It will take a while for the complex rhythms of flamenco to leave my head. The interlacing of voice with the clapping of hands, the stamping of feet and various musical accompaniments, but especially the guitar, has been ubiquitous for me over the past nine days. From wonderful professional performances by masters of their art to the joyous dancing of the students of the schools of flamenco on Plaza Belen before an appreciative, local crowd, it has been a delight. This morning’s grey south London has nothing to compare with the vibrancy and colour of Jerez de la Frontera, where the scent of orange blossom is already in the air.
Two amazing guitarists were the bookends to our festival this year. We began with Salvador Gutierrez in the converted 16th century church of the Sala Compania. He played a loose and fluid form of flamenco guitar, often varying completely from the melodic into atonality and jazz, only to return to the melody later with supreme artistry. Our festival was closed by Daniel Casares, (left) whose recordings I will seek out. His playing was more traditional in style but he too ranged widely, interweaving with the light and liquid flute of a flautist whose name I didn’t catch and who isn’t credited on the official programme. This was a very informal type of show, with people climbing up on to the stage from the audience to join in. I’ve attached a clip below (starts after five seconds).
In between we were treated to some remarkable dancing. Manuel Linan, darling of the Festival, was back at Teatro Villamarta with a new show Pie de Hierro. Named for and dedicated to his father, who was injured in a road traffic accident which curtailed his career as a bull fighter, but who placed his own heavy expectations on his youngest son, Linan; this complex and difficult relationship is explored in terms of conformity and rebellion, tradition and personal expression. Linan likens this to his relationship with flamenco. There’s a full interview in Lavozdelsur here. It was a highly personal show and very different to the wonderful ensemble work in Viva! or the clever Reversible. The dancing was, as ever, exquisite and powerful at the same time and David Carpio, a long time collaborator with Linan, admirably represented the father/tradition figure in song. A duet between two guitars, one electric, one flamenco, extended the metaphor of duel and dialogue. It was wonderful too.
Less personal, but also excellent, was Alfonso Losa, dancing at the same venue with Concha Jareno. The stage pictures of them dancing separately, but in absolute unison, will stay in the memory for a long time. The sensuality on show, with minimal physical contact, was remarkable and totally unlike another pairing, that of Olga Pericet and Daniel Abreu at the Atalaya Museum. That was born out of flamenco but had moved a long way away from it, into the realm of modern dance, atonal white noise and strobe lighting. The artistry was breathtaking, though sexy it wasn’t. This was the second part of an ongoing work which Pericet began developing some years ago and which she aims to complete in 2023, inspired by the famous guitarist Antonio De Torres.
Much more laid back (though probably not for the participants) was our Andalucia Day morning in Plaza Belen watching the students of the various flamenco schools strutting their stuff. Everyone got their turn in the spotlight and everyone received applause from the predominantly local crowd sitting in the amphitheatre and standing near the stage (proud relatives included). Then we all went off to eat venison at an open air cinema. Perfect.
Official photography is by Javier Fergo (unofficial by me and Helen Hughes). Here’s a bit of very fine guitar to send you away happy.
Julie Anderson 