A new cycle has just been born flamenco in the metropolitan area of Granada, specifically in Maracena, with the help of those responsible for the International School of Flamenco Manolete called Fall Flamenco. Juicy renowned artists are expected on the poster: Antonio Canales, Pastora Galvan, The Yiyo y Joni Cortes, which we will tell you about in different and successive reviews. The cycle started on Thursday, October 24 with the performance of Fuensanta La MonetaShe did not present a new work. She simply presented some credentials that we already know her for, a very particular way of feeling dance and a language that is as unique as it is personal. La Moneta is capable of offering every time she goes on stage a multifaceted dance built with the same skeleton that she decorates with different aesthetics, different approaches, perspectives and changes, but always with an intrinsic characteristic of each movement: being herself and not looking like anyone else.
It is the first time that a server sees her with the guitar Mark Palogoals and the cante by Joni Cortés, both from Granada and good squires. Sergio the Redhead He was the other singer in the group, who has worked with her on numerous occasions and they know each other artistically even without the light on stage.
The exhibition was simple but effective and striking at the same time. In the ways in which Enrique Morente began her recitals, La Moneta appeared on the stage surrounded by the singers and the percussionist Michael the Cheyenne to the beat of bulería. Without guitar. Solo palmas. More than ten minutes feeling the clapperboard and seeing again and again precise images in each marking, in each closing and in each finish. Because the truth is that he did not dance por bulerías as we understand them: in a party ending to the chronic marking of the cante. It was enough of the palmas to draw a complex scene, apparently free of choreography and script but exquisitely temperamental. It could have been like that. Or not. In any case, he has the resources to adopt either position.
"The format is intimate. It is singing to the dance and dancing to the cante. Without embellishments. Without artifice. Without affectation. Here the quintessence of dance blossoms. There is no abuse of feet, no innocuous arm gestures, not a single movement is left over. It is a unique and sometimes even unpredictable language.
Sergio El Colorao and Marcos Palogoals continued for Malaga from Twin and abandon yourselves with the end of the fandango of Paquillo the Gasman.
The protagonist returned to the scene again in a black suit, with a change of pants, which were red in the first dance, but now are green. The format, as I say, is intimate. It is singing to the dance and dancing to the cante. Without embellishments. Without artifice. Without affectations. Here the quintessence of dance flourishes. There is no abuse of feet, no innocuous arm gestures, not a single movement is left over. It is a unique language and sometimes even unpredictable. When you think it has already given everything, it offers something more. And so on, continuously. The change was not complete, but to tonás and carceleras that he also danced to return to the seguiriya. The clean and rhythmic touch of Palogoals, with sparkles at the entrance and musical exit reminiscent of Xavier Molina and their current heirs.
The transition to give La Moneta time to change, was given by Joni Cortés with soleá, entering Alcalá, in Jerez remembering Antonio the Peña y Beans and finishing with Triana. It could have been a bulería por soleá in the time, but the styles, which are the ones that mark the cante, they led us irremediably to the soleá, accelerated, of course.
The end came with tarantos. The guitar made a nod to Montoya. The dance, itself. Because as has already been said, La Moneta only resembles La Moneta. The resolution of the taranto, as is usually the case, was established by tangos from Morento for the most part, although also from Cerro; all of them from Granada, of course.
It was a shame that the theatre was only half full, because enjoying a dance like Fuensanta's is a pleasure for the senses. We will have to justify it because it is the premiere of the cycle, but it deserves to fill the theatre with a line-up as exquisite as it is full of great artists.
Credits
Fuensanta La Moneta
Autumn Cycle flamenco
Maracena, Granada
24th October 2024
Dance: Fuensanta La Moneta
Singers: Sergio El Colorao, Joni Cortés
Guitar: Marcos Palogoals
Percussion: Miguel El Cheyenne
Capacity: medium
