XV BIENAL DE FLAMENCO DE SEVILLA
‘TIEMPO PASADO’ – Nuevos valores del flamenco
Text: Gonzalo Montaño Peña
Dance: Leonor Leal, Ana Morales, Antoni Molina “El Choro”, Jesús Aguilera and Juan Diego; Cante: Javier Rivera; Guitarra: Juan Campallo; Violin: Bruno Axel; Percusion: Antonio Montiel.
“Tiempo Pasado” is a dance show included within the series “El Flamenco Que Viene” which the organization of the Bienal de Flamenco de Sevilla presented at the Teatro Alameda. Five young dancers are at the center of this work which seeks to find a theatrical balance in the various choreographies included.
A lovely white stage, with long transparent curtains behind which the musicians were partially hidden, the floor full of papers giving an appearance between chaotic and floral and wooden tables is the setting for the five dancers who look like models from any magazine of young people’s fashion, but within a feeling of times past representing the cycle of love and unlove as the force of life.
Without a doubt the work is well-constructed and worked by choreographers and dancers, and the music is appropriate for the various scenes represented. In the group dances however, there was a distinct feeling of watching an advanced dance class. In the solo dances, it was more possible to appreciate the spirit of each one of these young hopefuls.
The first to appear alone was Leonor Leal with a tango dance in which she developed suggestive, rhythmic forms, but as in the rest of the show, there was little room for improvisation.
Between lovely flamenco-sounding songs, long strictly instrumental passages and some flamenco cante, we also saw Jesús Aguilera dance bulería por soleá on an overturned table, with plenty of strength and orginality.
Singer Javier Rivera had some excellent moments, especially in the most flamenco portions, although at other moments, such as the caña, he sounded somewhat forced in the sound he was seeking, at the same time there was a certain reminder of times past. It was also in the caña that dancer Juan Diego demonstrated his strength and depth of emotion.
Dancer “El Choro” had an interesting dance without the use of arms which hung freely inside his jacket, leaving the sleeves empty. He proved to have great command of compás in a choreography that ended with the three male dancers together.
Ana Morales displayed her artistry with a song in three quarter time, moving with subtlety and a pleasant aesthetic, and closing with tonás to make an interesting and original number.
Juan Campallo’s guitar was the perfect backup, and Bruno Axel’s violin added a touch of sweetness to the instrumentals.
Overall, “Tiempo Pasado” is a visually rich show, with carefully constructed staging and original contemporary dance, easily digestible for any type of audience, and within the latest tendencies of flamenco dance.