Jerez de la Frontera (Cádiz), May 14 (EFE) .- The bailaor Eduardo Guerrero premieres this Saturday at the Jerez Festival his show ‘Debajo de los pies’, where he will unite tradition and avant-garde, and which is born from a feeling of search of “the most earthly” of the bailaor from Cadiz.
According to Guerrero himself, his show is “a piece of amalgamation, intertwining points of view, where tradition and contemporaneity go hand in hand”.
The Festival organization has explained in a note that ‘Debajo de los pies’ is a group piece in which bridges are built between different aesthetic lines, a work where Guerrero “felt the need to share, to grow as an artist.”
‘Debajo de los pies’ was born, he explained, from a feeling of search for “the most earthly”, an investigation that began in 2017 and was guided by David Lagos, to reach other shows and the unexpected pandemic, at which time Guerrero takes up the idea of ”rescuing this material”, since he does not feel the need to walk, “but to stop for a while.”
In this state of collective uncertainty, Guerrero considers social conflicts beyond dance: lack of communication, excessive individuality, and why all this happened, and turns to guitarist José Acedo to “organize the musical script”.
Like Tío Maleno, Remedios Amaya will appear in a video in this montage, since, as the artist himself explained, “we needed that presence because Remedios Amaya is the artist who has walked the most”.
In this “Debajo de los pies”, with dramaturgy and stage direction by Mateo Feijoo, Guerrero will offer a wide range that includes bulería, milonga, alegrías or tangos, while his dance will be accompanied by Sara Jiménez and Alberto Sellés.
After Eduardo Guerrero, on the stage of the Villamarta Theater it will be possible to see on Sunday ‘Al fondo riela (Lo Otro del Uno)’, the second production that the Malaga bailaora Rocío Molina dedicates to the guitar and that is part of a trilogy around this instrument.
A project still in development that began with ‘Inicio’ and that retraces the path of the flamenco tradition to go through it again and recover the essence of the creative act that nests in this art.
Rocío Molina’s montage is the result of an investigation to discover the immense artistic landscape that surrounds the guitar, an instrument that suggests ideas and that, taking as a reference some of its interpreters, opens the doors of a world in which it is necessary to deepen.
Hence, the bailaora understood that this kind of homage to the guitar had no place only in a show and carried out this incomplete project until closing it with its third part.