I was recently discussing with a friend the power of clichés to create realities—that is, how we generate commonplaces that, in the end, also shape us. I thought about this again while witnessing the landing in the Jerez Festival de Blessed landthe proposal of Ballet Flamenco Andalusia.
It's been a long time since Andalusians wore jackets and hats, nor did Andalusian women wear flowers in their hair or decorate their shoulders with colorful shawls. We're not Marín dolls or bottles of Tío Pepe sherry. But that image is so powerful and deeply rooted that it has remained in our popular festivals and even in some official ceremonies. And let's not forget the perception of outsiders.
That picturesque charm so abhorred by modernists in the 70s and 80s is back in fashion, and the BFA has chosen to play with it to create its own unique celebration of the region. The extensive repertoire began with the Ballet's young cast performing bulerías, tangos, and tanguillos, before giving way to the taranta of Marchena in the voice of Manuel de Gines, already a round of tangos and tientos around the usual tavern table.
"Patricia Guerrero's presence on stage considerably raised the level, demonstrating why she's the boss. She brought artistry to the recitation of Manuel Benítez Carrasco's poem 'Fiesta en la gloria,' showcasing remarkable acting skills. She gave a heartfelt performance of the bulería por soleá and ended by shining, with the rest of the company appropriately dressed in mourning, with a seguiriya—an unusual finale."
Next up, one of the highlights of the night: a simply spectacular drum solo by that great percussionist who is David Chupetewhich will continue with fandangos, joined by the rest of the company. A moment to shine for the voice of Amparo Lagares and a beautiful pas de deux in the style of granaína before the tanguillos danced by the men and the cantiñas danced by the women with shawls and flamenco dresses, as if they had stepped out of a painting of Rosemary of Torres or Sorolla, joining Patricia guerrero to the choreography.
At that point, however, I began to think that the very attraction exerted by the romantic imagery of Lower Andalusia could also be a burden. Although the program text promised the ever-appealing dialogue between tradition and modernity, between the 18th and 21st centuries, the truth is that the stereotypical imagery ends up gravitating inward, serving neither the ancestral echo nor projecting it toward the future. And that is by no means a demerit of the hardworking and talented cast we have already applauded in several productions, but perhaps they will learn with this production—since ballet is an excellent school—that sometimes you can do everything right and still not be able to prevent the result from tending toward flatness.
Guerrero's presence on stage significantly raised the bar, demonstrating why she's the boss. She brought artistry to the recitation of the poem. Party in Glory de Manuel Benítez CarrascoDemonstrating remarkable acting skills, she gave a heartfelt performance of the bulería por soleá and ended up shining, with the rest of the company appropriately dressed in mourning, in the seguiriya—an unusual finale for a show of this kind. In short, a production that will please those who enjoy predictable stereotypes, but will leave many wanting more.
Credits
Blessed land, from the Ballet Flamenco Andalusia
XXX Jerez Festival
Villamarta Theatre
March 3th 2026
Stage direction and choreography: Patricia Guerrero
Flamenco dancers: Adriana Gómez, Araceli Muñoz, Claudia 'La Debla', María Carrasco and Sofía Suárez
Dancers: Álvaro Aguilera, Ángel Fariña, Arturo Fajardo and Hugo Aguilar
CanteAmparo Lagares, Manuel de Gines
Guitar: Jesús Rodríguez, José Luis Medina
Percussion: David Chupete
