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XI FESTIVAL DE JEREZ
The third day of the Festival de Jerez included Antonio Marquez’ presentation of his show scheduled for Monday at the Villamarta theater.The Seville-born dancer took advantage of the platform to protest his company’s persistent absence from Seville theaters, when they’ve been everywhere else in Andalusia, the rest of Spain, Europe and a wide range of countries through out the world.He lovingly explained his unwavering commitment to presenting the most classic sort of dance from the Spanish repertoire, and pointed out that some of the best historic compositions of the country’s heritage cannot be choreographed and put on stage since the royalties that would be generated are prohibitive, a troubling problem and something to think about.
Santiago Lara
Bodega Los Apóstoles. 7 pm
Text: Estela Zatania
Photos: Paco Sánchez
Guitar: Santiago Lara. 2nd guitar: Paco Lara. Cante: Londro, David Palomar. Bass: Popo. Percussion: Perico Navarro, Catumba. Special guest artist: Mercedes Ruiz.
 At seven o’clock, with the sky still blue, guitarist Santiago Lara offered his recital “El Sendero de lo Impossible”, the title of his new recording. After several years playing alongside Manolo Sanlúcar, he returned to his hometown to prove his own potential as concert guitarist with a group that included, electric bass, second guitar, percussion, cante and also dance, the latter supplied by Mercedes Ruiz for whom Lara regularly plays.
The audience, mostly foreigners (Spain’s best guitarists always complain about the limited interest their countrymen have in flamenco concert guitar) enjoyed several contemporary compositions with numerous snippets of voice from singers Londro and David Palomar.Among other pieces, he played an upbeat alegría in A position, tango rumba, bulerías, a classic soleá and farruca which was danced by Mercedes Ruiz.
Javier Barón “Meridiana”
Teatro Villamarta. 9pm
Dance: Javier Barón, Manuela Ríos, Ana Morales, Lielah Broukhim. Guitar: Javier Patino, Ramón Amador. Cante: Juan José Amador, Miguel Ortega, Jesús Méndez. Cante/baile: Tomasito. Percussion: Tino di Geraldo, Luis Amador. Violin: Alexis Lefèvre.
Javier Barón came to the Villamarta Theater with “Meridiana”, the second work he’s premiered in just three months. With the smoke machine at maximum output, Tomasito, an authentic modern-day flamenco minstrel, takes the stage with his compás and his surprising, boundless wit.Thus begins the show grabbing everyone’sattention from the very first moment. Three female dancers appear with castanets on sticks, like those used in orchestras – Javier Barón has a delightfully wicked sense of humor. The women sing fandango cané for their own dance, and Barón comes on to dance to a verdial rhythm. Rondeña, then a brief wink to Granada folklore, a ballerina does classic ballet in slippers, “Arza y viva Ronda, reina de los cielos” and more compás in measures of three.The crazy-quilt of rhythms and vocals doesn’t quit, and Javier’s dancing fascinates. Dignity, elegance, maturity, wisdom, respect. Flamenco without tears because the dancer has the good taste not to take himself too seriously, and even the usually tragic siguiriyas is fun thanks to Tomasito’s invented cante.
A long instrumental segment leads into soleá.Barón’s dance is original but classic, controlled by natural. He refuses to pander to the audience and the energy doesn’t emanate from him but surrounds him. Lesson number one: the power is in the compás for those able to tame it, and the dancer is serene. It’s a more circuitous route, but one which leads directly to the objective with absolute precision.
Flamenco without tears
Tomasito reappears. He sings and dances soleá, but in his own way of course.Now with Barón, a pas de deux between the dancer and the minstrel, the former dances, the second does street smart, and the communication between them is perfect, who would have thought it possible?Compás makes them accomplices to the fact.
Classic alegrías follows, Javier with a peach-colored suit and the lowest center of gravity of any current dancer. The backup musicians are dressed in white, a welcome novelty after so many years of black. The aforementioned siguiriya finds its alter ego in bulerías.The three women dancers dressed in red and raising hell to bulerías could have been the fiesta finale, but it’s not – Javier Barón likes to break the mold, but noiselessly.Soleá por bulería and the mixture of cantes continues to be fascinating. The interesting Manuela Ríos dances alone for a few minutes before the male lead returns:Javier Barón is one the few capable of dancing with a partner and not eclipsing her.
The only weak moment comes at the end with an unfortunate dance by the three women that has no cante, is long, repetitive and outdated around the edges, but Javier and Tomasito arrive on the scene to put things in order and escort the ladies off-stage.Bows, sincere and effusive applause and the audience jumps to their feet to thank Javier Barón for his talent, creativity and above all, the dignity he brings to flamenco dance.
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