Among scholars of the origins of flamencoEven among the most antagonistic, there is at least one clear consensus: that this music did not arise from comfort or opulence, but from precariousness, hardship, injustice, rage, and pain. So much so that there is an absolute identification between the jondo And that low social standing, which ends up developing into a kind of pride. The same pride to which he appeals. Irene Olivares in the performance that he brought yesterday to the Sala Compañía in his native Jerez, within the framework of Festival that is celebrated these days.
Directed, with music and lyrics by santiago moreno, Landscape flamenco Andalusian with depth It is simultaneously a glimpse into that formative period and a tribute to Andalusia on the very eve of February 28th. Two humble sheets hung on a branch serve from the outset as both backdrop and sole set, reminiscent in some ways of the popular theater of the 60s and early 70s, with its strong Andalusian spirit. The artists will parade across this stark setting, among whom the voices will assume considerable prominence, even though on paper it is a dance performance.
The selection of canteIt tends to emphasize that search for the painful root of flamencoThat “drowning in blood to be reborn in the very artery where all the universal tragedies and joys of the world converge,” as the synopsis states. This unfolds through a repertoire rich in fragments from the depths of memory, ancient echoes among which we distinguish the toná of Thomas Pavon, soleares de the Sernet, the petenera of Medina the Old, cantes de Levante or seguiriyas, among others.
"Irene Olivares, although she seemed to be out of the spotlight for too long, improved as the performance progressed, ultimately delivering excellent examples of her robust, austere, and essential dance, perfectly suited to the dark attire through which pink shoes peeked out."
As for Irene Olivares, although she gave the impression of being out of the spotlight for too long, she improved as the performance progressed, ultimately providing excellent examples of her robust, austere, and essential dance, in keeping with the dark attire through which pink shoes peeked out, like a touch of color amidst the chromatic rigor.
The interspersed monologues, which only served to further emphasize the aforementioned message—that epic of poverty around which the proposal revolves—were not particularly enriching; nor was El Borzo's rap style, a current reflection of that vindicatory spirit of "land and liberty," which, by not interacting with the other musicians, felt somewhat out of place.
The whole thing may have needed a general overhaul or sanding in terms of rhythms, transitions and cohesion, but it left me pondering something that has less to do with the artistic aspect than with the social dimension of this work. What remains of that rural Andalusia, of calloused hands and fields watered with sweat? I fear that the vast majority of Andalusians live completely unaware of that reality.And that today it would be primarily immigrants, mostly from sub-Saharan Africa, who could best embrace the message. Shouldn't we update our understanding of Andalusia, asking ourselves about possible new interpretations of those old lyrics? Could the flamenco through the mouths of those who cannot say "oh"?
Credits
Landscape flamenco Andalusian with depthby Irene Olivares
XXX Jerez Festival
Villamarta Theatre in Jerez
February 27th 2026
Dance: Irene Olivares
Direction, music and text: Santiago Moreno
CanteEva del Cristo, Wilo del Puerto
Rap: The Borzo of Jerez
Cello: Sofía Torres
Palmas: Jose Peña
Guest artist: José de los Camarones, Paco Moyano (cante)
