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All
the information IX Festival de Jerez
“Gestos de mujer”. Dance:
Mercedes Ruiz, Marcos Flores. Cante: Londro, Palomar. Guitar:
Santiago Lara, Francisco Lara. Bass: Juanmi Guzmán.
Percussion: Paquito González, Pedro Navarro. Palmas:
Javi Navarro. Choreography: Mercedes Ruiz.
“Fuera de los límites”. Dance:
Belén Maya, Rafaela Carrasco. Composition: Jesús
Torres, Pablo Suárez, Craig Armstrong, Zakir Hussain,
Gerardo Núñez, Kapanski Ensemble, J.S. Bach,
De la Guarda, Luis Carmona. Choreography: Belén Maya,
Juan Carlos Lérida, Rafaela Carrasco, Florencio Campos.
Director: Ramón Oller.
Text: Estela Zatania
This ninth day of the Festival de Jerez 2005 began at the
Sala la Compañía with “Fuera de los límites”,
a long pas de deux by Belén Maya and Rafaela Carrasco.
Two industrial-size white paper carnations, about five feet
tall and a yard in diameter which dominated the stage from
beginning to end seemed to taunt: “You want tradition?…there’s
your tradition!” This interpretation was reinforced
when Rafaela launched carnation-darts at the floor in such
a way they remained standing upright. As for the rest of the
show, a science-fiction ambience, music which ranged from
futuristic to ancient, sometimes Bulgarian or Turkish, candles
scattered around the stage behind the white carnations, an
abridged version of Carrasco’s malagueña, a pseudo-striptease
by Belén Maya which she begins in a bata de cola to
finish in her undies (more symbolism of the rejection of tradition),
and other incongruous elements that make it impossible to
write a fair critique as the show was too far removed from
the realm of flamenco or Spanish references. Suffice it to
say that afterwards, a certain portion of the audience expressed
doubts about whether this type of presentation belongs in
this kind of festival in a city that sells itself as the capital
of flamenco. Perhaps recitals, like films, should be classified
according to their flamenco content in order to avoid disappointment.
Her concept is that of a dynamic,
self-assured woman, as intelligent as she is beautiful.
Afterwards at the Villamarta theater, Jerez dancer Mercedes
Ruiz achieved what could be considered her most significant
triumph to date. At this theater, the Carnegie Hall of Jerez,
with an audience made up of locals, as well as Spaniards from
outside and foreigners, the reaction was nothing less than
euphoric, and you could hardly blame them. It’s a delight
to see this young artist move flamenco into the future with
intelligence, style, dignity, knowledge, respect and exquisite
taste.
Mercedes opened directly with a dance to ‘abandolao’
rhythm which nowadays dancers are managing like a laidback
bulería, with her guest dancer Marco Flores, and the
contemporary but flamenco sound of guitarists Santiago and
Francisco Lara provided the perfect accompaniment. After a
jazz-oriented instrumental piece, Mercedes reappeared, a vision
of elegance in her white bata de cola, an accessory she dominates
like no other dancer of her generation. She interprets alegrías,
possibly the best vehicle to showcase her artistic personality.
Mercedes Ruiz is the essence of femininity, never degenerating
into affectation or superficiality, because her concept is
that of a dynamic, self-assured woman, as intelligent as she
is beautiful. Each moment pulled off with precision, and they
abound, provokes excited cheering from the audience. Her Picasso
face wears a confident smile, the temperament comes out at
just the right moment, never eariler, and then the lady strolls
proudly around the stage like a bullfighter after a successful
pass. When she incorporates clearly contemporary moves, it’s
done with impeccable taste and the dance is fluid, never making
concessions, never over-the-top.
It’s a delight to
see this young artist move flamenco into the future with intelligence,
style, dignity, knowledge, respect and exquisite taste.
Taranto with tangos in the same line is followed by martinete
by Marco Flores. The dancer is competent but without reaching
the level or charisma of partner, and he benefits from the
good mood of the audience still aglow from Mercedes’
dance. An overdose of footwork, nearly all dancers do it nowadays
but we won’t stop complaining, and the end of the show
is a long bulerías ‘romance’ that Mercedes
works into something important.
At the Los Apóstoles wine-cellar, it’s singer
José Domínguez “El Cabrero”, he
of the perpetual cowboy hat and neck scarf, the unmistakable
image, specialist in fandangos and anything else you can think
of as the case may be. He has diehard fans in all parts of
Spain, so it’s no surprise he should surface in Jerez
as well, with his regular guitarist, Manuel de Palma. His
verses are homemade and often contain references to social
or political themes and his personality is unique in the most
literal sense of the word. On other occasions we’ve
heard him sing off-key, but in the wine-cellar his brave,
rustic voice was right on and he offered a dignified recital
before we headed off to the venerable Los Cernícalos
flamenco club, the oldest in Jerez, to enjoy Carmen Herrera’s
group.
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