Homenaje al Maestro Granero
Tuesday, October 10th, 2006. 9:00pm. Teatro Lope de Vega

Special 14th Bienal de Flamenco de Sevilla. Reviews, programa, photos...

Text: Estela Zatania

Coordination of artists: José Antonio. Soloists: José Porcel, Celia Pareja, Javier Latorre, Maribel Gallardo, Lola Greco, Francisco Velasco, Angel Rojas, Carlos Rodríguez, Merche Esmeralda, Antonio Canales, África Moreno. Centro Andaluz de Danza. Guitar: Juan Manuel Flores. Cantaor: Emilio Cabello. Percussion: Raúl Domínguez. Palmas: Juan Martín.

The evening of October 10th, the organization of the Bienal de Flamenco de Sevilla lent its considerable resources, both economic and organizational, to the presentation of a living documentary to honor the memory of choreographer José Granero who passed away last spring.

The alliance of flamenco and Spanish dance has been a constant ever since well-known dancers began presenting their Spanishy creations in the major theaters of European capitals in the nineteenth century. This style of dance made its way to the cafés cantantes, and later, the large dance companies who continued to offer a mixed menu of flamenco and Spanish dance straight though the nineteen-sixties.

It hasn't always been an ideal situation. In the international subconscious Ravel's Bolero is the most perfect symbol of “flamenco”, and in flamenco tablaos you might easily see interpretations of Turina, Albéniz or other composers presented as part of the “flamenco show”. Diversity is certainly a good thing, as is dancers' versatility, cultural and aesthetic exchange, the expansion of possibilities and mentalities as well as the incorporation of new techniques. However, it often seems like Spanish dance is more enhanced by flamenco than vice versa, and the resulting confusion does no one any good.

Having expressed that small protest at the inclusion of this tribute, however deserved it might be, within a flamenco festival where very little room has been reserved for conventional flamenco, we are pleased to report that it was a moving and well-organized event, especially considering the difficulties involved in doing justice to a half-century of work in just a couple of hours on stage. The intelligent combination of audiovisual material, recorded and live testimonies of well-known flamenco celebrities and the performance of stars like Antonio Canales, Merche Esmeralda, Lola Greco, José Porcel and Javier Latorre among others, with José Antonio as a kind of informal host, managed to give the feeling of a show to an event that almost felt more private than public. Buses of admirers had come down from Madrid and other places, and applause was overly effusive, giving one the feeling of having barged in on a family reunion.

The intelligent combination of audiovisual material, recorded and live testimonies of well-known flamenco celebrities and stellar performances

In one corner of the stage was an upholstered chair illuminated by a single spot from above. José Antonio bowed reverently to the chair, started out apologizing in advance for possible glitches and explaining that he took his first dance class at the age of eleven with José Granero, “the greatest of creators”. Students of the Centro Andaluz de Danza interpreted the only dance on the program with guitar and cante, a rondeña. Interesting images of rehearsals with maestro Granero clearly show his dedication and capacity for being a sensitive teacher. Emilio de Diego spoke at length recalling his earliest memories of the choreographer in New York alongside Sabicas, Carmen Amaya, José Greco, Roberto Ximénez and Manolo Vargas. The Bolero is begun by Javier Latorre and Maribel Gallardo, and finished with the filmed version of same, thus ingeniously getting around the logistical problems presented by the choreography. Pilar López, on film, gives an important lesson that could have been heeded by some in this Bienal: “If we have to read the program notes to know what it's about, something is wrong”, and points out that José Granero and Antonio Gades have been the greatest story-tellers of dance. She triggers the first tears of the night wishing Granero to be “in the best part of heaven” and sending a kiss skyward.

Matilde Coral comes out and is applauded just for being Matilde. She offers some heartfelt words and finishes dedicating several swooping twirls of her shawl to the choreographer, “without music or nothing” not without first telling Granero to pay no attention to her “old lady's clumsiness”. It was impossible not to share the force of her emotion. Antonio Canales and Merche Esmeralda, with a century of experience between the two of them, made the most charismatic team of the night in a pas de deux from “Medea”, the most representative and acclaimed of Granero's works.

When it was all over, José Antonio requested the presence of all the performers, and invited anyone from the audience who felt close to Granero for whatever reason to come up on stage and join the tribute. Dozens of people got up and came forward, giving the appearance of a revival meeting, and the evening came to a close amidst embraces and tears.

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