiful things, your gaze dares not wander from Rocío lest you miss out on the emotion that may burst forth at any moment. Even her appearance is novel. For the first dance she dons a jacket and short leather skirt and knee-high boots, and her long hair worn loose is used as just another accessory, a sort of “incorporated shawl”. She is more of a woman than four years ago, the baby fat is gone and there is a distinct sensuality, a sense of humor and also of irony, and her constant winks to the past reveal a lively curiosity. The second dance of three that made up the recital, was the least noteworthy. Rocío appears dressed as a Málaga fisherman (just in case anyone forgot where she was from), a get-up that is less than flattering, and dances a composition in 3/4 time, a sort of “three-beat fantasy” which symbolizes the abandolao compás of her hometown, but without the associated cantes. The score is Málaga chamber of commerce, one, flamenco, zero.
 But all is forgiven many times over in the soleá, a long dance (they told me afterwards it had lasted 25 minutes, I felt no pain) which leaves no doubt as to the dancer’s genius. It had been announced that she would interpret the same soleá with which she failed to qualify in 2003, but it was nothing of the sort. Making use of a whole new catalogue of moves and well-executed details, some of which were extraordinarily subtle, she seemed never to run out of ideas, and the only recognizable remnant from four years ago was the fascinating play of hands and head which is the unmistakable trademark of this important artist who is destined to revolutionize women’s flamenco dance.
Power he summons from within, like pulling a genie out of a bottle
 The second part of the evening featured one of the most beloved pairs of singer and guitarist in the history of flamenco:José Mercé and Moraíto. The two men from Jerez are received with a warm ovation, and after the formalities of “good evening” and all that, they dive headfirst into soleá. It’s always surprising how Mercé opens and closes the tap of jondo as he pleases, and with the accompaniment of the wonderful Moraíto, he travels swiftly and directly to the roots that are his own. The memory of past maestros counsel every note, and his multidimensional voice and deep knowledge join hands to deliver cante in perfect condition for immediate consumption from the very first line. Siguiriyas and fandangos, and it continues to be amazing, even when we know it goes, the power he summons from within, like pulling a genie out of a bottle. In alegrías and cantiñas, as happens with Jerez singers, there’s a bit of overkill and he doesn’t capture the subtlety of Cádiz, but you have to accept artists on their own terms and within the parameters of their own identities. Bulerías, the song “Aire” audiences always demand, and a curtain call tango with flavors of Extremadura and Triana. Only two drawbacks, the amplification that continues to be atrocious, and a family back-up for palmas and choruses that adds little energy.
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