Dance: Antonio Molino “El Chorro”. Guest artist: Gema Moneo. Guitar: Juan Campallo ,David Caro. Voice: Jesus Corbacho, Pepe de Pure, Jonathan Jimenez. Percussion: Pago Vega. Nuevos Flamencos de Cajasol. April 12th, 2018. Half full.
Sara Arguilo
Photos: Remedios Malvarez
Watching El Choro dance Thursday at Cajasol I remembered this bit of the Alvarez Quintero brothers, that we used to play in elementary school about how easy it is to pick a fight whenever you want. I thought of this title because of this dancer’s desire to take center stage by looking for a fight.
From the moment he came on stage with his fandangos, El Choro showed his immense desire to dance as a natural means of expression, for pure personal and artistic satisfaction. A desire born of passion and that quickly catches the audience anxious for truth and naturalness. Because there’s nothing more convincing than seeing someone express something he believes in, overcoming his own limits, without fear of failure.
El Choro’s footwork is frenetic, a visceral and basic language in his own way based on classic dance, masculine, and yet fresh because it is his own personal style. In other words, the novelty of his style is that his dancing comes from his intentions, from what he is able to answer with his feet or from the singing, the guitar or the cajon.
This could be seen in the show when he danced to Jesus Corbacho’s singing of cantiñas. Or when he dialogued with Pepe de Pura’s tonas, speaking without words and with absolute honesty how hard it is to acheive what you want. Or in solea with Gema Moneo, in a choreography that was an embrace and a smile. Here Moneo’s seguiriyas was the perfect response to Antonio Molina because in a way they shared leitmotiv and common philosophy, but also perspectives and dreams.
The backup was noteworthy at every moment, they understood him, respected him and kept him afloat. One single hour was enough to express his dance. Why say more when it’s all been said?
