I always find the concessions of dancing too many. flamenco to contemporary dance. It's a personal thing. I don't question the aesthetics or artistic quality of some proposals or performers. Let's see who can put limits on the unknown. Because creativity and experimentation are inherent to art, which never exhausts its possibilities. But I remain determined to go to The Biennial or Jerez Festival see flamencoWith an open mind, yes. Valuing avant-garde forays in their proper measure and wanting to let out a resounding "olé" to leave the auditorium shaken, saddened, or happy. The mere contemplation of beauty without the wound or the exaltation of joy rarely moves me. And that's what happened with The matter, Olga PericetA flamenco-tinged allegory of introspection that dreams of the guitar from within and its origins, brimming with figures of unquestionable technical virtuosity, with truly beautiful passages visually and full of suggestive movements, laden with symbolism and even exquisite sensuality. But little flamencos.
It was too difficult to find the corners of the pellizcoThe occasional outburst from a lone fan in the audience seemed hilarious in the face of the cold, sepulchral silence that respectfully accompanied the entire performance, the second installment of a dance trilogy based on the famous guitars of the legendary Antonio de TorresOlga already surprised everyone with La leona And she's done it again in this show alongside daniel abreuThe dancer also holds the National Dance Award. Therefore, it's obvious to recognize the artistic merit of both, who are given almost free rein with eager anticipation every time they step onto the stage.
The music scene forgets about cante, consistent with the argument. But the ensemble is of the highest caliber. The precision and compositions of the guitar playing are extraordinary. Jose Manuel LeonThe bass guitar is superb. Juanfe Perez and sublime the percussion of Javier Rabadanwhose hands hold the hidden mysteries of the musical staff. However, most of the time the sound evokes more the anguished soundtrack of a suspenseful thriller than a flamenco piece. Although there were hints of seguiriyas, soleá por bulería, a curious and distinct petenera, some tangos – perhaps – and a rather unique bulerías finale.
"An introspective, flamenco-tinged allegory that dreams of the guitar from within and its origins, filled with figures of unquestionable technical virtuosity, with truly beautiful passages visually and full of suggestive movements, laden with symbolism and even exquisite sensuality. But little flamencoIt was too difficult to find the corners of the pellizco»
Wood is the material. And the body. Olga and Daniel play with density and textures. The planks are laid out on the floor and serve as both support and stage. The torsos are firm. Initially, they move like puppets, hard and rigid. But as they are handled, they become ductile and malleable, just as matter transforms into its three states: solid, liquid, and gas. Without resorting to metaphor, I feel compelled to illustrate or express this concept in this way, establishing a temporal analogy from the beginning to the end of the performance, or at least visualizing its reflection in the forms. Olga journeyed from silence, darkness, and solid rectitude to becoming unrestrained, her hair flowing freely, dancing bulerías in an ethereal and jovial atmosphere. She passed through a fluid stage where she was all curves in Abreu's hands, who picked her up, set her down, lifted her onto his shoulders, caressed her, twisted her, and molded her—sometimes with acrobatic gestures—like the hoops of a bajañí (a type of flamenco guitar) are shaped and the instrument's soundboard is polished with a soft hand, with passion, dedication, time, and delicacy. This is how Olga appeared in Daniel's arms.
The duets were beautiful, the petenera was magnificent, and the moments with the shawl were wonderful.Although the way they throw it to each other, roll it up, and even step on it sometimes might be sacrilegious, there's no intention of iconoclastic rupture. The image of a lioness was projected onto the canvas, a nod to his previous work. Also quite evocative is the piece in which Abreu dances with two guitars in each hand. And then there's Olga playing a guitar with a neck tucked into her dress at the back.
In the end, the strobe lights and the flashesAlong with a handful of microphone stands, they simulated the frenetic end of the party, even with annoying noises, in which Olga dances particularly splendidly to bulerías and with a lot of reverb sings the typical and clichéd shouts of the flamencoThat which was reduced to its bare minimum, but which was still there.
The matterShe says, "It's my most intimate work, a very physical, creative journey that seeks a flamenco In its essence, innovative and naked. A flamenco that expands. It is wood, vibration, truth." But… where do I say ole?
Credits
The matterby Olga Pericet
Jerez Festival
Villamarta Theatre, Jerez de la Frontera (Cadiz)
February 22th 2026
Dance: Olga Pericet and Daniel Abreu
Guitar: José Manuel León
Bass: Juanfe Pérez
Percussion: Javier Rabadán
