The querencia of the new generation of flamenco dance for contemporary dance is confirmed. His footprint is perceived in works in which, beyond what can be seen on the tables, the presence of its professionals is included in the credits. The participation of the dancer and choreographer Sara Cano in the new show by Marco Flores, presented at the Jerez festival, is aligned in this trend. She is the vortex, around which revolves the new challenge of a restless dancer, who rejects comfort. With it he confronts the spectacle in a step by two that seems to have no end, full of changes of rhythms and mixture of languages in a permanent opposition of opposites that attract and reject each other. The tempo languish at times. Suddenly, intensity increases. The plans are interchanged or superimposed. The cantes come and go, they follow one another in the same discontinuous line of a dance they attend, although in some moments they pretend not to accompany it. All as part of a supposed game of contrasts in which there is room for improvisation. A work of reading that is as complex as it is open and that never intends to be easy.
You have to look at the technical file to understand that the papers are not delimited, that all the participants appear as "interpreters". The limits are blurred in the same way that the personal brilliance is diluted for the sake of a group work with some specific exceptions: the guitar of Almarcha, impressive in the farruca, and the brief but juicy dance of Ana Romero, because the work to cante of Mercedes Cortés, chaining styles without pause, was one of those that should take artists to the limit of exhaustion. Whoever came to enjoy Marco's substantial dance, had to wait a long time. The elegance of his arms, the twist of his wrists, the unfolding of the feet with the ease that characterizes him, were only flashes for much of the work. It took almost an hour for the bulerías to arrive and, above all, the cantiñas to meet up with him again. He danced the Bach Goldberg Variations in a percussive and expressive way so that, in the end, he could star in a dance dialogue, perhaps, with his own projected shadow.
The dancer Rubén Olmo met in his show at the festivel all his dance references: that of the Spanish classical dance in the first place, as a great mother that can welcome in his breast manifestations like flamenco or folklore going through the bolero school. It also included others closer, those that go from teachers to classmates and even to disciples. The first are not named, but they are implicit (Linares or Azorín). Of the latter, he choreographies expressly created for him, as is the case of Israel Galván and Estévez & Paños. Two former students - Eduardo Leal and Patricia Guerrero - let them fly to show their own creations that he shares with them in equality. Three steps to two very different in its conception and execution. But, above all, the great reference to which Rubén welcomes is himself: his own dance and his own aesthetic, which is what ends up giving unity to all the pieces gathered in a work that tries to be a reflection on the artist's life and the hours spent in front of the bar and the mirror, which he wants to share with his audience.
Olmo recognizes that this is his most intimate work, and it is not only because of the selected contents, which in some cases come from other works, but because of the treatment they receive in a show that is careful and fluid even in musical transitions , with a band that creates the necessary atmospheres for each piece. The first step to two with Leal transmits delicacy and pause, one of the constants of the work that, nevertheless, had its moment of exception in the taranto dance followed by live tangos, the flamenco moment of the show. It was pleasant to recognize Galván's smell, the humorous tone and the geometries that identify him in his False Farruca. It was also noticeable the aesthetic renovation that Estévez and Paños bring to the genre in the interpretation of the Sonatas del Padre Soler. Ruben is ductile with these proposals while making them his own. In the same way that it is coupled to the design of the step two that the young Guerrero proposes to him, obligatorily fresh. One more example of the elegance that presides over the entire work. The final touch, the spectacular Shawl dance, Of his work Tranquil Riot, with those shapes that simulate strange birds, besides a gift, it seems like an exercise of vindication of a school, the Spanish, and an aesthetic, his.