The dancer from El Puerto de Santa María Jaime Cala He brought his proposal The Trinity of Flamenco to the oratory of Monastery of San MiguelThis show stands out for its meticulous aesthetics and conceptual depth, as well as having a charitable purpose supporting... AFA PuertoA talented cast shone during the evening: cante, Tolo de Jerez y Eve of Christ; instantly, Juan Ramon Ortega; in the rhythm and commotion, José Peña, with the fundamental contribution of Maria Antonia Neva, who brought a poetic discourse that structures the entire work. javier villar He was in charge of presenting the event.
From the outset, Cala proposes a symbolic interpretation of flamencoaligning itself with the Christian Trinity: canteMusic and dance are presented as three expressions of the same essence, all united by an essential but invisible element: the rhythm. This idea, far from being merely rhetorical, translates into a sober set design—an almost empty space with a triple screen—in which each component has its own meaning.
María Antonia Neva, dressed in red, opens the performance with poetic prose that draws the audience into the seguiriya from an almost ritualistic perspective. This establishes a contemplative atmosphere that defines the tone of the work. symbolism, restraint and dialogue between different disciplines.
El cante It begins in the toná style, with a bronze-toned, firm voice that moves towards the carcelera as a prelude to the seguiriya. Juan Ramón Ortega's guitar accompanies with clarity and feeling, without resorting to artifice, offering a musical discourse rooted in Cádiz. It is noteworthy that The singer will choose to perform with his back to the audience at certain moments, which accentuates the introspective dimension of the performance. The compass, sustained by the palmasIt plays an organic role here, although at times its excess can overshadow nuances of the footwork that follows.
Jaime Cala's appearance performing soleá, dressed in black, reaffirms the key elements of his style: a traditional, stylized dance that does not seek to highlight the cantebut rather to integrate with it. The connection is clear, an understanding that places the dancer within the musical fabric, without standing out from it. His footwork is understated and measured, with a clear intention to listen.
As the taranto shifts, the atmosphere changes. The scene reorganizes around the screen, illuminated by a lamp reminiscent of the mining world. Eva del Cristo's a cappella voice emerges with power and poise, just before the guitar naturally joins in. Jaime Cala, dressed in earthy tones with golden details that reflect both the mining wealth and its plunder, performs an elegant dance, his quiet authority filling the space. Here, his affinity for traditional dance is evident: his expressive use of silence, his economy of movement, and his direct gaze that establishes an immediate connection with the audience.
"Jaime Cala develops an elegant dance, with a quiet authority that fills the space. His fondness for ancient dance is clearly perceived: expressive use of silence, economy of movement, and a direct gaze that establishes an immediate connection with the audience."
The soleá, reintroduced through Antonia Neva's text, once again becomes the central focus of the performance. cante It gradually gains intensity and culminates in bulerías from Jerez, in which Jaime Cala displays a more open language without losing its rigor. His dance expands, incorporating Classical flourishes and a rhythmic freedom that connects with the audience, avoiding showiness.
The shift towards joy symbolizes an opening, both musically and theatrically. Antonia Neva extends her intervention into movement, while the cante Eva del Cristo's story is set in the air of cante of the bay. Jaime Cala, dressed in light blue with fringes from a Manila shawl, provides an elegant, clearly classically trained dance, where The echoes of the masters are noticeable: a masculine dance, of presence and promenades, that prioritizes communication over exhibition..
The finale with bulerías from Cádiz acts as a collective release. The audience, fully engaged, accompanies with palmas and “oles”, participating in a festive closing that brings together the entire cast in a celebration of the shared rhythm.
In the epilogue, Jaime Cala takes the floor, revealing not only the performer but also the teacher, educator, and creator behind the project. His speech reinforces the central idea of the show:the need to understand the flamenco from the knowledge, structure and awareness of its essential elements.
In summary, The Trinity of Flamenco It presents itself as a work with remarkable internal coherence, where scenic restraint and symbolism—both chromatic and in the simplicity of the lighting—are not mere embellishments, but a language in themselves. Jaime Cala's dance, heir to the old style, is rigorously integrated into the dialogue between cante and touch, showing an artistic maturity that avoids sensationalism and is situated in the realm of expressive truth.
Thus, in the oratory of Saint Michael, The proposal transcends mere spectacle and transforms into a living reflection on the flamenco: a tribute to tradition from a structured and contemporary perspective, where the trinity —canteThe rhythm and the dance—manifest as a single heartbeat. The beat, that secret pulse, sustains an evening that balances tradition and aesthetics with serene depth.
That's how it was and that's how I felt: a flamenco When it is authentic, it needs nothing more than its own essence to reveal itself.
Credits
The trinity of flamencoby Jaime Cala
Hotel Monasterio, El Puerto de Santa María (Cádiz)
April 18th 2026
Dance: Jaime Cala
CanteTolo de Jerez and Eva del Cristo
Guitar: Juan Ramón Ortega
Rhythm and commotion: José Peña
Presenter: Javier Villar
Text: Alfonso Delgado
