Dance: Fuensanta “La Moneta”. Cante: Eva Durán. Guitar: Miguel Iglesias and Paco Iglesias. Percussion: José Carrasco. Compás: El Eléctrico and Torombo.

WHITE SATIN NIGHTS

Granada dancer Fuensanta la Moneta has come into artistic maturity. In the framework of Málaga in Flamenco, she presented the world premiere of her first choreographic project after extensive experience in dance companies, and a brief presence in traditional flamenco festivals. With this show she was attemptiing to claim her niche in the dynamic flamenco scene.

Fuensanta La Moneta

Fuensanta La Moneta

Texts drawn from female poets from her hometown, Ángeles Mora and Teresa Gómez, are the pretext to develop a series of scenes that show the different passages in the life of a womanThe daily struggle brings moments both sweet and bitter reflected in equal portions. Between Hansel Cereza and Raúl Comba who put the show together along with Fuensanta, there is a certain overuse of the dancer’s strong footwork. In this vein a malagueña begins, but without dancing as such; Fuensanta is dressed in a white satin nightgown and plays with a sheet. When the abandolao comes, the strong feet take over, but should have been served up in small doses so as not to turn all the numbers into the same thing. This happened with the guajira, which started out as a sensual dance, nightgown included of course, and ended up in an outpouring of energy. The little fan she wielded was of little help, and even more unfortunate was the constant showing of underwear. The feet won the battle over the arms and shoulders. .

Fuensanta La Moneta

Fuensanta La Moneta

Just seeing the expression on her face, we’re contaminated with her temperament

For farruca she wore a black one-piece trouser and top, with a plunging neckline, and with singer Eva Durán on stage, she fell into that concept of strong racial dancing. The music wasn’t much help as it was conceived with that idea in mind, always looking for effect. One daring piece was presented, although it was short on flamenco. A series of silhouettes of dancers was projected onto huge sheets that spent most of the show hung on stage. Called a virtual choreography, we saw Fuensanta, or rather two holograms of her, projected onto the sheets, going through various styles like guajira or malagueña with footwork and arms, seated in a chair. A digital number, somewhat odd. If the practice takes root, we may find ourselves at festivals watching the performances of long-dead figures thanks to the series Rito y Geografía del Cante, and we’ll accept it as normal.

But the show went from less to more, and finally the Moneta we’re accustomed to arrived. Once again the nightgown to dance por soleá. Until bulerías, we were able to enjoy a very feminine Moneta, knowing how to control the dance even within her technical ability. And then, her star dance: the siguiriya. Just seeing the expression on her face, we’re contaminated with her temperament. On this occasion she wore a bright red bata de cola which she knew how to move effortlessly. This dance holds no secrets for her, and with the bata she reached an admirable level of artistry.

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Special MÁLAGA EN FLAMENCO