Just an introduction, four dancers with their four solo numbers and a finale, that simple and that forceful was the approach of DancersBecause nothing else is needed when there are carats of art waiting to be squandered.
As soon as we entered, as we filled the stalls, we were pleased to see the number of artists who had come to see the show, to enjoy their colleagues, which already announced that the event was going to be top-notch.
On one side of the stage, four rush chairs were placed around a table. There they sat Manuel Tañe, the yyo, David Paniagua y Pepe Torres placeholder image, who, to our surprise and delight, carried a guitar with which he carried the musical weight of this introduction, with taste and flamenco and that unmistakable Moronero flavor. A meeting of cante and touch, which was incorporated Breast y canito, each contributing touches of their art. But for now, no dancing, leaving the anticipation in the air. And so it would continue, because next it was time to introduce the show's guitarist, John Requena, who performed a solo of great delicacy and sensitivity for us.
And now yes, the DancersThe chords of the bulería por soleá sound, and Canito, with his deliciously broken voice, Pechuguita with her power, and Tañé with his mournful voice and the aroma of sherry, gradually warm up until the great Pepe Torres enters, creating a masculine, powerful, and robust dance, but with just the right amount of salt in his hip and arm movements. A dance that astonishes, because it manages to make the virtuoso seem fluid and natural. Pepe Torres is constantly listening to the cante and giving it what it asks for. And on the escobilla, his mastery of the beat shines without needing to lengthen the number, achieving a duration that seems perfect, because it satisfies us and, at the same time, leaves us wanting more.
"Until the great Pepe Torres enters, creating a masculine dance, powerful, robust, but with just the right amount of spice in his hip and arm movements. A dance that astonishes, because it manages to make the virtuoso seem fluid and natural."
To welcome David Paniagua, the three singers stand in a circle, launching into fandangos, as if summoning the dancer to this small arena, where they will also sing bulerías, seeking an intimate atmosphere, as Paniagua's artistic personality suggests. His is a dance that plays with rhythm and feints, which focuses on subtlety much more than forcefulness.
After a transition through tangos, where the three singers had the opportunity to show off their magnificent abilities, came the dance of El Yiyo, por soleá. His dance stands out for being energetic, with racial outbursts and a mastery of the strength in his feet that leads him to show off virtuosity and rhythm, accompanying himself with the percussion of his hands, or with palmas as with chopsticks. The dizzying turns without losing balance, surprising and effective, cannot help but remind us of Joaquin Cortes of the early years.
The end was approaching, and the air of Cadiz filled the theater to welcome The Folder –who replaced Barullo–, who honors his lineage, that of the Farrucos, while maintaining that unique trademark. His special way of walking the stage, his almost acrobatic moves, his gypsy speed and strength, his ancestral art that the members of this family carry in their blood, are dazzling.
At the end of the party, Pechuguita could no longer hold back her desire to give herself little paw and he gave it to us with great grace and poise, and as a bonus, we received some snubs from Pepe Torres that were worthy of anthology.
Satisfied with the flamenco and authentic evening we had, we bid them farewell with a standing ovation.
Credits
Dancers, by David Paniagua, Pepe Torres, El Carpeta and El Yiyo
IX Art Biennial Flamenco from Malaga
Edgar Neville Auditorium, Malaga
26 June, 2025
Dance: Pepe Torres, David Paniagua, El Yiyo and El Carpeta
Cante: Manuel Tañé, Antonio Canito and Pechuguita
Guitar: Juan Requena
Capacity: Almost full
