It has become a tradition. At least once a year, as a strict precept, the Peña Flamenca Torres Macarena Seville surrenders at the feet of the moneyBut this time it was very special. Because he viscerally curled the patterns of his body at the command of the splendid, resounding, and unique guitar of Rafael Rodriguez The Head, which led, at the will of the sensitivity of its strings, to the wrapping of the palmas de Emilio Castaneda and the throat of wounding tiles of El GalliA supremely talented performance that elevated to the very essence of flamenco the ritual bestowed by the Granadan folk song, imbued with the spirit of the soul, played by Undibé, brimming with the untamed passion of the dance. And the audience was captivated by the ceremony. pellizcoprostrate before the majesty of a flamenco dancer who took his breath away, touching the ardent hearts that showed him respect and their deep admiration.
Rafael began by trilling the Moorish echoes of his zambra with tanguillos, his hands strumming the guitar, in which he poured out the idiosyncrasies of his playing, replete with tiraíllos, bordoneos, stopped notes, and a distinct, personal musicality. It was the harbinger of a powerful and well-rounded recital that continued with the malagueña of Chacon y The Twin Filtered through the appropriate meccas of El Galli's blessed throat, in a state of grace, inspired, full of emotion. La Moneta paraded the tension from the dressing room, walking through the absences of time. She climbed the three steps of the platform and transfigured herself, imbued with the incorporeality of the mysticism with which she allies herself from the moment she sets foot on the wooden beams and fixes her gaze. Fuensanta is the one who dances best with her eyes. She becomes animalistic, distorting the centers without stridency, overwhelmed by the inexplicable of flamenco, because of that which captivates and seduces you irremediably, placing you in the pleasurable obligation of surrendering to the dictates of its whims. It crackled with the sound of soleá. It stopped the clocks and accelerated heartbeats. It knew how to pause, brimming with gypsy spirit, even though it doesn't sell lime. And from the heel to the tips of its black hair, all flamenco, it scraped its asaúras to dominate over the woodens. Tremendous feet and hips, perfectly executed poses, strength, rage… powerful arm movements, gestures bordering on madness, and eyes that could deliver daggers of enormous size jondos leaving our flesh open until the day we see her again and she heals the wounds.
"Fuensanta is the one who dances best with her eyes. She becomes animalistic, her innermost features distorted without fanfare, overwhelmed by the inexplicable nature of..." flamenco"...because of that which captivates and seduces you irremediably, placing you in the pleasurable obligation of surrendering to the dictates of its whims."
I'm too clumsy with words to describe the calls, the silences, that way of walking, their figures… How La Moneta danced! You have to experience it. I can't describe it.
Cabeza led the way. He ruffled our feathers with bass strings and treble strings. He started playing bulerías to the lullaby of the palmas by El Galli, Emilio, the guitarist Alvaro Moreno y Dieguito Amador, who went up to give Rafael the place he deserves, enjoying his divine touch, the one that travels through the flamenco With nods to rock and the sounds of Morón, without forgetting the legacy of the great masters. El Cabeza's playing is mind-blowing. A guitar of original flourishes, absolutely different from all the others, fresh and profound, new and also primitive. He humbly apologized for not having the swagger that many young musicians possess. And, forgive me for saying so, Rafael: the jingle has you.
Fuensanta arrived on stage with a seguiriya and tore my skin to shreds. Galli opened it up with the roads of Bollullos, putting all his courage into the groans and, after remembering Uncle Jose de Paula and melt a heart as hard as stoneShe delved deep within herself, emptying herself into the male member with which her throat burst like ground gold. La Moneta danced the seguiriyas of pain. She herself was The personification of sorrowful lament, dug his nails into the wounds, tattooing scars of substance in the sense of passion. No, I don't know how to explain what happened.
La Moneta wrapped up the improvisation recital and flamenco Drunk on tangos from Granada. To take bites, with hip swaying, with style and flair, finishing off the whole thing, captivating the audience who, completely devoted, showered her with applause and ovations that never ceased, seeking to perpetuate her performance as an eternal monument that would remain forever on this stage.
*We'll be sharing some video clips with you soon.
Fartistic style
Dance recital by Fuensanta La Moneta
Peña Flamenca Torres Macarena of Sevilla
January 30, 2026
Dance: Fuensanta La Moneta
Cante: David El Galli
Guitar: Rafael Rodriguez The Head
PalmasEmilio Castañeda
