Torres Macarena It's going to be amazing. Since its reopening after the summer, it has brought shows that are impossible for a peñaIts programming is reaching a level that doesn't diminish at all, or even surpasses that of major festivals. With the pleasant additions of intimacy, the lack of PA systems, and the fact that, on many occasions, the party takes place afterward, where nothing but the fans and passion for this poison that has us imprisoned behind bars of caramel.
The audience was packed with artists. I'll forget many, but The Farruca It seemed like the seat was burning, or Hope Fernandez and his sons Miguel y David. Carmen Ledesma He shouted cheers at him, we also saw the Torombo, Juan Paredes, Manuela Carpio, Yaiza Wheat, Joni Torres, Dieguito and Antonio Amador, Yuss Wieggers and Antonio Díaz, Zaira Prudencio, Sarah Korea, to the guitarists Juan Anguita y The Carqui, to the singer Dew Moon, Petete y Emilio Castaneda, which Joseph of uploaded palmeros and they agreed without hesitation. Juani of the Three Thousand, who left his throat cheering… In addition to several photographers and the festival directors of Mont de Marsans and expoflamenco, among many other serious fans and people from all over the world. It was a hive of activity that showed that Joseph Maya He is an artist of artists. Nobody wanted to miss it. Betis was playing. But the peña It was packed because the Champion League.
«Real fans and people from all over the world. That was a hive of activity that showed that José Maya is an artist of artists. Nobody wanted to miss it. Betis was playing. But the peña It was packed because the Champions League was being played.
Joseph wrapped himself in the ropes of Jesus Rodriguez, already well versed in dance accompaniment and with an enviable sense of rhythm, apart from the imprint he gives to the cypress with a musicality that enchants and captivates. Jesús lives the flamenco Through the guitar, he radiates the necessary taste and spunk to captivate my ears and carry the painting away. They were especially inspired David El Galli, with his throat cracked and his back well loaded, and a Manuel de la Nina who gave it their all, proving more and more every day that when the wind comes, they search for palates of substance. They didn't miss a closing, nor a dirty drum roll, nor a bit of time. palmas of Emilio and El Petete. Everything pointed to a perfect night. All that's left is for me to tell you about José Maya or the apotheosis of dance and cante.
The silence was broken as usual by a guitar solo. Jesús poured out a basket of tricks with sensitivity, dripping with tremolos, to perfume the air. Then the Levante arrived to El Galli's nut, which chewed the cante full of black sounds in the taranto. The Nina's did the same and they arrived at the tangos, remembering Joan of the StirWith a splash of salt the joys approached the woods and José danced as he pleased. The peña. Then the singers strung together a string of abandolaos as a prelude to a solemn, tremendous, colossal soleá… in which José sang so well he could eat him up. –I don't know if I like dancing or singing more– and which he finished with bulerías to crown his proposal, receiving a standing ovation from the fat women of this sunny house.
José Maya is a beast at this. He danced as he pleased, for the pleasure of dancing, without the need to prove anything. He gave his all on the macarena stages. He forgot to include the classic escobillas in the alegrías. He wasn't constrained, but rather strutting in the enjoyment. He danced to the cante The guitar was already playing. He was cheered on by the crowd, who cheered him on, ardent with style and flamenco., happy to attend the ceremony of the jondo, to the ritual of flamenco Without pretense. He danced with the truth, without thinking, feeling it, combining incredible barrows, crazy calls, and trapío gestures that fired up the crowd. José Maya has it all: technique, a hundred-foot beat, strength, precision, and clean footwork, a manly and exquisite arm movement, waist, personality, originality in his pose and steps, he knows how to stand, he doubles his flourishes, he's overflowing with resources... In short: he's touched by the magic wand.
Sometimes when I looked at him hypnotically with his hair over his face, I wondered if he wasn't a God of dancing on the beams of Torres Macarena who had come down from Olympus to mark the paths and roads. I will be left tattooed in my memory with one of his glances and that halo of kindness that could be felt around his figure.
"José Maya has it all: technique, a hundred-footed rhythm, strength, precision, and clean footwork, a manly and exquisite arm movement, a waist, personality, originality in his pose and steps, he knows how to stand, he doubles his moves, he's overflowing with resources... In short: he's touched by the magic wand."
The bulería that closed was stratospheric, the pinnacle of gypsy dance. José punctuated the Ten Commandments of Black Dance with his boots. I'm not saying you'll beat it. Match it, gentlemen.
It was curious. The crowded closing party that was expected with the number of artists there and that is usually a trademark of the house didn't happen. José gestured to Torombo to come up and he opened his hands as if to say: "After you, who's dancing?" Under the stage or in the dressing rooms are other codes. And it formed, giving free rein to the intoxication of art to which José Maya treated us with his dancing and his cante. Unrepeatable, sublime, apotheotic, bestial.
Credits
Dance recital by José Maya
Peña Flamenca Torres Macarena of Sevilla
24th September 2025
Dance: José Maya
Cante: David El Galli and Manuel de la Nina
Guitar: Jesus Rodriguez
Palmas and compás: Antonio Amaya El Petete and Emilio Castañeda
