. "Vamos al tiroteo", versiones de un tiempo pasado.
. Una mirada del flamenco
"Vamos al tiroteo", versiones de un tiempo pasado
There’s always a past and that has very deep roots in flamenco. They’re the roots of what we are today and what we do. Dwelling on it means not being in the present. Living it from the present means paving the way for what will come tomorrow.
What can you say about the importance "Canciones populares" had for yesterday’s show and today’s, because they belong to the crowd, because we’ve grown up with them and because they were a part of us. They’re the starting point towards which I find myself today and a possible road to what will come tomorrow.
The main idea is to stage an album which has been a source of inspiration for many artists. Transferring songs from the year 1931 to nowadays, with musical, stage and choreographic understanding that differs a great deal from what there was at that time, but with the same spirit of making lyrics and types of music belonging to the people reach the crowd, which relate the lifestyle of past generations and which form a part of us.
Rafaela Carrasco
Una mirada del flamenco (A look of flamenco)
Sevillan Rafaela Carrasco is one of the most important flamenco choreographers of the younger generation. She is also a breathtaking dancer known for her virtuoso footwork. Una Mirada al Flamenco fully displays her rare ability to explore new concepts while maintaining the essence and integrity of flamenco.
On a spare stage, Carrasco’s company peforms to malagueñas, bulerías, tarantos and other flamenco rhythms. In what Carrasco has described as the show’s “bravest moment,” male dancers appear wearing the traditional bate de cola, a long flamenco skirt with a train. The company includes five male and female dancers and an equal complement of guitarists, singers and other musicians.
“This 70-minute bravura display incorporated modern dance vocabulary -- contractions, leaps and lifts -- as well as more unexpected elements: Indian vocals, African drums, a cello, bare feet and men manipulating tail-frocks,” A The Washington Post critic wrote of Una Mirada al Flamenco. “Yet it remained coherent and true to its roots.”
Rafaela Carrasco
